-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Gemacht mit Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="de" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemacht mit Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
- Dieses Buch erscheint unter einer CC-BY-SA-Lizenz. Das bedeutet, Sie können
-es für jeden, einschließlich komerziellen Zweck kopieren, weiterverbreiten,
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Gemacht mit Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="de" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemacht mit Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+ Dieses Buch erscheint unter einer CC-BY-SA-Lizenz. Das bedeutet, Sie können
+es für jeden, einschließlich komerziellen Zweck kopieren, weiterverbreiten,
neuzusammensetzen, verwandeln und auf dem Werk aufbauen, solange Sie
-entsprechend den Urheber nennen, einen Link zur Lizenz zur Verfügung stellen
-und angeben, ob Änderungen vorgenommen wurden. Wenn Sie das Werk
-neuzusammensetzten, verwandeln, oder auf ihm aufbauen, müssen Sie Ihre
-Beiträge unter der gleichen Lizenz wie die des Originals
+entsprechend den Urheber nennen, einen Link zur Lizenz zur Verfügung stellen
+und angeben, ob Änderungen vorgenommen wurden. Wenn Sie das Werk
+neuzusammensetzten, verwandeln, oder auf ihm aufbauen, müssen Sie Ihre
+Beiträge unter der gleichen Lizenz wie die des Originals
verbreiten. Lizenzdetails: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Vorwort</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Abbildungsverzeichnis</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Vorwort</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Vorwort</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Abbildungsverzeichnis</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Vorwort</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">„<span class="quote">a red
-herring.</span>“</span>
+the pursuit of viable business models through CC <span class="quote">„<span class="quote">a red
+herring.</span>“</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">„<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">„<span class="quote">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.</span>“</span>
+profit. Money is a means to a social end, not the end itself.</span>“</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">„<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesn’t Want to Be Free: <span class="quote">„<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>“</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>“</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">„<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>“</span>
+Against Humanity says it best in their case study: <span class="quote">„<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>“</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">„<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">„<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span>“</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>“</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">„<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>“</span>
+<span class="quote">„<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>“</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">„<span class="quote">The Zones of
-Cyberspace</span>“</span>, CC founder Lawrence Lessig wrote, <span class="quote">„<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">„<span class="quote">The Zones of
+Cyberspace</span>“</span>, CC founder Lawrence Lessig wrote, <span class="quote">„<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>“</span>
+people they come to know, and sometimes like.</span>“</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">„<span class="quote">It’s all made of people.</span>“</span>
+Johnathan Nightingale often says, <span class="quote">„<span class="quote">It’s all made of people.</span>“</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
+ This book shows the world how sharing can be good for business—but with a
twist.
</p><p>
We began the project intending to explore how creators, organizations, and
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">„<span class="quote">open
-business model canvas,</span>“</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">„<span class="quote">open
+business model canvas,</span>“</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>“</span>
+Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>“</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Teil I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Die Anfang von Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Teil I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Wie man mit Creative Commons hergestellt wird</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons Lizenz</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Die Anfang von Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
“</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
“</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
build the commons. Beyond money, laws and regulations regarding property,
copyright, business, and finance can all be designed to foster the commons.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Abbildung 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Abbildung 1.2. Four aspects of resource management">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Abbildung 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Abbildung 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Abbildung 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">„<span class="quote">commoners</span>“</span> were evicted from the land, fences and hedges
+<span class="quote">„<span class="quote">commoners</span>“</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. <a class="xref" href="#fig-5" title="Abbildung 1.5. The commons is gradually superseded by the state.">1.5</a>).
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">„<span class="quote">The Tragedy of the Commons,</span>“</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">„<span class="quote">The Tragedy of the Commons,</span>“</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
-Commons</span>“</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
+Commons</span>“</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>“</span> does a great job of
+Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>“</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>“</span> looking
+Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>“</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">„<span class="quote">A book on open business models</span>“</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">„<span class="quote">A book on open business models</span>“</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>“</span> involving
+is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>“</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">„<span class="quote">business model canvas,</span>“</span> which conceives of a
+ It contains a <span class="quote">„<span class="quote">business model canvas,</span>“</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">„<span class="quote">type of open environment that the business fits
-in.</span>
“</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">„<span class="quote">type of open environment that the business fits
+in.</span>
“</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">„<span class="quote">digital for free
-but physical for a fee,</span>“</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
+but physical for a fee,</span>“</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>“</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>“</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>“</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>“</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">„<span class="quote">Governing Knowledge Commons,</span>“</span> in Frischmann, Madison, and
+<span class="quote">„<span class="quote">Governing Knowledge Commons,</span>“</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>“</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>“</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>“</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>“</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>“</span> last modified November
+ Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>“</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>“</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>“</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>“</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>“</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>“</span> last modified
+ Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>“</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
-Statement</span>
“</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
+Statement</span>
“</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>“</span> designed by the
+ We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>“</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
“</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
“</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. Wie man mit Creative Commons hergestellt wird</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. Wie man mit Creative Commons hergestellt wird</h2></div></div></div><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
“</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
“</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
-mean.</span>“</span>
+with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
+mean.</span>“</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">„<span class="quote">all rights reserved</span>“</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">„<span class="quote">all rights reserved</span>“</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">„<span class="quote">Creators usually
-start doing what they do for love.</span>
“</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
+start doing what they do for love.</span>
“</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>“</span>
+told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>“</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>“</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>“</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
“</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
“</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>“</span>
+Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>“</span>
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, <span class="quote">„<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>“</span>
+going day to day.</span>“</span>
</p><p>
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
</p><p>
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
-<span class="quote">„<span class="quote">problem zero.</span>“</span>
+<span class="quote">„<span class="quote">problem zero.</span>“</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>“</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>“</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>“</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>“</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
“</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
“</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">„<span class="quote">your people</span>“</span> online is theoretically easier than
+ While finding <span class="quote">„<span class="quote">your people</span>“</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
“</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
“</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
“</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
“</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">„<span class="quote">your people,</span>“</span> prohibiting people from
+discovered and find <span class="quote">„<span class="quote">your people,</span>“</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
“</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
“</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">„<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
“</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
“</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">„<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>“</span> Instead, they started releasing
+they will use bad-quality versions.</span>“</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">„<span class="quote">Using CC
-licenses shows you get the Internet.</span>“</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
+licenses shows you get the Internet.</span>“</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">„<span class="quote">©</span>“</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">„<span class="quote">©</span>“</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
“</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
“</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>“</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
’t think as much about how they consume them.</span>“</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">„<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
“</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
“</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>“</span> David said. <span class="quote">„<span class="quote">Change the rules of engagement.</span>“</span>
+cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>“</span> David said. <span class="quote">„<span class="quote">Change the rules of engagement.</span>“</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">„<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
“</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
“</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>“</span>
+of gravity.</span>“</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
-creates a new scarcity,</span>“</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
+creates a new scarcity,</span>“</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
“</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
“</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
“</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>“</span> Mann.
+expensive.</span>
“</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>“</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">„<span class="quote">author-processing charge</span>“</span> of open-access journals like those
+<span class="quote">„<span class="quote">author-processing charge</span>“</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>“</span>
+Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>“</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>“</span>
+human species survive and evolve.</span>“</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>“</span>
+content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>“</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>“</span>
+says, without hesitation: of course.</span>“</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">„<span class="quote">persuading people to buy</span>“</span> and <span class="quote">„<span class="quote">inviting
-people to pay.</span>“</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>“</span> The
+language like <span class="quote">„<span class="quote">persuading people to buy</span>“</span> and <span class="quote">„<span class="quote">inviting
+people to pay.</span>“</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>“</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">„<span class="quote">the product,</span>“</span> the more pronounced this dynamic has to
+being <span class="quote">„<span class="quote">the product,</span>“</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">„<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
“</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
“</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">„<span class="quote">brand.</span>“</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>“</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">„<span class="quote">brand.</span>“</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>“</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>“</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>“</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>“</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
-communicating.</span>“</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>“</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
+communicating.</span>“</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>“</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>“</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>“</span> There
+based on a very shallow view of what motivates human behavior.</span>“</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
“</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
“</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>“</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>“</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
-first.</span>
“</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
+first.</span>
“</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>“</span>
+Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>“</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
-family.</span>
“</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
+family.</span>
“</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
“</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
“</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
“</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
“</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">„<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>“</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>“</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>“</span>The only department where I wasn’t open to input was the
+said,</span>“</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">„<span class="quote">making in public</span>“</span> opens the door to letting people feel more
+<span class="quote">„<span class="quote">making in public</span>“</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>“</span>
+124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>“</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
-Nonprofit Funding Models,</span>“</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
+Nonprofit Funding Models,</span>“</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>“</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>“</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
“</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
“</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. Creative Commons Lizenz</h2></div></div></div><p>
All of the Creative Commons licenses grant a basic set of permissions. At a
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 <span class="quote">„<span class="quote">copyleft</span>“</span> free and open source software
+often compared to <span class="quote">„<span class="quote">copyleft</span>“</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>“</span>).
+worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>“</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
„<span class="quote">Share Your Work</span>“</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Teil
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
„<span class="quote">Share Your Work</span>“</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Teil
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Inhaltsverzeichnis</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>“</span>
+ </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>“</span>
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
-<span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>“</span>
+<span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>“</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
-trust a product.</span>“</span>
+product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
+trust a product.</span>“</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>“</span> not
-<span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>“</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>“</span> not
+<span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>“</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">„<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>“</span>
+apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>“</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>“</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>“</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">„<span class="quote">Send In the Clones,</span>“</span> by one of the founders Massimo Banzi,
+<span class="quote">„<span class="quote">Send In the Clones,</span>“</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">„<span class="quote">making
-things that help other people make things.</span>“</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">„<span class="quote">making
+things that help other people make things.</span>“</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
-democratization of technology.</span>“</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
+democratization of technology.</span>“</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
-learn.</span>“</span>
+protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
+learn.</span>“</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">„<span class="quote">artisan</span>“</span> process because of the time and effort it takes
+it an <span class="quote">„<span class="quote">artisan</span>“</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>“</span> Mariana said. Rather than sell
+clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>“</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>“</span> Mariana said. Ártica
+attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>“</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>“</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
+to be viral,</span>“</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>“</span> Jorge
-said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>“</span> Jorge
+said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>“</span>
+contact—we have to offer them a fair and ethical agreement.</span>“</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>“</span> Jorge
-said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>“</span> Jorge
+said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>“</span>
+future, like a course or a book.</span>“</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>“</span> Jorge said. They share early and often, and they adjust
+flexible,</span>“</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>“</span> Mariana said. <span class="quote">„<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>“</span>
+formats or materials,</span>“</span> Mariana said. <span class="quote">„<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>“</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">„<span class="quote">Good
-content is not enough,</span>“</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">„<span class="quote">Good
+content is not enough,</span>“</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>“</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>“</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>“</span> Jorge
-said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>“</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>“</span> Jorge
+said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>“</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>“</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
-another image of what it looks like.</span>“</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>“</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
+another image of what it looks like.</span>“</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>“</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>“</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>“</span>
+so that the project could live.</span>“</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>“</span>
-Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>“</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>“</span>
+Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>“</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">„<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">„<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>“</span> he said. <span class="quote">„<span class="quote">They were like, <span class="quote">‚<span class="quote">I have to see it to
-believe it.</span>‘</span></span>“</span>
+people,</span>“</span> he said. <span class="quote">„<span class="quote">They were like, <span class="quote">‚<span class="quote">I have to see it to
+believe it.</span>‘</span></span>“</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>“</span> Francesco
-said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>“</span>
+needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>“</span> Francesco
+said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>“</span>
+community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>“</span>
Francesco said.
</p><p>
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. <span class="quote">„<span class="quote">Once a project is over,
-everyone goes home,</span>“</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>“</span>
+specific project and ask for funding. <span class="quote">„<span class="quote">Once a project is over,
+everyone goes home,</span>“</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>“</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">„<span class="quote">This is our freedom,</span>“</span>
-he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>“</span>
+goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>“</span>
+he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>“</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>“</span> Ton said.
+reproduce what you did,</span>“</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">„<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">„<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>“</span> Max said.
+make,</span>“</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">„<span class="quote">horrible people,</span>“</span> according to Cards Against
+kind of people (<span class="quote">„<span class="quote">horrible people,</span>“</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">„<span class="quote">It kind of just happened,</span>“</span> he
+make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>“</span> he
said.
</p><p>
- But this tale of a <span class="quote">„<span class="quote">happy accident</span>“</span> belies marketing
+ But this tale of a <span class="quote">„<span class="quote">happy accident</span>“</span> 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 <span class="quote">„<span class="quote">Your dumb questions.</span>“</span>
+website <span class="quote">„<span class="quote">Your dumb questions.</span>“</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>“</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>“</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>“</span> he said. <span class="quote">„<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>“</span>
+ </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>“</span> he said. <span class="quote">„<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>“</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>“</span> Max said. <span class="quote">„<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>“</span>
+engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>“</span> Max said. <span class="quote">„<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>“</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>“</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>“</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>“</span> Max
-said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>“</span>
+line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>“</span> Max
+said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>“</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>“</span>
+world, and we have never spent a dime on marketing.</span>“</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>“</span> Max said. About 99.9
+polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>“</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>“</span> Max
-said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>“</span> Max
+said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>“</span>
+quibbling.</span>“</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">„<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>“</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>“</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">„<span class="quote">Cards is not our life plan,</span>“</span> Max said. <span class="quote">„<span class="quote">We all
+causes. <span class="quote">„<span class="quote">Cards is not our life plan,</span>“</span> Max said. <span class="quote">„<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>“</span>
+the game into it.</span>“</span>
</p><p>
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.
- </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>“</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>“</span> Max said. <span class="quote">„<span class="quote">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.</span>“</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>“</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">„<span class="quote">members and
-funders.</span>“</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
-members,</span>“</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">„<span class="quote">members and
+funders.</span>“</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
+members,</span>“</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>“</span> the
+ With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>“</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>“</span> and he is
-adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>“</span> and he is
+adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>“</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>“</span>
+selling it,</span>“</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>“</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>“</span>
-he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>“</span>
+importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>“</span>
+he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>“</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>“</span> he wrote. <span class="quote">„<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>“</span> He acknowledges that he is one of the lucky few to
-<span class="quote">„<span class="quote">make it,</span>“</span> but he says he would be writing no matter
-what. <span class="quote">„<span class="quote">I am compelled to write,</span>“</span> he wrote. <span class="quote">„<span class="quote">Long before
+rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>“</span> he wrote. <span class="quote">„<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>“</span> He acknowledges that he is one of the lucky few to
+<span class="quote">„<span class="quote">make it,</span>“</span> but he says he would be writing no matter
+what. <span class="quote">„<span class="quote">I am compelled to write,</span>“</span> he wrote. <span class="quote">„<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>“</span>
+sane.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">It felt morally right,</span>“</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>“</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>“</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>“</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
-them thieves,</span>“</span> he said.
+people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
+them thieves,</span>“</span> he said.
</p><p>
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. <span class="quote">„<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>“</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
+career as a writer,</span>“</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>“</span>
+spread.</span>“</span>
</p><p>
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
</p><p>
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. <span class="quote">„<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">„<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>“</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>“</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>“</span> he said. Cory’s own website routinely
+they interact with it,</span>“</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>“</span> he said. <span class="quote">„<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>“</span> he said. <span class="quote">„<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>“</span>
+slim, so I should take all the help I can get.</span>“</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>“</span> he wrote. <span class="quote">„<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>“</span> he wrote. <span class="quote">„<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>“</span>
+possibility that I’ll get something.</span>“</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>“</span>
+calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>“</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>“</span> Cory
+audience,</span>“</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>“</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">„<span class="quote">If
-you look at the history of artists, most die in penury,</span>“</span> he
-said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
+you look at the history of artists, most die in penury,</span>“</span> he
+said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>“</span>
+stay connected to those people who have been touched by your work.</span>“</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>“</span>
+in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>“</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">„<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>“</span>
+its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>“</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>“</span> But understanding the basic facts sometimes requires
+basic facts.</span>“</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>“</span> where customers allocate
+Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>“</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>“</span>
+future.</span>“</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">„<span class="quote">network effect</span>“</span>— users dramatically increasing value for
+the <span class="quote">„<span class="quote">network effect</span>“</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
-model</span>“</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
+model</span>“</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">„<span class="quote">book-processing charge</span>“</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">„<span class="quote">book-processing charge</span>“</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">„<span class="quote">Free ride</span>“</span> is more like community
+support open access. <span class="quote">„<span class="quote">Free ride</span>“</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">„<span class="quote">Song A Day</span>“</span> guy. Based in the U.S.
+<span class="quote">„<span class="quote">Song A Day</span>“</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">„<span class="quote">hustling</span>“</span>—seizing nearly every opportunity he sees to make
+<span class="quote">„<span class="quote">hustling</span>“</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>“</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>“</span> 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 <span class="quote">„<span class="quote">song-a-day guy.</span>“</span>
+songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>“</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>“</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>“</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>“</span>
-Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>“</span>
+Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>“</span>
+be able to be shared.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>“</span>
+copy, interact with, and remix his music. <span class="quote">„<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>“</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>“</span>
-he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>“</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>“</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>“</span>
+he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>“</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">„<span class="quote">How to Choose a Master Password,</span>“</span> Jonathan
+music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>“</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">„<span class="quote">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,</span>“</span> he
-said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>“</span>
+work is a song rather than news. <span class="quote">„<span class="quote">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,</span>“</span> he
+said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>“</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>“</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>“</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>“</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">„<span class="quote">Success feels like it’s over,</span>“</span> he said. <span class="quote">„<span class="quote">To a certain
+ </p><p><span class="quote">„<span class="quote">Success feels like it’s over,</span>“</span> he said. <span class="quote">„<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>“</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>“</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">„<span class="quote">digital dust</span>“</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">„<span class="quote">digital dust</span>“</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
-off.</span>“</span>
+of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
+off.</span>“</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>“</span> for
+its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>“</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>“</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>“</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>“</span>
+other initiatives and continue to nurture it.</span>“</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>“</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>“</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>“</span>
+for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>“</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">„<span class="quote">nodes.</span>“</span>
+<span class="quote">„<span class="quote">nodes.</span>“</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">„<span class="quote">open
-licenses</span>“</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
+licenses</span>“</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>“</span>
+offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>“</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
-not the goods.</span>“</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
+not the goods.</span>“</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">„<span class="quote">reputational glow.</span>“</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">„<span class="quote">reputational glow.</span>“</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>“</span> Opendesk now has relationships with
+how we have moved forward.</span>“</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
-making</span>“</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
+making</span>“</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>“</span>
+mass-production and an affordable way to buy custom-made products.</span>“</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">„<span class="quote">open making</span>“</span> business model. They’re
+Opendesk and the <span class="quote">„<span class="quote">open making</span>“</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">„<span class="quote">open,</span>“</span> not IP.
+<span class="quote">„<span class="quote">open,</span>“</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>“</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>“</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
-license.</span>“</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
+license.</span>“</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">„<span class="quote">journey with no roadmap,</span>“</span> continually experimenting to find
+a <span class="quote">„<span class="quote">journey with no roadmap,</span>“</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>“</span>
+doing that.</span>“</span>
</p><p>
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. <span class="quote">„<span class="quote">On
-the one hand, we have this beautiful shareability,</span>“</span> Amanda
-said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>“</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
+the one hand, we have this beautiful shareability,</span>“</span> Amanda
+said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>“</span>
</p><p>
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
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. <span class="quote">„<span class="quote">All
-I needed was . . . some people,</span>“</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">„<span class="quote">All
+I needed was . . . some people,</span>“</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>“</span>
+art.</span>“</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
-crowd</span>“</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
+crowd</span>“</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">„<span class="quote">pay what
-you want</span>“</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
+you want</span>“</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">„<span class="quote">thing</span>“</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">„<span class="quote">per thing</span>“</span> basis. All of the content she makes is
+<span class="quote">„<span class="quote">thing</span>“</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">„<span class="quote">per thing</span>“</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>“</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>“</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
-got into this because we wanted to share the joy of music,</span>“</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
+got into this because we wanted to share the joy of music,</span>“</span> she said.
</p><p>
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. <span class="quote">„<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>“</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>“</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>“</span> Amanda wrote.
+listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>“</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>“</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
+than just looking fantastic,</span>“</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>“</span>
+risk of making yourself vulnerable is almost always worth it.</span>“</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>“</span> she wrote. There really
+ </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>“</span> 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 <span class="quote">„<span class="quote">weird little
-family.</span>“</span>
+consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
+family.</span>“</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>“</span> Amanda said. <span class="quote">„<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>“</span>
+creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>“</span> Amanda said. <span class="quote">„<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>“</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>“</span> she said, <span class="quote">„<span class="quote">but my
+this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>“</span> she said, <span class="quote">„<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>“</span>
+genuinely of value to them.</span>“</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">„<span class="quote">own</span>“</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">„<span class="quote">own</span>“</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">„<span class="quote">Mona Lisa effect,</span>“</span> where a work of art becomes so famous that
+<span class="quote">„<span class="quote">Mona Lisa effect,</span>“</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">„<span class="quote">like</span>“</span> works and compile your
+a bit like Pinterest. You can <span class="quote">„<span class="quote">like</span>“</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
-great art.</span>“</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
+great art.</span>“</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">„<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>“</span>
+their experience: <span class="quote">„<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>“</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
-economy</span>“</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
+economy</span>“</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">‚<span class="quote">Borg.</span>‘</span></span>“</span>
+more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">‚<span class="quote">Borg.</span>‘</span></span>“</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>“</span> he
-said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>“</span> he
+said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>“</span>
+now.</span>“</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
-economy</span>“</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
+economy</span>“</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>“</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
-on that role.</span>“</span> The small team behind the nonprofit publication truly
+dots,</span>“</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
+on that role.</span>“</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>“</span> Neal said. While they started out with a
+metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>“</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">„<span class="quote">sharing cities</span>“</span> (i.e., urban areas
+the physical commons like <span class="quote">„<span class="quote">sharing cities</span>“</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">„<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">„<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>“</span> Neal said. The rest of the content is either contributed by
+quality,</span>“</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
-licensing,</span>“</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
+licensing,</span>“</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>“</span>
+our work have much bigger audiences than we do.</span>“</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
-attract passionate people,</span>“</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
+attract passionate people,</span>“</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>“</span> he
-said. <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>“</span>
+while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>“</span> he
+said. <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>“</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
-start making calls.</span>“</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
+start making calls.</span>“</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>“</span> Neal said. Enabling others to create their own events
+to the event,</span>“</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">„<span class="quote">feature phone</span>“</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">„<span class="quote">feature phone</span>“</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>“</span>
-Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>“</span>
+Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>“</span>
+our impact on the world.</span>“</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
-our natural human instinct to share,</span>“</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
+our natural human instinct to share,</span>“</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>“</span> Nathan said.
-<span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>“</span> Nathan said.
+<span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>“</span>
+safety net.</span>“</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
-years ago,</span>“</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
+years ago,</span>“</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>“</span>
+is for us, it’s better for the customers.</span>“</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>“</span> Nathan said. <span class="quote">„<span class="quote">This is the
-stuff they should be competing on.</span>“</span>
+support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>“</span> Nathan said. <span class="quote">„<span class="quote">This is the
+stuff they should be competing on.</span>“</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
-something,</span>“</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>“</span> In 2003, during
+there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
+something,</span>“</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>“</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>“</span> that explain the
+was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>“</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>“</span>
+2020.</span>“</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">„<span class="quote">copyleft</span>“</span> license that allows people to do anything with the
+<span class="quote">„<span class="quote">copyleft</span>“</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>“</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>“</span> The
+employees don’t,</span>“</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>“</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>“</span> Nathan
-said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>“</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>“</span> Nathan
+said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>“</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
-been listening to the community,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Customers
+tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
+been listening to the community,</span>“</span> Nathan said. <span class="quote">„<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>“</span>
+it.</span>“</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
-open-source it, they will come,</span>“</span> Nathan said. <span class="quote">„<span class="quote">That’s not
-really true.</span>“</span>
+relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
+open-source it, they will come,</span>“</span> Nathan said. <span class="quote">„<span class="quote">That’s not
+really true.</span>“</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>“</span>
+independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>“</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>“</span> Piya said.
+education,</span>“</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>“</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">„<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>“</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">„<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>“</span>
+protecting us at the same time.</span>“</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
-high-quality content is what matters most to us,</span>“</span> Piya
-said. <span class="quote">„<span class="quote">Research drives everything we do.</span>“</span>
+determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
+high-quality content is what matters most to us,</span>“</span> Piya
+said. <span class="quote">„<span class="quote">Research drives everything we do.</span>“</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>“</span> Piya said. <span class="quote">„<span class="quote">We need
-materials where you can push play and they will work.</span>“</span>
+training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>“</span> Piya said. <span class="quote">„<span class="quote">We need
+materials where you can push play and they will work.</span>“</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>“</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>“</span>
+online,</span>“</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>“</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">„<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">„<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>“</span> Shuman said.
+countries,</span>“</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>“</span> Piya
-said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>“</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>“</span> Piya
+said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>“</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
-companies can be proud of internally,</span>“</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
+companies can be proud of internally,</span>“</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>“</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>“</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>“</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>“</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
-still fighting for a good cause every single day.</span>“</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
+still fighting for a good cause every single day.</span>“</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>“</span>
+restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>“</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>“</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>“</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>“</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>“</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>“</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>“</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>“</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>“</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">„<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">„<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>“</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>“</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">„<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>“</span>
-Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>“</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">„<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>“</span>
+Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>“</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>“</span>
+best for everyone.</span>“</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>“</span> Stephen said. For example, there is one
+explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>“</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
-financially,</span>“</span> Stephen told us. <span class="quote">„<span class="quote">They are all
-contributors.</span>“</span>
+Wikipedia. <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
+financially,</span>“</span> Stephen told us. <span class="quote">„<span class="quote">They are all
+contributors.</span>“</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>“</span> Stephen told us.
+community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>“</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>“</span> Stephen said. <span class="quote">„<span class="quote">Wikipedia has found a way to be that
-open public space.</span>“</span>
+spaces,</span>“</span> Stephen said. <span class="quote">„<span class="quote">Wikipedia has found a way to be that
+open public space.</span>“</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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Revolution; Democratizing Wealth and Building a Community-Sustaining Economy
from the Ground Up. White River Junction, VT: Chelsea Green, 2013.
</p><p>
- Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+ Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
</p><p>
- ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
+ ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
</p><p>
Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
-Decisions. Rev. ed. New York: Harper Perennial, 2010.
+Decisions. Rev. ed. New York: Harper Perennial, 2010.
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- Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media,
+ Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media,
2012.
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Benkler, Yochai. The Wealth of Networks: How Social Production Transforms
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</p><p>
- ———. Think Like a Commoner: A Short Introduction to the Life of the
+ ———. Think Like a Commoner: A Short Introduction to the Life of the
Commons. Gabriola Island, BC: New Society, 2014.
</p><p>
Bollier, David, and Pat Conaty. Democratic Money and Capital for the
Commons: Strategies for Transforming Neoliberal Finance through
Commons-Based Alternatives. A report on a Commons Strategies Group Workshop
-in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
+in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
<a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
For more information, see <a class="ulink" href="http://bollier.org/blog/democratic-money-and-capital-commons" target="_top">http://bollier.org/blog/democratic-money-and-capital-commons</a>.
</p><p>
Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World
Beyond Market and State. Amherst, MA: Levellers Press, 2012.
</p><p>
- Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
+ Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
Collaborative Consumption. New York: Harper Business, 2010.
</p><p>
Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation
Landscape. Boston: Harvard Business School Press, 2006.
</p><p>
- ———. Open Innovation: The New Imperative for Creating and Profiting from
+ ———. Open Innovation: The New Imperative for Creating and Profiting from
Technology. Boston: Harvard Business Review Press, 2006.
</p><p>
City of Bologna. Regulation on Collaboration between Citizens and the City
(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna,
2014). <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
</p><p>
- Cole, Daniel H. <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons.</span>“</span> Chap. 2 in Frischmann,
+ Cole, Daniel H. <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons.</span>“</span> Chap. 2 in Frischmann,
Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
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Commons, 2015. <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p><p>
- Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
-Age. San Francisco: McSweeney’s, 2014.
+ Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
+Age. San Francisco: McSweeney’s, 2014.
</p><p>
- Eckhardt, Giana, and Fleura Bardhi. <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
-Sharing at All.</span>
“</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
“</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p><p>
Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
Confronting the Commodification of Human Discovery. Regina, SK: University
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
</p><p>
- Farley, Joshua, and Ida Kubiszewski. <span class="quote">„<span class="quote">The Economics of Information in
-a Post-Carbon Economy.</span>“</span> Chap. 11 in Elliott and Hepting, Free
+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">„<span class="quote">The Economics of Information in
+a Post-Carbon Economy.</span>“</span> Chap. 11 in Elliott and Hepting, Free
Knowledge.
</p><p>
- Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">„<span class="quote">Ten
-Nonprofit Funding Models.</span>“</span> Stanford Social Innovation Review, Spring
+ Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">„<span class="quote">Ten
+Nonprofit Funding Models.</span>“</span> Stanford Social Innovation Review, Spring
2009. <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p><p>
Frischmann, Brett M. Infrastructure: The Social Value of Shared
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</p><p>
Frischmann, Brett M., Michael J. Madison, and Katherine J.
-Strandburg. <span class="quote">„<span class="quote">Governing Knowledge Commons.</span>“</span> Chap. 1 in
+Strandburg. <span class="quote">„<span class="quote">Governing Knowledge Commons.</span>“</span> Chap. 1 in
Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with
Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
Farrar, Straus and Giroux, 2010.
</p><p>
- ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
+ ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
Books edition. New York: Vintage Books, 2007.
</p><p>
Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
Discovered. New York: Workman, 2014.
</p><p>
- ———. Steal Like an Artist: 10 Things Nobody Told You about Being
+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
Creative. New York: Workman, 2012.
</p><p>
Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
York: Morgan James, 2016.
</p><p>
- Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
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“</span> BBC News, March 3, 2016. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
+ Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet.</span>
“</span> BBC News, March 3, 2016. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
</p><p>
Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
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(licensed under CC BY-SA).
</p><p>
- Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
+ Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
Australia: Commons Transition Coalition, 2016. <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
(licensed under CC BY-NC-ND).
</p><p>
Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
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„<span class="quote">The Magic Cauldron.</span>“</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
+Media, 2001. See esp. <span class="quote">
„<span class="quote">The Magic Cauldron.</span>“</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p><p>
- Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
+ Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
Innovation to Create Radically Successful Businesses. New York: Crown
Business, 2011.
</p><p>
Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
Enemy of Prosperity. New York: Portfolio, 2016.
</p><p>
- Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
York: Farrar, Straus and Giroux, 2012.
</p><p>
Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
Collaborators. London, England: Penguin Books, 2010.
</p><p>
- Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
+ Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
Books, 2015.
</p><p>
Stephany, Alex. The Business of Sharing: Making in the New Sharing
Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
-Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
-Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">„<span class="quote">Macro</span>“</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">„<span class="quote">Macro</span>“</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>“</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>“</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Φτιαγμένο με Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Φτιαγμένο με Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Πολ</span> <span class="surname">Στέισι</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Σάρα Χίντσλιφ</span> <span class="surname">Πίρσον</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>ΦÏ\84ιαγμÎνο με Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>ΦÏ\84ιαγμÎνο με Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Πολ</span> <span class="surname">ΣÏ\84ÎιÏ\83ι</span></h3></div><div class="author"><h3 class="author"><span class="firstname">ΣάÏ\81α ΧίνÏ\84Ï\83λιÏ\86</span> <span class="surname">ΠίÏ\81Ï\83ον</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
This book is published under a CC BY-SA license, which means that you can
copy, redistribute, remix, transform, and build upon the content for any
purpose, even commercially, as long as you give appropriate credit, provide
transform, or build upon the material, you must distribute your
contributions under the same license as the original. License details:
<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>List of Figures</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>List of Figures</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">“<span class="quote">a red
-herring.</span>”</span>
+the pursuit of viable business models through CC <span class="quote">“<span class="quote">a red
+herring.</span>”</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">“<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">“<span class="quote">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.</span>”</span>
+profit. Money is a means to a social end, not the end itself.</span>”</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">“<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesn’t Want to Be Free: <span class="quote">“<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>”</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>”</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">“<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>”</span>
+Against Humanity says it best in their case study: <span class="quote">“<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>”</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span>”</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>”</span>
+<span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>”</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
-Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
+Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>”</span>
+people they come to know, and sometimes like.</span>”</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all made of people.</span>”</span>
+Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all made of people.</span>”</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
+ This book shows the world how sharing can be good for business—but with a
twist.
</p><p>
We began the project intending to explore how creators, organizations, and
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">“<span class="quote">open
-business model canvas,</span>”</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">“<span class="quote">open
+business model canvas,</span>”</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">“<span class="quote">business as usual.</span>”</span>
+Creative Commons is not <span class="quote">“<span class="quote">business as usual.</span>”</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Part I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapter 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Part I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapter 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
operate as hybrids, blending the norms of the commons with those of the
market or state.
</p><p>
- Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
+ Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
an enterprise can have varying levels of engagement with commons, state, and
market.
</p><p>
the commons. State programs and funding can deliberately 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.
- </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure
1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure
 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
- </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
+outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
Commons require users to give the original creator credit. Knowing the
person behind a resource makes the commons less anonymous and more personal.
- </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure
1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure
 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
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.
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> 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. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a>
+managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a>
illustrates the commons in relation to the state and the market.)
- </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">“<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
+<span class="quote">“<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
-managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
+managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
</p><p>
Holdings of land, water, and game were distributed to ruling family and
political appointees. Commoners displaced from the land migrated to
operating the machinery of industry. Financial, business, and property laws
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. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
+rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
primary means by which resources are managed.
- </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
-Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
+Commons</span>”</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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.
- </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure
1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure
 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
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:
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+Raymond’s essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing cities,</span>”</span> looking
+Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing cities,</span>”</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">“<span class="quote">open process</span>”</span> involving
+is. Developed over nine years using an <span class="quote">“<span class="quote">open process</span>”</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which conceives of a
+ It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">“<span class="quote">type of open environment that the business fits
-in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">“<span class="quote">type of open environment that the business fits
+in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">“<span class="quote">digital for free
-but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">“<span class="quote">digital for free
+but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>”</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
+<span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of Information,</span>”</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of Information,</span>”</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">“<span class="quote">Stockholm
-Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">“<span class="quote">Stockholm
+Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
+ We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapter 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapter 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
+with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
+mean.</span>”</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">“<span class="quote">Creators usually
-start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">“<span class="quote">Creators usually
+start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
+told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
+Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
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, <span class="quote">“<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
+going day to day.</span>”</span>
</p><p>
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
</p><p>
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
-<span class="quote">“<span class="quote">problem zero.</span>”</span>
+<span class="quote">“<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
+ While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
+discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">“<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">“<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>”</span> Instead, they started releasing
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">“<span class="quote">Using CC
-licenses shows you get the Internet.</span>”</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">“<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">“<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
+cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">“<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>”</span>
+of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
-creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
+expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+<span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>”</span>
+Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>”</span>
+human species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
+content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>”</span>
+says, without hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
-people to pay.</span>”</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>”</span> The
+language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+being <span class="quote">“<span class="quote">the product,</span>”</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>”</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>”</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
-communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>”</span> There
+based on a very shallow view of what motivates human behavior.</span>”</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>”</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
-first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
+first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
+Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
-family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
+family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">“<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>”</span>The only department where I wasn’t open to input was the
+said,</span>”</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
+<span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>”</span>
+124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>”</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
-Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
+Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapter
3. The Creative Commons Licenses</h2></div></div></div><p>
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapter
 3. The Creative Commons Licenses</h2></div></div></div><p>
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
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 <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
+often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
+worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Part
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Part
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapter 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapter 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+ </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
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
-<span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>”</span>
+<span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
-trust a product.</span>”</span>
+product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
-<span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">“<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>”</span>
+apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+<span class="quote">“<span class="quote">Send In the Clones,</span>”</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
-things that help other people make things.</span>”</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
+things that help other people make things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
-democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
-learn.</span>”</span>
+protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapter
5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapter
 5. Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>”</span>
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>”</span>
+future, like a course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+flexible,</span>”</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>”</span>
+formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">“<span class="quote">Good
-content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">“<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
-another image of what it looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapter
6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapter
 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>”</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>”</span>
+so that the project could live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
-Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">“<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">“<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>”</span> he said. <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
-believe it.</span>’</span></span>”</span>
+people,</span>”</span> he said. <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
+believe it.</span>’</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>”</span> Francesco
-said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>”</span>
+needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>”</span>
+community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
Francesco said.
</p><p>
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. <span class="quote">“<span class="quote">Once a project is over,
-everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>”</span>
+specific project and ask for funding. <span class="quote">“<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
-he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
+goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>”</span> Ton said.
+reproduce what you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapter
7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapter
 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">“<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">“<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>”</span> Max said.
+make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
+kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
+make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
said.
</p><p>
- But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> 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 <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
+website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>”</span>
+engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>”</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
-said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>”</span>
+line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>”</span>
+world, and we have never spent a dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
-said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>”</span>
+quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">“<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>”</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
+causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>”</span>
+the game into it.</span>”</span>
</p><p>
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.
- </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">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.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapter
8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapter
 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">“<span class="quote">members and
-funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
-members,</span>”</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">“<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+ With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapter
9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapter
 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
-adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>”</span>
+selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>”</span>
-he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>”</span>
+importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
-<span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
-what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before
+rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>”</span>
+sane.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>”</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
-them thieves,</span>”</span> he said.
+people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
</p><p>
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. <span class="quote">“<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
+career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>”</span>
+spread.</span>”</span>
</p><p>
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
</p><p>
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. <span class="quote">“<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">“<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>”</span> he said. Cory’s own website routinely
+they interact with it,</span>”</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>”</span> he said. <span class="quote">“<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">“<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>”</span>
+slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>”</span>
+possibility that I’ll get something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>”</span>
+calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>”</span> Cory
+audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">“<span class="quote">If
-you look at the history of artists, most die in penury,</span>”</span> he
-said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>”</span>
+stay connected to those people who have been touched by your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>”</span>
+in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapter
10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapter
 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">“<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>”</span>
+its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapter
11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapter
 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>”</span> But understanding the basic facts sometimes requires
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>”</span>
+future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapter
12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapter
 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
-model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
+model</span>”</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
+support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapter
13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapter
 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapter
14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapter
 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+<span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+<span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> 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 <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
+songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>”</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
-Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>”</span>
+be able to be shared.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+copy, interact with, and remix his music. <span class="quote">“<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>”</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
-he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>”</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he
-said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>”</span>
+work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he
+said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
+ </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapter
15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapter
 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
-off.</span>”</span>
+of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
+its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>”</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>”</span>
+other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapter
16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapter
 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">“<span class="quote">nodes.</span>”</span>
+<span class="quote">“<span class="quote">nodes.</span>”</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">“<span class="quote">open
-licenses</span>”</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
+licenses</span>”</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>”</span>
+offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapter
17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapter
 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
-not the goods.</span>”</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>”</span> Opendesk now has relationships with
+how we have moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
-making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
+making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>”</span>
+mass-production and an affordable way to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re
+Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">“<span class="quote">open,</span>”</span> not IP.
+<span class="quote">“<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapter
18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapter
 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
-license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapter
19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapter
 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>”</span>
+doing that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On
-the one hand, we have this beautiful shareability,</span>”</span> Amanda
-said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>”</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
</p><p>
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
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. <span class="quote">“<span class="quote">All
-I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">“<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>”</span>
+art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
-crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">“<span class="quote">pay what
-you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+<span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
-got into this because we wanted to share the joy of music,</span>”</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
</p><p>
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. <span class="quote">“<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>”</span> Amanda wrote.
+listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>”</span>
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>”</span> she wrote. There really
+ </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> 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 <span class="quote">“<span class="quote">weird little
-family.</span>”</span>
+consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
+family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>”</span>
+creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
+this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>”</span>
+genuinely of value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapter
20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapter
 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapter
21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapter
 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+<span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">“<span class="quote">like</span>”</span> works and compile your
+a bit like Pinterest. You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
-great art.</span>”</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">“<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>”</span>
+their experience: <span class="quote">“<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapter
22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapter
 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
-economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
+more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>”</span> he
-said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>”</span>
+now.</span>”</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
-economy</span>”</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
-on that role.</span>”</span> The small team behind the nonprofit publication truly
+dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>”</span> Neal said. While they started out with a
+metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">“<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">“<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>”</span> Neal said. The rest of the content is either contributed by
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
-licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>”</span>
+our work have much bigger audiences than we do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
-attract passionate people,</span>”</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>”</span> he
-said. <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
-start making calls.</span>”</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>”</span> Neal said. Enabling others to create their own events
+to the event,</span>”</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapter
23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapter
 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapter
24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapter
 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
-Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>”</span>
+our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
-our natural human instinct to share,</span>”</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
-<span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>”</span>
+safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
-years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>”</span>
+is for us, it’s better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
-stuff they should be competing on.</span>”</span>
+support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
-something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
+was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>”</span>
+2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+<span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>”</span> The
+employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
-said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
-been listening to the community,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Customers
+tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>”</span>
+it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
-open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
-really true.</span>”</span>
+relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
+really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>”</span>
+independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapter
25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapter
 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>”</span> Piya said.
+education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>”</span>
+protecting us at the same time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
-high-quality content is what matters most to us,</span>”</span> Piya
-said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
+determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>”</span> Piya said. <span class="quote">“<span class="quote">We need
-materials where you can push play and they will work.</span>”</span>
+training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">“<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>”</span>
+online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>”</span> Shuman said.
+countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>”</span> Piya
-said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
-companies can be proud of internally,</span>”</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapter
26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapter
 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>”</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
-still fighting for a good cause every single day.</span>”</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
+restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapter
27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapter
 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>”</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">“<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">“<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">“<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>”</span>
-Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>”</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">“<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>”</span>
+best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>”</span> Stephen said. For example, there is one
+explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
-financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
-contributors.</span>”</span>
+Wikipedia. <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
+contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>”</span> Stephen told us.
+community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
-open public space.</span>”</span>
+spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
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+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of Information in
+a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott and Hepting, Free
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+ Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
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MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
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+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
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Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
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+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
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William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
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+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
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+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
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+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
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Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
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Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
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+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
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+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
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Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
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+Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
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Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
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Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
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Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
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+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
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+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
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Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
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+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
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+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
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+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
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+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
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+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
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+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
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-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
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+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
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-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
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+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
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+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
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+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
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+<span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
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+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Créé avec Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="fr" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Créé avec Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
- Ce livre est édité avec une licence CC BY-SA, ce qui signifie que vous
-pouvez copier, transformer, redistribuer, réécrire, transformer, vous
-appuyer sur le contenu pour toute raison, même commerciale, tant que vous
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Créé avec Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="fr" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Créé avec Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+ Ce livre est édité avec une licence CC BY-SA, ce qui signifie que vous
+pouvez copier, transformer, redistribuer, réécrire, transformer, vous
+appuyer sur le contenu pour toute raison, même commerciale, tant que vous
citez les auteurs, que vous fournissez le lien de la licence, et que vous
-indiquez si des changements ont été faits. Si vous ré-écrivez, transformez,
+indiquez si des changements ont été faits. Si vous ré-écrivez, transformez,
ou vous appuyez sur le contenu, vous devez publier vos contributions sous la
-même licence que l'original. Détails de la licence :
+même licence que l'original. Détails de la licence :
<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table des mati
ères</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Préface</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Remerciements</a></span></dt></dl></div><div class="list-of-figures"><p><b>Liste des illustrations</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Préface</h1></div></div></div><p>
- Il y a trois ans, juste après avoir été employé en tant que PDG de Creative
-Commons, j'ai rencontré Cory Doctorow dans le bar de l'hôtel Gladstone, à
-Toronto. En tant qu'un des promoteurs de CC les plus connus – qui a réussi
-une carrière d'écrivain partageant sont travail en utilisant CC – je lui ai
-dit que je pensais que CC avait un rôle dans la définition et dans la
-progression des modèles commerciaux ouverts. Il a gentiment dit son
-désaccord et a appelé la poursuite des modèles d'affaires viables via
-CC<span class="quote">« <span class="quote">un leurre</span> »</span>.
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table des mati
ères</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Préface</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Remerciements</a></span></dt></dl></div><div class="list-of-figures"><p><b>Liste des illustrations</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Préface</h1></div></div></div><p>
+ Il y a trois ans, juste après avoir été employé en tant que PDG de Creative
+Commons, j'ai rencontré Cory Doctorow dans le bar de l'hôtel Gladstone, à
+Toronto. En tant qu'un des promoteurs de CC les plus connus – qui a réussi
+une carrière d'écrivain partageant sont travail en utilisant CC â\80\93 je lui ai
+dit que je pensais que CC avait un rôle dans la définition et dans la
+progression des modèles commerciaux ouverts. Il a gentiment dit son
+désaccord et a appelé la poursuite des modèles d'affaires viables via
+CC<span class="quote">« <span class="quote">un leurre</span> »</span>.
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">« <span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">« <span class="quote">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.</span> »</span>
+profit. Money is a means to a social end, not the end itself.</span> »</span>
</p><p>
- Dans l'étude de cas sur Cory Doctorow, Sarah Hinchliff Pearson cite les mots
+ Dans l'étude de cas sur Cory Doctorow, Sarah Hinchliff Pearson cite les mots
de Cory provenant de son livre Information doesn't want to be free
-(« L'information ne veut pas être libre ») : <span class="quote">« <span class="quote">Entrer dans les arts
-parce qu’on veut s'enrichir est comme acheter des tickets de loterie pour
-s’enrichir. Ça peut marcher, mais c’est presque certain que ça ne marchera
-pas. Même si, évidemment, il y a toujours quelq’uun qui remporte le gros
-lot.</span> »</span>
+(« L'information ne veut pas être libre ») : <span class="quote">« <span class="quote">Entrer dans les arts
+parce qu’on veut s'enrichir est comme acheter des tickets de loterie pour
+s’enrichir. Ça peut marcher, mais c’est presque certain que ça ne marchera
+pas. Même si, évidemment, il y a toujours quelq’uun qui remporte le gros
+lot.</span> »</span>
</p><p>
- Aujourd'hui, le copyright c'est comme un ticket de loterie : tout le monde
+ Aujourd'hui, le copyright c'est comme un ticket de loterie : tout le monde
en a un, mais presque personne ne gagne. Ce qu'on ne vous dit pas, c'est que
-si vous choisissez de partager votre travail, les retours peuvent être
+si vous choisissez de partager votre travail, les retours peuvent être
significatifs et durer dans le temps. Ce livre est rempli d'histoires de
ceux qui ont pris de bien plus grands risques que les deux dollars que l'on
-paye pour un ticket de loterie, et qui ont récoltés les fruits de la
+paye pour un ticket de loterie, et qui ont récoltés les fruits de la
poursuite de leurs passions et du fait de vivre avec leurs valeurs.
</p><p>
- Donc ce n’est pas une question d’argent. Mais ça l’est aussi. Trouver les
-moyens de continuer à créer et à partager demande souvent un certain niveau
+ Donc ce n’est pas une question d’argent. Mais ça l’est aussi. Trouver les
+moyens de continuer à créer et à partager demande souvent un certain niveau
de revenus. Max Temkin de Cards Against Humanity le dit le mieux dans leur
-étude de cas : <span class="quote">« <span class="quote">Nous ne faisons pas de blagues et de jeux pour gagner
-de l’argent – nous gagnons de l’argent pour pouvoir faire des blagues et des
-jeux.</span> »</span>
+étude de cas : <span class="quote">« <span class="quote">Nous ne faisons pas de blagues et de jeux pour gagner
+de l’argent – nous gagnons de l’argent pour pouvoir faire des blagues et des
+jeux.</span> »</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">« <span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">« <span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span> »</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span> »</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">« <span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span> »</span>
+<span class="quote">« <span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span> »</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">« <span class="quote">The Zones of
-Cyberspace</span> »</span>, CC founder Lawrence Lessig wrote, <span class="quote">« <span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">« <span class="quote">The Zones of
+Cyberspace</span> »</span>, CC founder Lawrence Lessig wrote, <span class="quote">« <span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span> »</span>
+people they come to know, and sometimes like.</span> »</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">« <span class="quote">It’s all made of people.</span> »</span>
+Johnathan Nightingale often says, <span class="quote">« <span class="quote">Itâ\80\99s all made of people.</span> »</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- Ce livre montre au monde comment le partage peut être bon pour les
-affaires – mais avec un détour.
+ Ce livre montre au monde comment le partage peut être bon pour les
+affaires – mais avec un détour.
</p><p>
We began the project intending to explore how creators, organizations, and
businesses make money to sustain what they do when they share their work
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">« <span class="quote">open
-business model canvas,</span> »</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">« <span class="quote">open
+business model canvas,</span> »</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">« <span class="quote">business as usual.</span> »</span>
+Creative Commons is not <span class="quote">« <span class="quote">business as usual.</span> »</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Partie I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapitre 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Partie I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapitre 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">« <span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">« <span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
»</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
 »</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
operate as hybrids, blending the norms of the commons with those of the
market or state.
</p><p>
- Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
+ Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
an enterprise can have varying levels of engagement with commons, state, and
market.
</p><p>
the commons. State programs and funding can deliberately 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.
- </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure
1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure
 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
- </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
+outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
Commons require users to give the original creator credit. Knowing the
person behind a resource makes the commons less anonymous and more personal.
- </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure
1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure
 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
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.
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> 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. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a>
+managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a>
illustrates the commons in relation to the state and the market.)
- </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">« <span class="quote">commoners</span> »</span> were evicted from the land, fences and hedges
+<span class="quote">« <span class="quote">commoners</span> »</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
-managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
+managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
</p><p>
Holdings of land, water, and game were distributed to ruling family and
political appointees. Commoners displaced from the land migrated to
operating the machinery of industry. Financial, business, and property laws
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. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
+rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
primary means by which resources are managed.
- </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">« <span class="quote">The Tragedy of the Commons,</span> »</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">« <span class="quote">The Tragedy of the Commons,</span> »</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">« <span class="quote">The Tragedy of the
-Commons</span> »</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardinâ\80\99s <span class="quote">« <span class="quote">The Tragedy of the
+Commons</span> »</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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.
- </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure
1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure
 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
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:
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">« <span class="quote">The Magic Cauldron</span> »</span> does a great job of
+Raymondâ\80\99s essay <span class="quote">« <span class="quote">The Magic Cauldron</span> »</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">« <span class="quote">sharing cities,</span> »</span> looking
+Seoul and Amsterdam call themselves <span class="quote">« <span class="quote">sharing cities,</span> »</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">« <span class="quote">A book on open business models</span> »</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">« <span class="quote">A book on open business models</span> »</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">« <span class="quote">open process</span> »</span> involving
+is. Developed over nine years using an <span class="quote">« <span class="quote">open process</span> »</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">« <span class="quote">business model canvas,</span> »</span> which conceives of a
+ It contains a <span class="quote">« <span class="quote">business model canvas,</span> »</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">« <span class="quote">type of open environment that the business fits
-in.</span>
»</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">« <span class="quote">type of open environment that the business fits
+in.</span>
 »</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">« <span class="quote">digital for free
-but physical for a fee,</span> »</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">« <span class="quote">digital for free
+but physical for a fee,</span> »</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span> »</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span> »</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">« <span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span> »</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">« <span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span> »</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">« <span class="quote">Governing Knowledge Commons,</span> »</span> in Frischmann, Madison, and
+<span class="quote">« <span class="quote">Governing Knowledge Commons,</span> »</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">« <span class="quote">Economics of Information,</span> »</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">« <span class="quote">Economics of Information,</span> »</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">« <span class="quote">What Is Free Software?</span> »</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">« <span class="quote">What Is Free Software?</span> »</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">« <span class="quote">Open-source software,</span> »</span> last modified November
+ Wikipedia, s.v. <span class="quote">« <span class="quote">Open-source software,</span> »</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">« <span class="quote">The Magic Cauldron,</span> »</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">« <span class="quote">The Magic Cauldron,</span> »</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">« <span class="quote">Licensing Considerations,</span> »</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">« <span class="quote">Licensing Considerations,</span> »</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">« <span class="quote">Open Government Partnership,</span> »</span> last modified
+ Wikipedia, s.v. <span class="quote">« <span class="quote">Open Government Partnership,</span> »</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">« <span class="quote">Stockholm
-Statement</span>
»</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">« <span class="quote">Stockholm
+Statement</span>
 »</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">« <span class="quote">Open Business Model Canvas,</span> »</span> designed by the
+ Weâ\80\99ve made the <span class="quote">« <span class="quote">Open Business Model Canvas,</span> »</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">« <span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
»</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">« <span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
 »</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapitre 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapitre 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table des matières</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">« <span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
»</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">« <span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
 »</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">« <span class="quote">Business model can mean anything you want it to
-mean.</span> »</span>
+with him, <span class="quote">« <span class="quote">Business model can mean anything you want it to
+mean.</span> »</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">« <span class="quote">all rights reserved</span> »</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">« <span class="quote">all rights reserved</span> »</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">« <span class="quote">Creators usually
-start doing what they do for love.</span>
»</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">« <span class="quote">Creators usually
+start doing what they do for love.</span>
 »</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">« <span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span> »</span>
+told us that the key question when creating something is <span class="quote">« <span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span> »</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">« <span class="quote">If analog dollars have
+book Information Doesnâ\80\99t Want to Be Free, <span class="quote">« <span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span> »</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span> »</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">« <span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">« <span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
»</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
 »</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">« <span class="quote">enough money</span> »</span>
+Made with Creative Commons, the definition of <span class="quote">« <span class="quote">enough money</span> »</span>
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, <span class="quote">« <span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">« <span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span> »</span>
+going day to day.</span> »</span>
</p><p>
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
</p><p>
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
-<span class="quote">« <span class="quote">problem zero.</span> »</span>
+<span class="quote">« <span class="quote">problem zero.</span> »</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">« <span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">« <span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span> »</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span> »</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">« <span class="quote">hits</span> »</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">« <span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">« <span class="quote">hits</span> »</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">« <span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
»</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
 »</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">« <span class="quote">your people</span> »</span> online is theoretically easier than
+ While finding <span class="quote">« <span class="quote">your people</span> »</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">« <span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">« <span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
»</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">« <span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
»</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
 »</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, tooâ\80\94<span class="quote">« <span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
 »</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">« <span class="quote">your people,</span> »</span> prohibiting people from
+discovered and find <span class="quote">« <span class="quote">your people,</span> »</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">« <span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you richâ\80\94far from it. But as Cory Doctorow says, <span class="quote">« <span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
»</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
 »</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">« <span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
»</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">« <span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
 »</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">« <span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">« <span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span> »</span> Instead, they started releasing
+they will use bad-quality versions.</span> »</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">« <span class="quote">Using CC
-licenses shows you get the Internet.</span> »</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">« <span class="quote">Using CC
+licenses shows you get the Internet.</span> »</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">« <span class="quote">©</span> »</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">« <span class="quote">©</span> »</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">« <span class="quote">Take whatever it is you
+Googleâ\80\99s Eric Schmidt, the idea is simple: <span class="quote">« <span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
»</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
 »</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">« <span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span> »</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">« <span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
â\80\99t think as much about how they consume them.</span> »</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">« <span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">« <span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
»</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
 »</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">« <span class="quote">Don’t go into a market and play by the incumbent
-rules,</span> »</span> David said. <span class="quote">« <span class="quote">Change the rules of engagement.</span> »</span>
+cannot. <span class="quote">« <span class="quote">Don’t go into a market and play by the incumbent
+rules,</span> »</span> David said. <span class="quote">« <span class="quote">Change the rules of engagement.</span> »</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">« <span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">« <span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
»</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
 »</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">« <span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">« <span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span> »</span>
+of gravity.</span> »</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">« <span class="quote">Every abundance
-creates a new scarcity,</span> »</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">« <span class="quote">Every abundance
+creates a new scarcity,</span> »</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">« <span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
»</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">« <span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
 »</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">« <span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">« <span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
»</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">« <span class="quote">Song-A-Day</span> »</span> Mann.
+expensive.</span>
 »</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">« <span class="quote">Song-A-Day</span> »</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">« <span class="quote">author-processing charge</span> »</span> of open-access journals like those
+<span class="quote">« <span class="quote">author-processing charge</span> »</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">« <span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span> »</span>
+Like a Commoner, <span class="quote">« <span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span> »</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">« <span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">« <span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span> »</span>
+human species survive and evolve.</span> »</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">« <span class="quote">buying</span> »</span>
+content. Critically, these models are not touted as <span class="quote">« <span class="quote">buying</span> »</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">« <span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">« <span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span> »</span>
+says, without hesitation: of course.</span> »</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">« <span class="quote">persuading people to buy</span> »</span> and <span class="quote">« <span class="quote">inviting
-people to pay.</span> »</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">« <span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span> »</span> The
+language like <span class="quote">« <span class="quote">persuading people to buy</span> »</span> and <span class="quote">« <span class="quote">inviting
+people to pay.</span> »</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">« <span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span> »</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">« <span class="quote">the product,</span> »</span> the more pronounced this dynamic has to
+being <span class="quote">« <span class="quote">the product,</span> »</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">« <span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">« <span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
»</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
 »</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">« <span class="quote">brand.</span> »</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">« <span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span> »</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">« <span class="quote">brand.</span> »</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">« <span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span> »</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">« <span class="quote">humanizing your interactions</span> »</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">« <span class="quote">humanizing your interactions</span> »</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">« <span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span> »</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">« <span class="quote">You can fix almost anything by authentically
-communicating.</span> »</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">« <span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span> »</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">« <span class="quote">You can fix almost anything by authentically
+communicating.</span> »</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">« <span class="quote">irrational</span> »</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">« <span class="quote">It is
+motivations, motivations that would be considered <span class="quote">« <span class="quote">irrational</span> »</span>
+in an economic sense. As Knowledge Unlatchedâ\80\99s Pinter told us, <span class="quote">« <span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span> »</span> There
+based on a very shallow view of what motivates human behavior.</span> »</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">« <span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">« <span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
»</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
 »</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">« <span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">« <span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span> »</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span> »</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
- Pour les créateurs, traiter les gens comme des êtres humains signifie ne pas
-les traiter comme des fans. Comme Kleon le dit : <span class="quote">« <span class="quote">Si vous voulez des
-fans, vous devez d’abord être un fan.</span> »</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Même s’il vous arrive d’être un des rares à atteindre les hauts
-niveaux de la célébrité, vous feriez mieux de vous souvenir que les gens qui
+ Pour les créateurs, traiter les gens comme des êtres humains signifie ne pas
+les traiter comme des fans. Comme Kleon le dit : <span class="quote">« <span class="quote">Si vous voulez des
+fans, vous devez d’abord être un fan.</span> »</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Même s’il vous arrive d’être un des rares à atteindre les hauts
+niveaux de la célébrité, vous feriez mieux de vous souvenir que les gens qui
suivent votre travail sont aussi des humains. Cory Doctorow se fait une
-obligation de répondre à chaque courriel que quelqu’un lui envoie. Amanda
-Palmer passe de vastes périodes de temps en ligne pour communiquer avec son
-public, s
’obligeant à écouter tout autant qu’elle parle.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
+obligation de répondre à chaque courriel que quelqu’un lui envoie. Amanda
+Palmer passe de vastes périodes de temps en ligne pour communiquer avec son
+public, s
’obligeant à écouter tout autant qu’elle parle.<a href="#ftn.idm711" class="footnote" name="idm711"><sup class="footnote">[90]</sup></a>
</p><p>
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.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">« <span class="quote">If there is no belonging, there is no community.</span> »</span>
+Community, <span class="quote">« <span class="quote">If there is no belonging, there is no community.</span> »</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">« <span class="quote">weird little
-family.</span>
»</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">« <span class="quote">weird little
+family.</span>
 »</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">« <span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">« <span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
»</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
 »</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">« <span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
»</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">« <span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
 »</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">« <span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span> »</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">« <span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span> »</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">« <span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">« <span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span> »</span>The only department where I wasn’t open to input was the
+said,</span> »</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">« <span class="quote">making in public</span> »</span> opens the door to letting people feel more
+<span class="quote">« <span class="quote">making in public</span> »</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">« <span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span> »</span>
+124. Surowiecki says, <span class="quote">« <span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span> »</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">« <span class="quote">Ten
-Nonprofit Funding Models,</span> »</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">« <span class="quote">Ten
+Nonprofit Funding Models,</span> »</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span> »</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span> »</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
»</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
 »</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapitre
3. The Creative Commons Licenses</h2></div></div></div><p>
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapitre
 3. The Creative Commons Licenses</h2></div></div></div><p>
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
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 <span class="quote">« <span class="quote">copyleft</span> »</span> free and open source software
+often compared to <span class="quote">« <span class="quote">copyleft</span> »</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">« <span class="quote">no rights reserved</span> »</span>).
+worldwide public domain (<span class="quote">« <span class="quote">no rights reserved</span> »</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
« <span class="quote">Share Your Work</span> »</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Partie
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
« <span class="quote">Share Your Work</span> »</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Partie
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Table des mati
ères</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapitre 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Table des mati
ères</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapitre 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">« <span class="quote">The reasons for making Arduino open source are complicated,</span> »</span>
+ </p><p><span class="quote">« <span class="quote">The reasons for making Arduino open source are complicated,</span> »</span>
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
-<span class="quote">« <span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span> »</span>
+<span class="quote">« <span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span> »</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">« <span class="quote">Open sourcing makes it easier to
-trust a product.</span> »</span>
+product lives on. In Tomâ\80\99s view, <span class="quote">« <span class="quote">Open sourcing makes it easier to
+trust a product.</span> »</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">« <span class="quote">I need this thing,</span> »</span> not
-<span class="quote">« <span class="quote">If we make this, we’ll make a lot of money.</span> »</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">« <span class="quote">I need this thing,</span> »</span> not
+<span class="quote">« <span class="quote">If we make this, weâ\80\99ll make a lot of money.</span> »</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">« <span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span> »</span>
+apply. David says, <span class="quote">« <span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span> »</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">« <span class="quote">It’s good business.</span> »</span> When they started,
+Arduino’s community is a big strength and something that really does
+matterâ\80\94in his words, <span class="quote">« <span class="quote">Itâ\80\99s good business.</span> »</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">« <span class="quote">Send In the Clones,</span> »</span> by one of the founders Massimo Banzi,
+<span class="quote">« <span class="quote">Send In the Clones,</span> »</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">« <span class="quote">making
-things that help other people make things.</span> »</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduinoâ\80\99s goal is <span class="quote">« <span class="quote">making
+things that help other people make things.</span> »</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">« <span class="quote">the
-democratization of technology.</span> »</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">« <span class="quote">the
+democratization of technology.</span> »</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">« <span class="quote">Technology is a literacy everyone should
-learn.</span> »</span>
+protected. Tom says, <span class="quote">« <span class="quote">Technology is a literacy everyone should
+learn.</span> »</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapitre
5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapitre
 5. Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">« <span class="quote">artisan</span> »</span> process because of the time and effort it takes
+it an <span class="quote">« <span class="quote">artisan</span> »</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">« <span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span> »</span> Mariana said. Rather than sell
+clients. <span class="quote">« <span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span> »</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">« <span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span> »</span> Mariana said. Ártica
+attract large audiences. <span class="quote">« <span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span> »</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">« <span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">« <span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span> »</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">« <span class="quote">How can you offer an
+to be viral,</span> »</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">« <span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span> »</span> Jorge
-said. <span class="quote">« <span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span> »</span> Jorge
+said. <span class="quote">« <span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span> »</span>
+contactâ\80\94we have to offer them a fair and ethical agreement.</span> »</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">« <span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span> »</span> Jorge
-said. <span class="quote">« <span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">« <span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span> »</span> Jorge
+said. <span class="quote">« <span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span> »</span>
+future, like a course or a book.</span> »</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">« <span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">« <span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span> »</span> Jorge said. They share early and often, and they adjust
+flexible,</span> »</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">« <span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">« <span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span> »</span> Mariana said. <span class="quote">« <span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span> »</span>
+formats or materials,</span> »</span> Mariana said. <span class="quote">« <span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span> »</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">« <span class="quote">Good
-content is not enough,</span> »</span> Jorge said. <span class="quote">« <span class="quote">We also think that it is
+ At the core of everything Ã\81rtica does is a set of values. <span class="quote">« <span class="quote">Good
+content is not enough,</span> »</span> Jorge said. <span class="quote">« <span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span> »</span> Mariana and Jorge are activists. They defend free culture
+sector.</span> »</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">« <span class="quote">There are lots of people offering online courses,</span> »</span> Jorge
-said. <span class="quote">« <span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span> »</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">« <span class="quote">There are lots of people offering online courses,</span> »</span> Jorge
+said. <span class="quote">« <span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span> »</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">« <span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span> »</span> Mariana said. <span class="quote">« <span class="quote">We try to show them
-another image of what it looks like.</span> »</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapitre
6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">« <span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span> »</span> Mariana said. <span class="quote">« <span class="quote">We try to show them
+another image of what it looks like.</span> »</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapitre
 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">« <span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span> »</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">« <span class="quote">Ton believes if you
+donâ\80\99t make content using your tools, then youâ\80\99re not doing anything.</span> »</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">« <span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">« <span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span> »</span>
+so that the project could live.</span> »</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">« <span class="quote">Software should be free and open to hack,</span> »</span>
-Francesco said. <span class="quote">« <span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span> »</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">« <span class="quote">Software should be free and open to hack,</span> »</span>
+Francesco said. <span class="quote">« <span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span> »</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">« <span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">« <span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span> »</span> he said. <span class="quote">« <span class="quote">They were like, <span class="quote">“<span class="quote">I have to see it to
-believe it.</span>”</span></span> »</span>
+people,</span> »</span> he said. <span class="quote">« <span class="quote">They were like, <span class="quote">“<span class="quote">I have to see it to
+believe it.</span>â\80\9d</span></span> »</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">« <span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span> »</span> Francesco
-said. <span class="quote">« <span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span> »</span>
+needs to help on projects. <span class="quote">« <span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span> »</span> Francesco
+said. <span class="quote">« <span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span> »</span>
+community leader and visionary for their work. <span class="quote">« <span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span> »</span>
Francesco said.
</p><p>
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. <span class="quote">« <span class="quote">Once a project is over,
-everyone goes home,</span> »</span> he said. <span class="quote">« <span class="quote">It is great fun, but then it
-ends. That is a problem.</span> »</span>
+specific project and ask for funding. <span class="quote">« <span class="quote">Once a project is over,
+everyone goes home,</span> »</span> he said. <span class="quote">« <span class="quote">It is great fun, but then it
+ends. That is a problem.</span> »</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">« <span class="quote">This is our freedom,</span> »</span>
-he told us, <span class="quote">« <span class="quote">and for artists, freedom is everything.</span> »</span>
+goal is to grow their subscriber base. <span class="quote">« <span class="quote">This is our freedom,</span> »</span>
+he told us, <span class="quote">« <span class="quote">and for artists, freedom is everything.</span> »</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">« <span class="quote">Even when you share everything, all your original
+production process. <span class="quote">« <span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span> »</span> Ton said.
+reproduce what you did,</span> »</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapitre
7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapitre
 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">« <span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">« <span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span> »</span> Max said.
+make,</span> »</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">« <span class="quote">horrible people,</span> »</span> according to Cards Against
+kind of people (<span class="quote">« <span class="quote">horrible people,</span> »</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">« <span class="quote">It kind of just happened,</span> »</span> he
+make it an ongoing business. <span class="quote">« <span class="quote">It kind of just happened,</span> »</span> he
said.
</p><p>
- But this tale of a <span class="quote">« <span class="quote">happy accident</span> »</span> belies marketing
+ But this tale of a <span class="quote">« <span class="quote">happy accident</span> »</span> 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 <span class="quote">« <span class="quote">Your dumb questions.</span> »</span>
+website <span class="quote">« <span class="quote">Your dumb questions.</span> »</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">« <span class="quote">orgy of consumerism</span> »</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">« <span class="quote">orgy of consumerism</span> »</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">« <span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span> »</span> he said. <span class="quote">« <span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span> »</span>
+ </p><p><span class="quote">« <span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span> »</span> he said. <span class="quote">« <span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span> »</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">« <span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span> »</span> Max said. <span class="quote">« <span class="quote">It shocks
-people that there is transparency about what you are doing.</span> »</span>
+engages their fans. <span class="quote">« <span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span> »</span> Max said. <span class="quote">« <span class="quote">It shocks
+people that there is transparency about what you are doing.</span> »</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">« <span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">« <span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span> »</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span> »</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">« <span class="quote">It happened, and the world didn’t end,</span> »</span> Max
-said. <span class="quote">« <span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span> »</span>
+line. <span class="quote">« <span class="quote">It happened, and the world didnâ\80\99t end,</span> »</span> Max
+said. <span class="quote">« <span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span> »</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">« <span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">« <span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span> »</span>
+world, and we have never spent a dime on marketing.</span> »</span>
</p><p>
- Bien sûr, il y a des limites à ce que l’entreprise autorise les clients à
+ Bien sûr, il y a des limites à ce que l’entreprise autorise les clients à
faire avec le jeu. Ils ont choisi la licence
-Attribution-NonCommercial-ShareAlike (Attribution-NonCommerciale-Partage à
-l’identique), parce qu’elle empêche les gens d’utiliser le jeu pour se faire
-de l’argent. Elle requiert également que les adaptations du jeu soient
-rendues disponibles selon les mêmes conditions de licence si elles sont
-partagées publiquement. Cards Against Humanity surveille également sa
-marque. <span class="quote">« <span class="quote">Nous avons l’impression que nous sommes les seuls à pouvoir
-utiliser notre marque et notre jeu pour gagner de l’argent avec</span> »</span>, dit
-Max. Environ 99,9 pourcent du temps, ils envoient juste un courriel à ceux
-qui font un usage commercial de leur jeu, et ça se termine là. Il n’y a eu
-qu’une poignée de cas où ils ont dû faire intervenir un avocat.
+Attribution-NonCommercial-ShareAlike (Attribution-NonCommerciale-Partage à
+l’identique), parce qu’elle empêche les gens d’utiliser le jeu pour se faire
+de l’argent. Elle requiert également que les adaptations du jeu soient
+rendues disponibles selon les mêmes conditions de licence si elles sont
+partagées publiquement. Cards Against Humanity surveille également sa
+marque. <span class="quote">« <span class="quote">Nous avons l’impression que nous sommes les seuls à pouvoir
+utiliser notre marque et notre jeu pour gagner de lâ\80\99argent avec</span> »</span>, dit
+Max. Environ 99,9 pourcent du temps, ils envoient juste un courriel à ceux
+qui font un usage commercial de leur jeu, et ça se termine là. Il n’y a eu
+qu’une poignée de cas où ils ont dû faire intervenir un avocat.
</p><p>
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. <span class="quote">« <span class="quote">We have daylong arguments about commas,</span> »</span> Max
-said. <span class="quote">« <span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">« <span class="quote">We have daylong arguments about commas,</span> »</span> Max
+said. <span class="quote">« <span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span> »</span>
+quibbling.</span> »</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">« <span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span> »</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">« <span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span> »</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">« <span class="quote">Cards is not our life plan,</span> »</span> Max said. <span class="quote">« <span class="quote">We all
+causes. <span class="quote">« <span class="quote">Cards is not our life plan,</span> »</span> Max said. <span class="quote">« <span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span> »</span>
+the game into it.</span> »</span>
</p><p>
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.
- </p><p><span class="quote">« <span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span> »</span> Max said. <span class="quote">« <span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">« <span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span> »</span> Max said. <span class="quote">« <span class="quote">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.</span> »</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapitre
8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why youâ\80\99re making things.</span> »</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapitre
 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">« <span class="quote">members and
-funders.</span> »</span> Early participants may be designated as <span class="quote">« <span class="quote">founding
-members,</span> »</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">« <span class="quote">members and
+funders.</span> »</span> Early participants may be designated as <span class="quote">« <span class="quote">founding
+members,</span> »</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">« <span class="quote">Academic Rigor, Journalistic Flair,</span> »</span> the
+ With its tagline, <span class="quote">« <span class="quote">Academic Rigor, Journalistic Flair,</span> »</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapitre
9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapitre
 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">« <span class="quote">business model,</span> »</span> and he is
-adamant that he is not a brand. <span class="quote">« <span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">« <span class="quote">business model,</span> »</span> and he is
+adamant that he is not a brand. <span class="quote">« <span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span> »</span> he said. <span class="quote">« <span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span> »</span>
+selling it,</span> »</span> he said. <span class="quote">« <span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because itâ\80\99s the most important thing I know how to do.</span> »</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">« <span class="quote">My political
-work is a different expression of the same artistic-political urge,</span> »</span>
-he said. <span class="quote">« <span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span> »</span>
+importantly, lose the drive that propels him to create. <span class="quote">« <span class="quote">My political
+work is a different expression of the same artistic-political urge,</span> »</span>
+he said. <span class="quote">« <span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span> »</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">« <span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span> »</span> he wrote. <span class="quote">« <span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span> »</span> He acknowledges that he is one of the lucky few to
-<span class="quote">« <span class="quote">make it,</span> »</span> but he says he would be writing no matter
-what. <span class="quote">« <span class="quote">I am compelled to write,</span> »</span> he wrote. <span class="quote">« <span class="quote">Long before
+rich. <span class="quote">« <span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span> »</span> he wrote. <span class="quote">« <span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span> »</span> He acknowledges that he is one of the lucky few to
+<span class="quote">« <span class="quote">make it,</span> »</span> but he says he would be writing no matter
+what. <span class="quote">« <span class="quote">I am compelled to write,</span> »</span> he wrote. <span class="quote">« <span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span> »</span>
+sane.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">It felt morally right,</span> »</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">« <span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span> »</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">« <span class="quote">It felt morally right,</span> »</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">« <span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span> »</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">« <span class="quote">I started by not calling
-them thieves,</span> »</span> he said.
+people they should pay him for his work. <span class="quote">« <span class="quote">I started by not calling
+them thieves,</span> »</span> he said.
</p><p>
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. <span class="quote">« <span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">« <span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span> »</span> he said. <span class="quote">« <span class="quote">At the time, it took eighty
+career as a writer,</span> »</span> he said. <span class="quote">« <span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span> »</span>
+spread.</span> »</span>
</p><p>
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
</p><p>
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. <span class="quote">« <span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">« <span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span> »</span> he said.
+obvious, but itâ\80\99s remarkable how many people donâ\80\99t do it,</span> »</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">« <span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">« <span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span> »</span> he said. Cory’s own website routinely
+they interact with it,</span> »</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">« <span class="quote">Engaging with your audience can’t guarantee you
-success,</span> »</span> he said. <span class="quote">« <span class="quote">And Disney is an example of being able to
+audience. <span class="quote">« <span class="quote">Engaging with your audience can’t guarantee you
+success,</span> »</span> he said. <span class="quote">« <span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span> »</span>
+slim, so I should take all the help I can get.</span> »</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">« <span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">« <span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span> »</span> he wrote. <span class="quote">« <span class="quote">The
+unsuspected crack in the metaphorical pavement,</span> »</span> he wrote. <span class="quote">« <span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span> »</span>
+possibility that Iâ\80\99ll get something.</span> »</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">« <span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span> »</span>
+calls it Coryâ\80\99s First Law: <span class="quote">« <span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">« <span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span> »</span> he said. <span class="quote">« <span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span> »</span> Cory
+audience,</span> »</span> he said. <span class="quote">« <span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span> »</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
- Les fans sont particulièrement enclin à payer s’ils se sentent connectés
-personnellement avec l’artiste. Cory travaille dur pour créer cette
-connexion personnelle. Une des manières dont il procède est de répondre
-personnellement à chaque courriel qu’il reçoit. <span class="quote">« <span class="quote">Si on regarde
-l’histoire des artistes, la plupart meurent dans la misère</span> »</span>,
-dit-il. <span class="quote">« <span class="quote"> Cette réalité signifie pour les artistes que nous devons
-trouver des moyens de subvenir à nos besoins quand les goûts du public
-changent, quand le droit d’auteur cesse de produire. Assurer l’avenir de
-votre carrière artistique signifie, de nombreuses manières, trouver des
-moyens de rester en contact avec les personnes qui ont été touchées par
-votre travail.</span> »</span>
- </p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Les fans sont particulièrement enclin à payer s’ils se sentent connectés
+personnellement avec l’artiste. Cory travaille dur pour créer cette
+connexion personnelle. Une des manières dont il procède est de répondre
+personnellement à chaque courriel quâ\80\99il reçoit. <span class="quote">« <span class="quote">Si on regarde
+lâ\80\99histoire des artistes, la plupart meurent dans la misère</span> »</span>,
+dit-il. <span class="quote">« <span class="quote"> Cette réalité signifie pour les artistes que nous devons
+trouver des moyens de subvenir à nos besoins quand les goûts du public
+changent, quand le droit d’auteur cesse de produire. Assurer l’avenir de
+votre carrière artistique signifie, de nombreuses manières, trouver des
+moyens de rester en contact avec les personnes qui ont été touchées par
+votre travail.</span> »</span>
+ </p><p>
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">« <span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span> »</span>
+in his book, <span class="quote">« <span class="quote">is how many ways there are to make things, and to get
+them into other peopleâ\80\99s hands and minds.</span> »</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapitre
10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapitre
 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">« <span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span> »</span>
+its value proposition to researchers as <span class="quote">« <span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span> »</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapitre
11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapitre
 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">« <span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">« <span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span> »</span> But understanding the basic facts sometimes requires
+basic facts.</span> »</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">« <span class="quote">high-trust contracts,</span> »</span> where customers allocate
+Figure.NZ uses <span class="quote">« <span class="quote">high-trust contracts,</span> »</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">« <span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">« <span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span> »</span>
+future.</span> »</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">« <span class="quote">network effect</span> »</span>— users dramatically increasing value for
+the <span class="quote">« <span class="quote">network effect</span> »</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapitre
12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapitre
 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">« <span class="quote">ice cream
-model</span> »</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">« <span class="quote">ice cream
+model</span> »</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">« <span class="quote">book-processing charge</span> »</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">« <span class="quote">book-processing charge</span> »</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">« <span class="quote">Free ride</span> »</span> is more like community
+support open access. <span class="quote">« <span class="quote">Free ride</span> »</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapitre
13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapitre
 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapitre
14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapitre
 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">« <span class="quote">Song A Day</span> »</span> guy. Based in the U.S.
+<span class="quote">« <span class="quote">Song A Day</span> »</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">« <span class="quote">hustling</span> »</span>—seizing nearly every opportunity he sees to make
+<span class="quote">« <span class="quote">hustling</span> »</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">« <span class="quote">hustling</span> »</span> is also about old-fashioned
+ Jonathanâ\80\99s successful <span class="quote">« <span class="quote">hustling</span> »</span> 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 <span class="quote">« <span class="quote">song-a-day guy.</span> »</span>
+songwriting, and he is widely known as the <span class="quote">« <span class="quote">song-a-day guy.</span> »</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">« <span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">« <span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span> »</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span> »</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">« <span class="quote">CC seems like such a no-brainer,</span> »</span>
-Jonathan said. <span class="quote">« <span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">« <span class="quote">CC seems like such a no-brainer,</span> »</span>
+Jonathan said. <span class="quote">« <span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span> »</span>
+be able to be shared.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span> »</span>
+copy, interact with, and remix his music. <span class="quote">« <span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span> »</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">« <span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span> »</span>
-he said. <span class="quote">« <span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span> »</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">« <span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span> »</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">« <span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than Iâ\80\99ve been doing song-a-day,</span> »</span>
+he said. <span class="quote">« <span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span> »</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">« <span class="quote">How to Choose a Master Password,</span> »</span> Jonathan
+music. In his song <span class="quote">« <span class="quote">How to Choose a Master Password,</span> »</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">« <span class="quote">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,</span> »</span> he
-said. <span class="quote">« <span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span> »</span>
+work is a song rather than news. <span class="quote">« <span class="quote">There is something about being
+challenged and forced to take information that doesn’t seem like it should
+be sung about or doesnâ\80\99t seem like it lends itself to a song,</span> »</span> he
+said. <span class="quote">« <span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span> »</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">« <span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">I do what I do
-very easily, and it’s part of who I am.</span> »</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">« <span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span> »</span> Jonathan said. <span class="quote">« <span class="quote">I do what I do
+very easily, and it’s part of who I am.</span> »</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">« <span class="quote">Success feels like it’s over,</span> »</span> he said. <span class="quote">« <span class="quote">To a certain
+ </p><p><span class="quote">« <span class="quote">Success feels like itâ\80\99s over,</span> »</span> he said. <span class="quote">« <span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span> »</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapitre
15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span> »</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapitre
 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">« <span class="quote">digital dust</span> »</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">« <span class="quote">digital dust</span> »</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">« <span class="quote">That’s when our lightbulb went
-off.</span> »</span>
+of attribution statements. For Edward, <span class="quote">« <span class="quote">That’s when our lightbulb went
+off.</span> »</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">« <span class="quote">Playground API</span> »</span> for
+its use. You can use whatâ\80\99s called the <span class="quote">« <span class="quote">Playground API</span> »</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">« <span class="quote">creating, sharing, and celebrating the world’s visual
-language</span> »</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">« <span class="quote">creating, sharing, and celebrating the world’s visual
+language</span> »</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">« <span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">« <span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span> »</span>
+other initiatives and continue to nurture it.</span> »</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapitre
16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapitre
 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">« <span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span> »</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">« <span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span> »</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">« <span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span> »</span>
+for participation. Jeni says, <span class="quote">« <span class="quote">Most of the people who would be able to
+pay donâ\80\99t know they need it. Most who know they need it canâ\80\99t pay.</span> »</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">« <span class="quote">nodes.</span> »</span>
+<span class="quote">« <span class="quote">nodes.</span> »</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">« <span class="quote">open
-licenses</span> »</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">« <span class="quote">open
+licenses</span> »</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">« <span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span> »</span>
+offer. According to Jeni, <span class="quote">« <span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span> »</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapitre
17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapitre
 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">« <span class="quote">ship the recipe, but
-not the goods.</span> »</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">« <span class="quote">ship the recipe, but
+not the goods.</span> »</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">« <span class="quote">reputational glow.</span> »</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">« <span class="quote">reputational glow.</span> »</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">« <span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">« <span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span> »</span> Opendesk now has relationships with
+how we have moved forward.</span> »</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">« <span class="quote">open
-making</span> »</span>: <span class="quote">« <span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">« <span class="quote">open
+making</span> »</span>: <span class="quote">« <span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span> »</span>
+mass-production and an affordable way to buy custom-made products.</span> »</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">« <span class="quote">open making</span> »</span> business model. They’re
+Opendesk and the <span class="quote">« <span class="quote">open making</span> »</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">« <span class="quote">open,</span> »</span> not IP.
+<span class="quote">« <span class="quote">open,</span> »</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapitre
18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapitre
 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">« <span class="quote">OER 2.0.</span> »</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">« <span class="quote">OER 2.0.</span> »</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">« <span class="quote">innovation
-license.</span> »</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">« <span class="quote">innovation
+license.</span> »</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
</p><p>
- Enfin, pour OpenStax, le succès n’est pas seulement l’adoption de leurs
-manuels scolaires et les économies des étudiants. Il y a un aspect humain à
-leur travail qui est difficile à quantifier mais incroyablement
-important. Ils reçoivent des courriels d’étudiants leur disant à quel point
-OpenStax leur a évité de faire des choix difficiles comme acheter à manger
-ou un manuel scolaire. OpenStax aimerait aussi évaluer l’impact que leurs
-manuels ont sur l’efficacité, la persévérance et l’achèvement de
-l’apprentissage. En créant un modèle économique ouvert basé sur Creative
-Commons, OpenStax rend possible à chaque étudiant·e qui le veut d’accéder à
-une éducation.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapitre
19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Enfin, pour OpenStax, le succès n’est pas seulement l’adoption de leurs
+manuels scolaires et les économies des étudiants. Il y a un aspect humain à
+leur travail qui est difficile à quantifier mais incroyablement
+important. Ils reçoivent des courriels d’étudiants leur disant à quel point
+OpenStax leur a évité de faire des choix difficiles comme acheter à manger
+ou un manuel scolaire. OpenStax aimerait aussi évaluer l’impact que leurs
+manuels ont sur l’efficacité, la persévérance et l’achèvement de
+l’apprentissage. En créant un modèle économique ouvert basé sur Creative
+Commons, OpenStax rend possible à chaque étudiant·e qui le veut d’accéder à
+une éducation.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapitre
 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">« <span class="quote">journey with no roadmap,</span> »</span> continually experimenting to find
+a <span class="quote">« <span class="quote">journey with no roadmap,</span> »</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">« <span class="quote">the ideal sweet spot
+she has been and continues to strive forâ\80\94<span class="quote">« <span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span> »</span>
+doing that.</span> »</span>
</p><p>
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. <span class="quote">« <span class="quote">On
-the one hand, we have this beautiful shareability,</span> »</span> Amanda
-said. <span class="quote">« <span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span> »</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">« <span class="quote">On
+the one hand, we have this beautiful shareability,</span> »</span> Amanda
+said. <span class="quote">« <span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span> »</span>
</p><p>
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
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. <span class="quote">« <span class="quote">All
-I needed was . . . some people,</span> »</span> she wrote in her book. <span class="quote">« <span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">« <span class="quote">All
+I needed was . . . some people,</span> »</span> she wrote in her book. <span class="quote">« <span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span> »</span>
+art.</span> »</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">« <span class="quote">her
-crowd</span> »</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentimentâ\80\94finding ways to reach <span class="quote">« <span class="quote">her
+crowd</span> »</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">« <span class="quote">pay what
-you want</span> »</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">« <span class="quote">pay what
+you want</span> »</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">« <span class="quote">thing</span> »</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">« <span class="quote">per thing</span> »</span> basis. All of the content she makes is
+<span class="quote">« <span class="quote">thing</span> »</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">« <span class="quote">per thing</span> »</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">« <span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">« <span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span> »</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span> »</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">« <span class="quote">We
-got into this because we wanted to share the joy of music,</span> »</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">« <span class="quote">We
+got into this because we wanted to share the joy of music,</span> »</span> she said.
</p><p>
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. <span class="quote">« <span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">« <span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span> »</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span> »</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">« <span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span> »</span> Amanda wrote.
+listen. <span class="quote">« <span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span> »</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">« <span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">« <span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span> »</span> Amanda said. <span class="quote">« <span class="quote">Everything in our
+than just looking fantastic,</span> »</span> Amanda said. <span class="quote">« <span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span> »</span>
+risk of making yourself vulnerable is almost always worth it.</span> »</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">« <span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span> »</span> she wrote. There really
+ </p><p><span class="quote">« <span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span> »</span> 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 <span class="quote">« <span class="quote">weird little
-family.</span> »</span>
+consciously cultivated a feeling of belonging to their <span class="quote">« <span class="quote">weird little
+family.</span> »</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">« <span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span> »</span> Amanda said. <span class="quote">« <span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span> »</span>
+creator. <span class="quote">« <span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span> »</span> Amanda said. <span class="quote">« <span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span> »</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">« <span class="quote">It sounds so corny,</span> »</span> she said, <span class="quote">« <span class="quote">but my
+this connection. <span class="quote">« <span class="quote">It sounds so corny,</span> »</span> she said, <span class="quote">« <span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span> »</span>
+genuinely of value to them.</span> »</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapitre
20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapitre
 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapitre
21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapitre
 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">« <span class="quote">own</span> »</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">« <span class="quote">own</span> »</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">« <span class="quote">Mona Lisa effect,</span> »</span> where a work of art becomes so famous that
+<span class="quote">« <span class="quote">Mona Lisa effect,</span> »</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">« <span class="quote">like</span> »</span> works and compile your
+a bit like Pinterest. You can <span class="quote">« <span class="quote">like</span> »</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">« <span class="quote">ninety-nine percent of people have respect for
-great art.</span> »</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">« <span class="quote">ninety-nine percent of people have respect for
+great art.</span> »</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">« <span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span> »</span>
+their experience: <span class="quote">« <span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span> »</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapitre
22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapitre
 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">« <span class="quote">sharing
-economy</span> »</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">« <span class="quote">sharing
+economy</span> »</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">« <span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">“<span class="quote">Borg.</span>”</span></span> »</span>
+more. He wrote, <span class="quote">« <span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">â\80\9c<span class="quote">Borg.</span>â\80\9d</span></span> »</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">« <span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span> »</span> he
-said. <span class="quote">« <span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">« <span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span> »</span> he
+said. <span class="quote">« <span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span> »</span>
+now.</span> »</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">« <span class="quote">real sharing
-economy</span> »</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">« <span class="quote">real sharing
+economy</span> »</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">« <span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">« <span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span> »</span> Neal said. <span class="quote">« <span class="quote">We decided to step into that space and take
-on that role.</span> »</span> The small team behind the nonprofit publication truly
+dots,</span> »</span> Neal said. <span class="quote">« <span class="quote">We decided to step into that space and take
+on that role.</span> »</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">« <span class="quote">We wanted to change the notion of what
-constitutes the good life,</span> »</span> Neal said. While they started out with a
+metrics for success. <span class="quote">« <span class="quote">We wanted to change the notion of what
+constitutes the good life,</span> »</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">« <span class="quote">sharing cities</span> »</span> (i.e., urban areas
+the physical commons like <span class="quote">« <span class="quote">sharing cities</span> »</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">« <span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">« <span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span> »</span> Neal said. The rest of the content is either contributed by
+quality,</span> »</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">« <span class="quote">By using CC
-licensing,</span> »</span> he said, <span class="quote">« <span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">« <span class="quote">By using CC
+licensing,</span> »</span> he said, <span class="quote">« <span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span> »</span>
+our work have much bigger audiences than we do.</span> »</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">« <span class="quote">We
-attract passionate people,</span> »</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">« <span class="quote">We
+attract passionate people,</span> »</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">« <span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span> »</span> he
-said. <span class="quote">« <span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span> »</span>
+while you do something you love. <span class="quote">« <span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span> »</span> he
+said. <span class="quote">« <span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span> »</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">« <span class="quote">Sit your ass in a chair and
-start making calls.</span> »</span> That’s exactly what they did, and they ended up
+help. The advice they received was simpleâ\80\94<span class="quote">« <span class="quote">Sit your ass in a chair and
+start making calls.</span> »</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">« <span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">« <span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span> »</span> Neal said. Enabling others to create their own events
+to the event,</span> »</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapitre
23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapitre
 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">« <span class="quote">feature phone</span> »</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">« <span class="quote">feature phone</span> »</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapitre
24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapitre
 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">« <span class="quote">Being copied is the greatest earmark of flattery and success,</span> »</span>
-Nathan said. <span class="quote">« <span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">« <span class="quote">Being copied is the greatest earmark of flattery and success,</span> »</span>
+Nathan said. <span class="quote">« <span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span> »</span>
+our impact on the world.</span> »</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">« <span class="quote">It touches on
-our natural human instinct to share,</span> »</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">« <span class="quote">It touches on
+our natural human instinct to share,</span> »</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">« <span class="quote">We compete on business principles,</span> »</span> Nathan said.
-<span class="quote">« <span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">« <span class="quote">We compete on business principles,</span> »</span> Nathan said.
+<span class="quote">« <span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span> »</span>
+safety net.</span> »</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">« <span class="quote">Our products are so much better than they were five
-years ago,</span> »</span> Nathan said. <span class="quote">« <span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">« <span class="quote">Our products are so much better than they were five
+years ago,</span> »</span> Nathan said. <span class="quote">« <span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span> »</span>
+is for us, itâ\80\99s better for the customers.</span> »</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">« <span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span> »</span> Nathan said. <span class="quote">« <span class="quote">This is the
-stuff they should be competing on.</span> »</span>
+support. <span class="quote">« <span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span> »</span> Nathan said. <span class="quote">« <span class="quote">This is the
+stuff they should be competing on.</span> »</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">« <span class="quote">If you wanted to place an order for
-something,</span> »</span> he said, <span class="quote">« <span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span> »</span> In 2003, during
+there was a void in the market. <span class="quote">« <span class="quote">If you wanted to place an order for
+something,</span> »</span> he said, <span class="quote">« <span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span> »</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">« <span class="quote">human-readable deeds</span> »</span> that explain the
+was drawn to the <span class="quote">« <span class="quote">human-readable deeds</span> »</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">« <span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span> »</span> Nathan said. <span class="quote">« <span class="quote">Our goal is to affect the
+ </p><p><span class="quote">« <span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span> »</span> Nathan said. <span class="quote">« <span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span> »</span>
+2020.</span> »</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">« <span class="quote">copyleft</span> »</span> license that allows people to do anything with the
+<span class="quote">« <span class="quote">copyleft</span> »</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">« <span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">« <span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span> »</span> he said. <span class="quote">« <span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span> »</span> The
+employees donâ\80\99t,</span> »</span> he said. <span class="quote">« <span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span> »</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">« <span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span> »</span> Nathan
-said. <span class="quote">« <span class="quote">We focus on having a bigger impact on the world.</span> »</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">« <span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span> »</span> Nathan
+said. <span class="quote">« <span class="quote">We focus on having a bigger impact on the world.</span> »</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">« <span class="quote">From the beginning, we have
-been listening to the community,</span> »</span> Nathan said. <span class="quote">« <span class="quote">Customers
+tries to build on them where they can. <span class="quote">« <span class="quote">From the beginning, we have
+been listening to the community,</span> »</span> Nathan said. <span class="quote">« <span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span> »</span>
+it.</span> »</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">« <span class="quote">There is a theory that if you
-open-source it, they will come,</span> »</span> Nathan said. <span class="quote">« <span class="quote">That’s not
-really true.</span> »</span>
+relatively untouched by the public. <span class="quote">« <span class="quote">There is a theory that if you
+open-source it, they will come,</span> »</span> Nathan said. <span class="quote">« <span class="quote">That’s not
+really true.</span> »</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">« <span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span> »</span>
+independently. <span class="quote">« <span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span> »</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapitre
25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapitre
 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">« <span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">« <span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span> »</span> Piya said.
+education,</span> »</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">« <span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span> »</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">« <span class="quote">It
+content, and for noncommercial purposes. <span class="quote">« <span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span> »</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">« <span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span> »</span>
+protecting us at the same time.</span> »</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">« <span class="quote">Creating
-high-quality content is what matters most to us,</span> »</span> Piya
-said. <span class="quote">« <span class="quote">Research drives everything we do.</span> »</span>
+determine the best method of conveying the information. <span class="quote">« <span class="quote">Creating
+high-quality content is what matters most to us,</span> »</span> Piya
+said. <span class="quote">« <span class="quote">Research drives everything we do.</span> »</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">« <span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span> »</span> Piya said. <span class="quote">« <span class="quote">We need
-materials where you can push play and they will work.</span> »</span>
+training for people to implement in practice. <span class="quote">« <span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span> »</span> Piya said. <span class="quote">« <span class="quote">We need
+materials where you can push play and they will work.</span> »</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">« <span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">« <span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span> »</span> Shuman said. <span class="quote">« <span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span> »</span>
+online,</span> »</span> Shuman said. <span class="quote">« <span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span> »</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">« <span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">« <span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span> »</span> Shuman said.
+countries,</span> »</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">« <span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span> »</span> Piya
-said. <span class="quote">« <span class="quote">We don’t have to do much to find or attract them.</span> »</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">« <span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span> »</span> Piya
+said. <span class="quote">« <span class="quote">We donâ\80\99t have to do much to find or attract them.</span> »</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">« <span class="quote">This is something
-companies can be proud of internally,</span> »</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">« <span class="quote">This is something
+companies can be proud of internally,</span> »</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">« <span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span> »</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapitre
26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">« <span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span> »</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapitre
 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">« <span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span> »</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">« <span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span> »</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">« <span class="quote">We are
-still fighting for a good cause every single day.</span> »</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">« <span class="quote">We are
+still fighting for a good cause every single day.</span> »</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">« <span class="quote">copy and paste</span> »</span>
+restaurants in the country. Hessel hopes to <span class="quote">« <span class="quote">copy and paste</span> »</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">« <span class="quote">nonexclusive exploitation</span> »</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">« <span class="quote">nonexclusive exploitation</span> »</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapitre
27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapitre
 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">« <span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span> »</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">« <span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span> »</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">« <span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span> »</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">« <span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span> »</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">« <span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span> »</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">« <span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span> »</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">« <span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">« <span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span> »</span> Luis said. Depending on
+becoming the worldâ\80\99s biggest graffiti wall,</span> »</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">« <span class="quote">The secret
-to having any healthy community is bringing back the right people,</span> »</span>
-Luis said. <span class="quote">« <span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span> »</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">« <span class="quote">The secret
+to having any healthy community is bringing back the right people,</span> »</span>
+Luis said. <span class="quote">« <span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span> »</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">« <span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">« <span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span> »</span>
+best for everyone.</span> »</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">« <span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span> »</span> Stephen said. For example, there is one
+explanation. <span class="quote">« <span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span> »</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">« <span class="quote">Some donate text, some donate images, some donate
-financially,</span> »</span> Stephen told us. <span class="quote">« <span class="quote">They are all
-contributors.</span> »</span>
+Wikipedia. <span class="quote">« <span class="quote">Some donate text, some donate images, some donate
+financially,</span> »</span> Stephen told us. <span class="quote">« <span class="quote">They are all
+contributors.</span> »</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">« <span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span> »</span> Stephen told us.
+community together. <span class="quote">« <span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span> »</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">« <span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">« <span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span> »</span> Stephen said. <span class="quote">« <span class="quote">Wikipedia has found a way to be that
-open public space.</span> »</span>
+spaces,</span> »</span> Stephen said. <span class="quote">« <span class="quote">Wikipedia has found a way to be that
+open public space.</span> »</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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</p><p>
- Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+ Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
</p><p>
- ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
+ ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
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Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
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</p><p>
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- Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
+ Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
Collaborative Consumption. New York: Harper Business, 2010.
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Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
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</p><p>
- ———. Open Innovation: The New Imperative for Creating and Profiting from
+ ———. Open Innovation: The New Imperative for Creating and Profiting from
Technology. Boston: Harvard Business Review Press, 2006.
</p><p>
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</p><p>
- Cole, Daniel H. <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons.</span> »</span> Chap. 2 in Frischmann,
+ Cole, Daniel H. <span class="quote">« <span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons.</span> »</span> Chap. 2 in Frischmann,
Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
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</p><p>
- Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
-Age. San Francisco: McSweeney’s, 2014.
+ Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
+Age. San Francisco: McSweeney’s, 2014.
</p><p>
- Eckhardt, Giana, and Fleura Bardhi. <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
-Sharing at All.</span>
»</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">« <span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
 »</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p><p>
Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
Confronting the Commodification of Human Discovery. Regina, SK: University
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
</p><p>
- Farley, Joshua, and Ida Kubiszewski. <span class="quote">« <span class="quote">The Economics of Information in
-a Post-Carbon Economy.</span> »</span> Chap. 11 in Elliott and Hepting, Free
+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">« <span class="quote">The Economics of Information in
+a Post-Carbon Economy.</span> »</span> Chap. 11 in Elliott and Hepting, Free
Knowledge.
</p><p>
- Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">« <span class="quote">Ten
-Nonprofit Funding Models.</span> »</span> Stanford Social Innovation Review, Spring
+ Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">« <span class="quote">Ten
+Nonprofit Funding Models.</span> »</span> Stanford Social Innovation Review, Spring
2009. <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p><p>
Frischmann, Brett M. Infrastructure: The Social Value of Shared
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</p><p>
Frischmann, Brett M., Michael J. Madison, and Katherine J.
-Strandburg. <span class="quote">« <span class="quote">Governing Knowledge Commons.</span> »</span> Chap. 1 in
+Strandburg. <span class="quote">« <span class="quote">Governing Knowledge Commons.</span> »</span> Chap. 1 in
Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with
Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
Farrar, Straus and Giroux, 2010.
</p><p>
- ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
+ ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
Books edition. New York: Vintage Books, 2007.
</p><p>
Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
Discovered. New York: Workman, 2014.
</p><p>
- ———. Steal Like an Artist: 10 Things Nobody Told You about Being
+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
Creative. New York: Workman, 2012.
</p><p>
Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
York: Morgan James, 2016.
</p><p>
- Lee, David. <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
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+ Lee, David. <span class="quote">« <span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet.</span>
 »</span> BBC News, March 3, 2016. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
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(licensed under CC BY-SA).
</p><p>
- Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
+ Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
Australia: Commons Transition Coalition, 2016. <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
(licensed under CC BY-NC-ND).
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Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
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« <span class="quote">The Magic Cauldron.</span> »</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
+Media, 2001. See esp. <span class="quote">
« <span class="quote">The Magic Cauldron.</span> »</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p><p>
- Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
+ Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
Innovation to Create Radically Successful Businesses. New York: Crown
Business, 2011.
</p><p>
Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
Enemy of Prosperity. New York: Portfolio, 2016.
</p><p>
- Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
York: Farrar, Straus and Giroux, 2012.
</p><p>
Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
Collaborators. London, England: Penguin Books, 2010.
</p><p>
- Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
+ Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
Books, 2015.
</p><p>
Stephany, Alex. The Business of Sharing: Making in the New Sharing
this book, you all are equally interesting, and we encourage our readers to
visit your sites and explore your work.
</p><p>
- Ce livre a été rendu possible par les généreux 1 687 soutiens de Kickstarter
-énumérés ci-dessous. Nous remercions tout particulièrement nos nombreux
-co-rédacteurs de Kickstarter qui ont lu les premières ébauches de notre
-travail et nous ont fait part de leurs précieux commentaires. Nous vous
-remercions tous sincèrement.
+ Ce livre a été rendu possible par les généreux 1 687 soutiens de Kickstarter
+énumérés ci-dessous. Nous remercions tout particulièrement nos nombreux
+co-rédacteurs de Kickstarter qui ont lu les premières ébauches de notre
+travail et nous ont fait part de leurs précieux commentaires. Nous vous
+remercions tous sincèrement.
</p><p>
Co-editor Kickstarter backers (alphabetically by first name): Abraham
Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
-Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
</p><p>
- Tous les soutiens sur Kickstarter (alphabétiquement par prénom) : A. Lee,
+ Tous les soutiens sur Kickstarter (alphabétiquement par prénom) : A. Lee,
Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
-Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">« <span class="quote">Macro</span> »</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">« <span class="quote">Macro</span> »</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">« <span class="quote">TalkToMeGuy</span> »</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">« <span class="quote">TalkToMeGuy</span> »</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Made with Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Made with Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Made with Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="en" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Made with Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
This book is published under a CC BY-SA license, which means that
you can copy, redistribute, remix, transform, and build upon the
content for any purpose, even commercially, as long as you give
material, you must distribute your contributions under the same
license as the original. License details:
<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ most of us have a chance to in our daily lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>List of Figures</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>List of Figures</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and
market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of
resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look
today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
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 one of CC’s most well-known proponents—one who has also
- had a successful career as a writer who shares his work using CC—I
+ I met with Cory Doctorow in the hotel bar of Toronto’s Gladstone
+ Hotel. As one of CC’s most well-known proponents—one who has also
+ had a successful career as a writer who shares his work using CC—I
told him I thought CC had a role in defining and advancing open
business models. He kindly disagreed, and called the pursuit of
- viable business models through CC <span class="quote">“<span class="quote">a red herring.</span>”</span>
+ viable business models through CC <span class="quote">“<span class="quote">a red herring.</span>”</span>
</p><p>
- He was, in a way, completely correct—those who make things with
+ He was, in a way, completely correct—those who make things with
Creative Commons have ulterior motives, as Paul Stacey explains in
- this book: <span class="quote">“<span class="quote">Regardless of legal status, they all have a social
+ this book: <span class="quote">“<span class="quote">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.</span>”</span>
+ the end itself.</span>”</span>
</p><p>
In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites
- Cory’s words from his book Information Doesn’t Want to Be Free:
- <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
+ Cory’s words from his book Information Doesn’t Want to Be Free:
+ <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
lottery tickets because you want to get rich. It might work, but it
- almost certainly won’t. Though, of course, someone always wins the
- lottery.</span>”</span>
+ almost certainly won’t. Though, of course, someone always wins the
+ lottery.</span>”</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and
- almost nobody wins. What they don’t tell you is that if you choose
+ Today, copyright is like a lottery ticket—everyone has one, and
+ almost nobody wins. What they don’t tell you is that if you choose
to share your work, the returns can be significant and long-lasting.
This book is filled with stories of those who take much greater
risks than the two dollars we pay for a lottery ticket, and instead
reap the rewards that come from pursuing their passions and living
their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to
+ So it’s not about the money. Also: it is. Finding the means to
continue to create and share often requires some amount of income.
Max Temkin of Cards Against Humanity says it best in their case
- study: <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we make
- money so we can make more jokes and games.</span>”</span>
+ study: <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we make
+ money so we can make more jokes and games.</span>”</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons,
+ Creative Commons’ focus is on building a vibrant, usable commons,
powered by collaboration and gratitude. Enabling communities of
collaboration is at the heart of our strategy. With that in mind,
Creative Commons began this book project. Led by Paul and Sarah, the
innovation overpower the inequality and scarcity that today define
the worst parts of capitalism. He is driven by the power of human
connections between communities of creators. He takes a longer view
- than most, and it’s made him a better educator, an insightful
+ than most, and it’s made him a better educator, an insightful
researcher, and also a skilled gardener. He has a calm, cool voice
that conveys a passion that inspires his colleagues and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the
+ Sarah is the best kind of lawyer—a true advocate who believes in the
good of people, and the power of collective acts to change the
- world. Over the past year I’ve seen Sarah struggle with the
+ world. Over the past year I’ve seen Sarah struggle with the
heartbreak that comes from investing so much into a political
- campaign that didn’t end as she’d hoped. Today, she’s more
+ campaign that didn’t end as she’d hoped. Today, she’s more
determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to
- focus on our impact—to make the main thing the main thing. She’s
- practical, detail-oriented, and clever. There’s no one on my team
+ focus on our impact—to make the main thing the main thing. She’s
+ practical, detail-oriented, and clever. There’s no one on my team
that I enjoy debating more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
goes into building the commons and sharing with the world. They
remained open to new ideas, including the possibility that their
initial theories would need refinement or might be completely wrong.
- That’s courageous, and it has made for a better book that is
+ That’s courageous, and it has made for a better book that is
insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the
</p><p>
For 31 days in August of 2015, Sarah took point to organize and
execute a Kickstarter campaign to generate the core funding for the
- book. The remainder was provided by CC’s generous donors and
+ book. The remainder was provided by CC’s generous donors and
supporters. In the end, it became one of the most successful book
projects on Kickstarter, smashing through two stretch goals and
- engaging over 1,600 donors—the majority of them new supporters of
+ engaging over 1,600 donors—the majority of them new supporters of
Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the
the CC licenses have helped so many to share in the ways that they
choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons
+ Sarah writes, <span class="quote">“<span class="quote">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
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.</span>”</span> Amanda Palmer, the other musician
+ symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
- <span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell
- you that what you do is genuinely of value to them.</span>”</span>
+ <span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell
+ you that what you do is genuinely of value to them.</span>”</span>
</p><p>
This is not a typical business book. For those looking for a recipe
or a roadmap, you might be disappointed. But for those looking to
pursue a social end, to build something great through collaboration,
- or to join a powerful and growing global community, they’re sure to
+ or to join a powerful and growing global community, they’re sure to
be satisfied. Made with Creative Commons offers a world-changing set
of clearly articulated values and principles, some essential tools
for exploring your own business opportunities, and two dozen doses
of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
- Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote,
- <span class="quote">“<span class="quote">Cyberspace is a place. People live there. They experience all
+ In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
+ Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote,
+ <span class="quote">“<span class="quote">Cyberspace is a place. People live there. They experience all
the sorts of things that they experience in real space, there. For
some, they experience more. They experience this not as isolated
individuals, playing some high tech computer game; they experience
it in groups, in communities, among strangers, among people they
- come to know, and sometimes like.</span>”</span>
+ come to know, and sometimes like.</span>”</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this
+ I’m incredibly proud that Creative Commons is able to publish this
book for the many communities that we have come to know and like.
- I’m grateful to Paul and Sarah for their creativity and insights,
+ I’m grateful to Paul and Sarah for their creativity and insights,
and to the global communities that have helped us bring it to you.
- As CC board member Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all
- made of people.</span>”</span>
+ As CC board member Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all
+ made of people.</span>”</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but
+ This book shows the world how sharing can be good for business—but
with a twist.
</p><p>
We began the project intending to explore how creators,
Commons but instead gather fresh ideas and dynamic examples that
spark new, innovative models and help others follow suit by building
on what already works. At the onset, we framed our investigation in
- familiar business terms. We created a blank <span class="quote">“<span class="quote">open business
- model canvas,</span>”</span> an interactive online tool that would help
+ familiar business terms. We created a blank <span class="quote">“<span class="quote">open business
+ model canvas,</span>”</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about
this project first by identifying and selecting a diverse group of
creators, organizations, and businesses who use Creative Commons in
- an integral way—what we call being Made with Creative Commons. We
+ an integral way—what we call being Made with Creative Commons. We
interviewed them and wrote up their stories. We analyzed what we
heard and dug deep into the literature.
</p><p>
and generating revenue not for unlimited growth but to sustain the
operation.
</p><p>
- They often didn’t like hearing what they do described as an open
+ They often didn’t like hearing what they do described as an open
business model. Their endeavor was something more than that.
Something different. Something that generates not just economic
value but social and cultural value. Something that involves human
- connection. Being Made with Creative Commons is not <span class="quote">“<span class="quote">business
- as usual.</span>”</span>
+ connection. Being Made with Creative Commons is not <span class="quote">“<span class="quote">business
+ as usual.</span>”</span>
</p><p>
We had to rethink the way we conceived of this project. And it
- didn’t happen overnight. From the fall of 2015 through 2016, we
+ didn’t happen overnight. From the fall of 2015 through 2016, we
documented our thoughts in blog posts on Medium and with regular
updates to our Kickstarter backers. We shared drafts of case studies
and analysis with our Kickstarter cocreators, who provided
from each other has been one of the great joys of this work, and, we
hope, something that has made the final product much richer than it
ever could have been if either of us undertook this project alone.
- We have preserved our voices throughout, and you’ll be able to sense
+ We have preserved our voices throughout, and you’ll be able to sense
our different but complementary approaches as you read through our
different sections.
</p><p>
Part one, the overview, begins with a big-picture framework written
by Paul. He provides some historical context for the digital
commons, describing the three ways society has managed resources and
- shared wealth—the commons, the market, and the state. He advocates
+ shared wealth—the commons, the market, and the state. He advocates
for thinking beyond business and market terms and eloquently makes
the case for sharing and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what
+ The overview continues with Sarah’s chapter, as she considers what
it means to be successfully Made with Creative Commons. While making
money is one piece of the pie, there is also a set of public-minded
values and the kind of human connections that make sharing truly
</p><p>
And to end part one, we have a short section that explains the
different Creative Commons licenses. We talk about the misconception
- that the more restrictive licenses—the ones that are closest to the
- all-rights-reserved model of traditional copyright—are the only ways
+ that the more restrictive licenses—the ones that are closest to the
+ all-rights-reserved model of traditional copyright—are the only ways
to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the
Commons has irrevocably changed. We hope this book inspires you and
your enterprise to use Creative Commons and in so doing contribute
to the transformation of our economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Part I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapter 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Part I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Chapter 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air
- and oceans, the web of species, wilderness and flowing water—all
+ Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air
+ and oceans, the web of species, wilderness and flowing water—all
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.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+ others are as ancient as soil and calligraphy.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
In Made with Creative Commons, we focus on our current era of
digital commons, a commons of human-produced works. This commons
businesses we profile in our case studies use Creative Commons to
share their resources online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also
+ The commons is not just about shared resources, however. It’s also
about the social practices and values that manage them. A resource
- is a noun, but to common—to put the resource into the commons—is a
+ is a noun, but to common—to put the resource into the commons—is a
verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and
share wealth: the commons (managed collectively), the state
- (i.e., the government), and the market—with the last two being
+ (i.e., the government), and the market—with the last two being
the dominant forms today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique
hybrids, blending the norms of the commons with those of the
market or state.
</p><p>
- Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how an enterprise can have varying
+ Fig. <a class="xref" href="#fig-1" title="Figure 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how an enterprise can have varying
levels of engagement with commons, state, and market.
</p><p>
Some of our case studies are simply commons and market
deliberately 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.
- </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure 1.1. Enterprise engagement with commons, state and
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figure 1.1. Enterprise engagement with commons, state and
market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state
+ 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 want to engage in and use the
commons the same way you do the market or state is not a
strategy for success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed
a framework for analyzing how natural resources are managed in a
commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the biophysical
- characteristics of common resources, the community’s actors and
+ characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to
apply to the commons, the market, and the state for this
chapter.
</p><p>
To compare and contrast the ways in which the commons, market,
- and state work, let’s consider four aspects of resource
+ and state work, let’s 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. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
- </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
+ use (see Fig. <a class="xref" href="#fig-2" title="Figure 1.2. Four aspects of resource management">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figure
 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that
affect the way they can be used. Some resources are natural;
- others are human produced. And—significantly for today’s
- commons—resources can be physical or digital, which affects a
- resource’s inherent potential.
+ others are human produced. And—significantly for today’s
+ commons—resources can be physical or digital, which affects a
+ resource’s inherent potential.
</p><p>
Physical resources exist in limited supply. If I have a
physical resource and give it to you, I no longer have it.
physical one.
</p><p>
Beyond this idea of physical versus digital, the commons,
- market, and state conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities for
- sale—from which value is extracted. The state sees resources
+ market, and state conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figure 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities for
+ sale—from 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
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
- involved—as a contributor, user, or manager. The people
+ involved—as 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
users to give the original creator credit. Knowing the person
behind a resource makes the commons less anonymous and more
personal.
- </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure 1.3. How the market, commons and state concieve of
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figure 1.3. How the market, commons and state concieve of
resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
The social interactions between people, and the processes used
by the state, market, and commons, evolve social norms and
economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the
- resource’s inherent characteristics, people and processes, and
- norms and rules—shape how resources are used. Use is also
+ The combination of the aspects we’ve discussed so far—the
+ resource’s inherent characteristics, people and processes, and
+ norms and rules—shape how resources are used. Use is also
influenced by the different goals the state, market, and
commons have.
</p><p>
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, it’s helpful to know something of its history.
+ renewal, it’s helpful to know something of its history.
</p><p>
For centuries, indigenous people and preindustrialized societies
managed resources, including water, food, firewood, irrigation,
commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> 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. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a> illustrates the commons in relation to the state and the
+ primary way in which resources were managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Figure 1.4. In preindustrialized society.">1.4</a> illustrates the commons in relation to the state and the
market.)
- </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figure
 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days, <span class="quote">“<span class="quote">commoners</span>”</span> were evicted
+ called enclosure of the commons.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days, <span class="quote">“<span class="quote">commoners</span>”</span> were evicted
from the land, fences and hedges erected, laws passed, and
security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources
- were managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
+ were managed. (See Fig. <a class="xref" href="#fig-5" title="Figure 1.5. The commons is gradually superseded by the state.">1.5</a>).
</p><p>
Holdings of land, water, and game were distributed to ruling
family and political appointees. Commoners displaced from the
property laws 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. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
+ health, and education. Fig. <a class="xref" href="#fig-6" title="Figure 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
primary means by which resources are managed.
- </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figure
 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
However, the world today is going through turbulent times. The
benefits of the market have been offset by unequal distribution
and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential
- essay <span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> published in
+ Overexploitation was the topic of Garrett Hardin’s influential
+ essay <span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> 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. Hardin’s essay became widely accepted as an economic
+ anyone. Hardin’s essay became widely accepted as an economic
truism and a justification for private property and free
markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The
- Tragedy of the Commons</span>”</span>—it’s fiction. Hardin did not
+ However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The
+ Tragedy of the Commons</span>”</span>—it’s 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. Ostrom’s work shows that natural resource
+ all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of
+ situated to manage it. Ostrom’s approach to the governance of
natural resources broke with convention; she recognized the
importance of the commons as an alternative to the market or
state for solving problems of collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules
that help people work collectively and ensure a sustainable
- commons. Paradoxically, while Hardin’s essay is called The
+ commons. Paradoxically, while Hardin’s essay is called The
Tragedy of the Commons it might more accurately be titled The
Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources.
+ Hardin’s story is based on the premise of depletable resources.
Economists have focused almost exclusively on scarcity-based
markets. Very little is known about how abundance
works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The emergence of information technology and the
scarcity. The norm for state funded digital works should be that
they are freely and openly available to the public that paid for
them.
- </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure 1.6. How the market, the state and the commons look
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figure 1.6. How the market, the state and the commons look
today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
In the early days of computing, programmers and developers
learned from each other by sharing software. In the 1980s, the
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 source—such as reliability,
+ of software. The benefits of open source—such as reliability,
scalability, and quality verified by independent peer
- review—became widely recognized and accepted. Customers liked
+ review—became widely recognized and accepted. Customers liked
the way open source gave them control without being locked into
a closed, proprietary technology. Free and open-source software
also generated a network effect where the value of a product or
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 Raymond’s
- essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+ principles of abundance rather than scarcity. Eric Raymond’s
+ essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with
open-source software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide examples of sustainable
approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets
+ It isn’t 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
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 creator’s permission.
+ and using it without the creator’s permission.
</p><p>
But people like to share. One of the ways we define ourselves is
by sharing valuable and entertaining content. Doing so grows and
understand. It acts as a user-friendly interface to the
legal-code layer beneath. The third layer is the
machine-readable one, making it easy for the Web to know a work
- is Creative Commons–licensed by expressing permissions in a way
+ is Creative Commons–licensed by expressing permissions in a way
that software systems, search engines, and other kinds of
technology can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these three layers ensure creators,
users, and even the Web itself understand the norms and rules
Creative Commons to ensure works funded with taxpayer dollars
are open and free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and
+ Today’s market is largely driven by global capitalism. Law and
financial systems are structured to support extraction,
privatization, and corporate growth. A perception that the
market is more efficient than the state has led to continual
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a> Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing
- cities,</span>”</span> looking to make sustainable and more efficient
+ commons.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a> Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing
+ cities,</span>”</span> looking to make sustainable and more efficient
use of scarce resources. They see sharing as a way to improve
the use of public spaces, mobility, social cohesion, and
safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
like a commons and more like a traditional business seeking
financial gain. Much of the sharing economy is not about the
commons or building an alternative to a corporate-driven market
- economy; it’s about extending the deregulated free market into
+ economy; it’s about extending the deregulated free market into
new areas of our lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we interviewed for our case
studies would describe themselves as part of the sharing
economy, there are in fact some significant parallels. Both the
rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its
- operations is difficult, as it’s legally required to make
+ operations is difficult, as it’s legally required to make
decisions that financially benefit stockholders. But new forms
of business are emerging. There are benefit corporations and
social enterprises, which broaden their business goals from
alternatives to the traditional corporation. Collectively, these
alternative market entities are changing the rules and norms of
the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we
- described it in this book’s Kickstarter campaign. We used a
+ </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we
+ described it in this book’s Kickstarter campaign. We used a
handbook called Business Model Generation as our reference for
defining just what a business model is. Developed over nine
- years using an <span class="quote">“<span class="quote">open process</span>”</span> involving 470
+ years using an <span class="quote">“<span class="quote">open process</span>”</span> involving 470
coauthors from forty-five countries, it is useful as a framework
for talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which
+ It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which
conceives of a business model as having nine building
blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to
design their own business model. We remixed this business model
canvas into an open business model canvas, adding three more
building blocks relevant to hybrid market, commons enterprises:
- social good, Creative Commons license, and <span class="quote">“<span class="quote">type of open
- environment that the business fits in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved useful when we analyzed
+ social good, Creative Commons license, and <span class="quote">“<span class="quote">type of open
+ environment that the business fits in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved useful when we analyzed
businesses and helped start-ups plan their economic model.
</p><p>
In our case study interviews, many expressed discomfort over
- describing themselves as an open business model—the term
+ describing themselves as an open business model—the term
business model suggested 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 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, <span class="quote">“<span class="quote">digital for free but physical for a
- fee,</span>”</span> crowdfunding, matchmaking, value-add services,
+ memberships, <span class="quote">“<span class="quote">digital for free but physical for a
+ fee,</span>”</span> crowdfunding, matchmaking, value-add services,
patrons . . . the list goes on and on. (Initial description of
how to earn revenue available through reference note. For latest
thinking see How to Bring In Money in the next
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
- you’re engaging as many users with your resources as possible.
+ you’re 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,
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; don’t exploit. Build relationship and
+ gratitude. Develop trust; don’t exploit. Build relationship and
community. Be transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative
- Commons case studies show how it’s possible to be part of this
+ Commons case studies show how it’s possible to be part of this
commons while still 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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and
+ Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and
Cautions from the Natural Commons for the Knowledge
- Commons,</span>”</span> in Governing Knowledge Commons, eds. Brett
+ Commons,</span>”</span> in Governing Knowledge Commons, eds. Brett
M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of
- Information in a Post-Carbon Economy,</span>”</span> in Free
+ Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of
+ Information in a Post-Carbon Economy,</span>”</span> 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.
+ (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+ (Gabriola Island, BC: New Society, 2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a
Legal System in Tune with Nature and Community (Oakland, CA:
- Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
+ Berrett-Koehler, 2015), 46–57; and Bollier, Think Like a
Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J.
- Strandburg, <span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in
+ Strandburg, <span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in
Frischmann, Madison, and Strandburg Governing Knowledge
Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of
- Information,</span>”</span> in Elliott and Hepting, Free Knowledge,
+ Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of
+ Information,</span>”</span> in Elliott and Hepting, Free Knowledge,
203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating
- System, the Free Software Foundation’s Licensing and
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating
+ System, the Free Software Foundation’s Licensing and
Compliance Lab, accessed December 30, 2016,
<a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last
modified November 22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The
+ Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The
Cathedral and the Bazaar: Musings on Linux and Open Source
by an Accidental Revolutionary, rev. ed. (Sebastopol, CA:
- O’Reilly Media, 2001),
+ O’Reilly Media, 2001),
<a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of
Sharing: Why Do People Share Online? (New York: New York
Times Customer Insight Group, 2011),
<a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons,
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons,
accessed December 30, 2016,
<a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
CA: Creative Commons, 2015),
<a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span>
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span>
last modified September 24, 2016,
<a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
The Swedish International Development Cooperation Agency,
- <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> accessed February 15,
+ <span class="quote">“<span class="quote">Stockholm Statement</span>”</span> accessed February 15,
2017,
<a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
Amsterdam Sharing City, go to
<a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy
(New York: OR Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit
by Giving Something for Nothing, Reprint with new preface.
(New York: Hyperion, 2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership
Revolution; Journeys to a Generative Economy (San Francisco:
- Berrett-Koehler, 2012), 8–9.
+ Berrett-Koehler, 2012), 8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation
(Hoboken, NJ: John Wiley and Sons, 2010). A preview of the
This business model canvas is available to download at
<a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span>
+ We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span>
designed by the coauthor Paul Stacey, available online at
<a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in
- this post I wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is
+ this post I wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is
an Open Business Model and How Can You Generate
- Revenue?</span>”</span>, available at
+ Revenue?</span>”</span>, available at
<a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for
Creating and Profiting from Technology (Boston: Harvard
- Business Review Press, 2006), 31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapter 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ Business Review Press, 2006), 31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Chapter 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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 way—what we call being Made with Creative
+ in some significant way—what 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
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 that’s shared with the public. Like all
- who use the licenses, these endeavors share their work—whether
- it’s open data or furniture designs—in a way that enables the
+ contributing creative work that’s shared with the public. Like all
+ who use the licenses, these endeavors share their work—whether
+ it’s open data or furniture designs—in a way that enables the
public not only to access it but also to make use of it.
</p><p>
We analyzed the revenue models, customer segments, and value
was quite different from the one that was revealing itself in our
interviews and research.
</p><p>
- It isn’t that we were wrong to think you can make money while
+ It isn’t 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 didn’t
+ of their livelihood or business could replicate. What we didn’t
realize was just how misguided it would be to write a book about
being Made with Creative Commons using only a business lens.
</p><p>
According to the seminal handbook Business Model Generation, a
- business model <span class="quote">“<span class="quote">describes the rationale of how an
+ business model <span class="quote">“<span class="quote">describes the rationale of how an
organization creates, delivers, and captures
- value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a> Thinking about sharing in terms of creating and
+ value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a> Thinking about sharing in terms of creating and
capturing value always felt inappropriately transactional and out
of place, something we heard time and time again in our
interviews. And as Cory Doctorow told us in our interview with
- him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
- mean.</span>”</span>
+ him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
+ mean.</span>”</span>
</p><p>
Eventually, we got it. Being Made with Creative Commons is more
than a business model. While we will talk about specific revenue
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. You’ll probably have to discard that way of thinking
+ no formula. You’ll probably have to discard that way of thinking
before you read any further.
</p><p>
In every interview, we started from the same simple questions.
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 something, <span class="quote">“<span class="quote">all rights reserved</span>”</span>
- under copyright is automatic, so the copyright symbol (©) on the
+ Whenever you create something, <span class="quote">“<span class="quote">all rights reserved</span>”</span>
+ 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 opposite—of wanting a real human relationship, rather than an
+ the opposite—of wanting a real human relationship, rather than an
impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
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, <span class="quote">“<span class="quote">Creators usually start doing what they do for
- love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC
+ written, <span class="quote">“<span class="quote">Creators usually start doing what they do for
+ love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC
license, that dynamic is even more pronounced. Similarly, for
technological innovators, it is often less about creating a
specific new thing that will make you rich and more about solving
a specific problem you have. The creators of Arduino told us that
- the key question when creating something is <span class="quote">“<span class="quote">Do you as the
+ the key question when creating something is <span class="quote">“<span class="quote">Do you as the
creator want to use it? It has to have personal use and
- meaning.</span>”</span>
+ meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social
mission that underpins everything they do. In many cases, sharing
using the licenses can be the difference between legitimacy and
hypocrisy. Noun Project co-founder Edward Boatman told us they
could not have stated their social mission of sharing with a
- straight face if they weren’t willing to show the world that it
+ straight face if they weren’t willing to show the world that it
was OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many
profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to
+ Even if profit isn’t the end goal, you have to bring in money to
be successfully Made with Creative Commons. At a bare minimum, you
have to make enough money to keep the lights on.
</p><p>
than there used to be for any creative endeavor. Digital
technology has made it easier than ever to create, and easier than
ever to distribute. As Doctorow put it in his book Information
- Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have turned into
+ Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have turned into
digital dimes (as the critics of ad-supported media have it),
- there is the fact that it’s possible to run a business that gets
+ there is the fact that it’s possible to run a business that gets
the same amount of advertising as its forebears at a fraction of
- the price.</span>”</span>
+ the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the
same amount of time and money to write a peer-reviewed journal
- article or paint a painting. Technology can’t change that. But
+ article or paint a painting. Technology can’t change that. But
other costs are dramatically reduced by technology, particularly
in production-heavy domains like filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and content in the public domain,
as well as the work of volunteer collaborators, can also
- dramatically reduce costs if they’re being used as resources to
+ dramatically reduce costs if they’re being used as resources to
create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid
because it is a labor of love.
promotion, and even expenses associated with the various ways
money is being made, like touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology
+ It’s important to recognize that the biggest impact of technology
on creative endeavors is that creators can now foot the costs of
creation and distribution themselves. People now often have a
direct route to their potential public without necessarily needing
intermediaries like record labels and book publishers. Doctorow
- wrote, <span class="quote">“<span class="quote">If you’re a creator who never got the time of day
+ wrote, <span class="quote">“<span class="quote">If you’re a creator who never got the time of day
from one of the great imperial powers, this is your time. Where
once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have
- hundreds of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a> Previously, distribution of creative work involved the
+ hundreds of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a> 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.
</p><p>
Whether for an individual creator or a larger endeavor, it usually
- isn’t enough to break even if you want to make what you’re doing a
+ isn’t enough to break even if you want to make what you’re doing a
livelihood. You need to build in some support for the general
operation. This extra bit looks different for everyone, but
importantly, in nearly all cases for those Made with Creative
- Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span> looks a lot
+ Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span> 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,
- <span class="quote">“<span class="quote">Business model is a really grandiose word for it. It is
- really just about keeping the operation going day to day.</span>”</span>
+ <span class="quote">“<span class="quote">Business model is a really grandiose word for it. It is
+ really just about keeping the operation going day to day.</span>”</span>
</p><p>
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
</p><p>
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 <span class="quote">“<span class="quote">problem zero.</span>”</span>
+ helps solve <span class="quote">“<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is
- finding users, customers, fans—in other words, your people. As
- Amanda Palmer wrote, <span class="quote">“<span class="quote">It has to start with the art. The
+ finding users, customers, fans—in other words, your people. As
+ Amanda Palmer wrote, <span class="quote">“<span class="quote">It has to start with the art. The
songs had to touch people initially, and mean something, for
- anything to work at all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to finding your people, and
+ anything to work at all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to finding your people, and
there is certainly no formula. Your work has to connect with
people and offer them some artistic and/or utilitarian value. In
some ways, this is easier than ever. Online we are not limited
by shelf space, so there is room for every obscure interest,
taste, and need imaginable. This is what Chris Anderson dubbed
the Long Tail, where consumption becomes less about mainstream
- mass <span class="quote">“<span class="quote">hits</span>”</span> and more about micromarkets for every
- particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We are all
+ mass <span class="quote">“<span class="quote">hits</span>”</span> and more about micromarkets for every
+ particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We are all
different, with different wants and needs, and the Internet now
has a place for all of them in the way that physical markets did
- not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited to what appeals to the
+ not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited to what appeals to the
masses.
</p><p>
- While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically
+ While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically
easier than in the analog world, as a practical matter it can
still be difficult to actually get noticed. The Internet is a
firehose of content, one that only grows larger by the minute.
As a content creator, not only are you competing for attention
against more content creators than ever before, you are
competing against creativity generated outside the market as
- well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The greatest change of the
+ well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The greatest change of the
past decade has been the shift in time people spend consuming
amateur content instead of professional
- content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you have to compete against the
- rest of their lives, too—<span class="quote">“<span class="quote">friends, family, music
+ content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you have to compete against the
+ rest of their lives, too—<span class="quote">“<span class="quote">friends, family, music
playlists, soccer games, and nights on the
- town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+ town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved
your work before there is even any demand for it. In many cases,
requiring payment for your work is part of the traditional
copyright system. Even a tiny cost has a big effect on demand.
- It’s called the penny gap—the large difference in demand between
+ It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the
- price of zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to charge money for
+ price of zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to charge money for
your content. It simply means you need to recognize the effect
that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to
- get discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting
+ get discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting
people from copying your work and sharing it with others is
counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like
- your work will make you rich—far from it. But as Cory Doctorow
- says, <span class="quote">“<span class="quote">Recognition is one of many necessary preconditions
- for artistic success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+ Of course, it’s not that being discovered by people who like
+ your work will make you rich—far from it. But as Cory Doctorow
+ says, <span class="quote">“<span class="quote">Recognition is one of many necessary preconditions
+ for artistic success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your
work and policing infringement also builds goodwill. Lumen
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, <span class="quote">“<span class="quote">Our natural human impulses to
- imitate and share—the essence of culture—have been
- criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+ David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses to
+ imitate and share—the essence of culture—have been
+ criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly
deters copying it, but copying with the click of a button is too
easy and convenient to ever fully stop it. Try as the copyright
industry might to persuade us otherwise, copying a copyrighted
- work just doesn’t feel like stealing a loaf of bread. And, of
- course, that’s because it isn’t. Sharing a creative work has no
- impact on anyone else’s ability to make use of it.
+ work just doesn’t feel like stealing a loaf of bread. And, of
+ course, that’s because it isn’t. Sharing a creative work has no
+ impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">“<span class="quote">We could spend a lot of money trying to
+ Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of money trying to
protect works, but people are going to do it anyway. And they
- will use bad-quality versions.</span>”</span> Instead, they started
+ will use bad-quality versions.</span>”</span> Instead, they started
releasing high-resolution digital copies of their collection
into the public domain and making them available for free on
their website. For them, sharing was a form of quality control
is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a> 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, <span class="quote">“<span class="quote">Using CC licenses shows
- you get the Internet.</span>”</span>
+ colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC licenses shows
+ you get the Internet.</span>”</span>
</p><p>
Cory Doctorow says it costs him nothing when other people make
copies of his work, and it opens the possibility that he might
There are all kinds of way to leverage the power of sharing and
remix to your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make
+ Putting a Creative Commons license on your content won’t make
it automatically go viral, but eliminating legal barriers to
- copying the work certainly can’t hurt the chances that your
+ copying the work certainly can’t hurt the chances that your
work will be shared. The CC license symbolizes that sharing is
welcome. It can act as a little tap on the shoulder to those
- who come across the work—a nudge to copy the work if they have
+ who come across the work—a nudge to copy the work if they have
any inkling of doing so. All things being equal, if one piece
- of content has a sign that says Share and the other says Don’t
- Share (which is what <span class="quote">“<span class="quote">©</span>”</span> means), which do you
+ of content has a sign that says Share and the other says Don’t
+ Share (which is what <span class="quote">“<span class="quote">©</span>”</span> means), which do you
think people are more likely to share?
</p><p>
The Conversation is an online news site with in-depth articles
</p><p>
The idea that more eyeballs equates with more success is a
form of the max strategy, adopted by Google and other
- technology companies. According to Google’s Eric Schmidt, the
- idea is simple: <span class="quote">“<span class="quote">Take whatever it is you are doing and
+ technology companies. According to Google’s Eric Schmidt, the
+ idea is simple: <span class="quote">“<span class="quote">Take whatever it is you are doing and
do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is
free, you might as well put things
- everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a> This strategy is what often motivates companies to
+ everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a> This strategy is what often motivates companies to
make their products and services free (i.e., no cost), but the
same logic applies to making content freely shareable. Because
CC-licensed content is free (as in cost) and can be freely
</p><p>
Attribution can be about more than just receiving credit. It
can also be about establishing provenance. People naturally
- want to know where content came from—the source of a work is
+ want to know where content came from—the source of a work is
sometimes just as interesting as the work itself. Opendesk is
a platform for furniture designers to share their designs.
Consumers who like those designs can then get matched with
Made with Creative Commons make money by providing a product
or service other than the CC-licensed work. Sometimes that
other product or service is completely unrelated to the CC
- content. Other times it’s a physical copy or live performance
+ content. Other times it’s a physical copy or live performance
of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and
- again how offering CC-licensed content—that is, digitally for
- free—actually increases sales of the printed goods because it
+ Knowledge Unlatched’s Pinter told us she has seen time and
+ again how offering CC-licensed content—that is, digitally for
+ free—actually increases sales of the printed goods because it
functions as a marketing tool. We see this phenomenon
regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the
Four of the six CC licenses enable reusers to take apart,
build upon, or otherwise adapt the work. Depending on the
context, adaptation can mean wildly different
- things—translating, updating, localizing, improving,
+ things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for
particular needs, uses, people, and communities, which is
another distinct value to offer the public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game changing in some contexts
</p><p>
This is a way to counteract a potential downside of the
abundance of free and open content described above. As
- Anderson wrote in Free, <span class="quote">“<span class="quote">People often don’t care as much
- about things they don’t pay for, and as a result they don’t
- think as much about how they consume them.</span>
”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+ Anderson wrote in Free, <span class="quote">“<span class="quote">People often don’t care as much
+ about things they don’t pay for, and as a result they don’t
+ think as much about how they consume them.</span>
”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then
surely the act of remixing it enhances our perception
exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products
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, <span class="quote">“<span class="quote">To participate is to act as if your presence
+ says, <span class="quote">“<span class="quote">To participate is to act as if your presence
matters, as if, when you see something or hear something, your
- response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a> Opening the door to your content can get people
+ response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a> Opening the door to your content can get people
more deeply tied to your work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
Operating under a traditional copyright regime usually means
media. Business strategies that are embedded in the
traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie
- the hands of creators, often at the expense of the creator’s
+ the hands of creators, often at the expense of the creator’s
best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the
increased openness as a competitive advantage. David Harris
from OpenStax said they specifically pursue strategies they
- know that traditional publishers cannot. <span class="quote">“<span class="quote">Don’t go into
- a market and play by the incumbent rules,</span>”</span> David said.
- <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
+ know that traditional publishers cannot. <span class="quote">“<span class="quote">Don’t go into
+ a market and play by the incumbent rules,</span>”</span> David said.
+ <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative
Commons have to generate some type of value for their audience
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, <span class="quote">“<span class="quote">The trick is in knowing when
+ expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when
- they are not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+ they are not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various
revenue-generating mechanisms used by the creators,
not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">“<span class="quote">Copyright protection
+ it. In Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection
schemes, whether coded into either law or software, are simply
- holding up a price against the force of gravity.</span>”</span>
+ holding up a price against the force of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors
+ Of course, this doesn’t mean that content-driven endeavors
have no future in the traditional marketplace. In Free,
Anderson explains how when one product or service becomes
free, as information and content largely have in the digital
- age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
- creates a new scarcity,</span>”</span> he wrote. You just have to
+ age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
+ creates a new scarcity,</span>”</span> he wrote. You just have to
find some way other than the content to provide value to your
- audience or customers. As Anderson says, <span class="quote">“<span class="quote">It’s easy to
+ audience or customers. As Anderson says, <span class="quote">“<span class="quote">It’s easy to
compete with Free: simply offer something better or at least
- different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+ different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
In light of this reality, in some ways endeavors that are Made
with Creative Commons are at a level playing field with all
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for
+ In this age of information abundance, we don’t lack for
content. The trick is finding content that matches our needs
and wants, so customized services are particularly valuable.
- As Anderson wrote, <span class="quote">“<span class="quote">Commodity information (everybody
+ As Anderson wrote, <span class="quote">“<span class="quote">Commodity information (everybody
gets the same version) wants to be free. Customized
information (you get something unique and meaningful to you)
- wants to be expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything from the artistic and
- cultural consulting services provided by Ártica to the
- custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span>
+ wants to be expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything from the artistic and
+ cultural consulting services provided by Ártica to the
+ custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span>
Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
model as giving away the bits and selling the atoms (where
bits refers to digital content and atoms refer to a physical
object).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a> This is particularly successful in domains where
- the digital version of the content isn’t as valuable as the
+ the digital version of the content isn’t as valuable as the
analog version, like book publishing where a significant
subset of people still prefer reading something they can hold
- in their hands. Or in domains where the content isn’t useful
+ in their hands. Or in domains where the content isn’t useful
until it is in physical form, like furniture designs. In those
situations, a significant portion of consumers will pay for
the convenience of having someone else put the physical
is free increases the size of the audience, which in turn
makes the offer more valuable to the paying customers. This is
a variation of a traditional business model built on free
- called multi-sided platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience isn’t the only thing
- people are willing to pay for—there are other services you can
+ called multi-sided platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience isn’t the only thing
+ people are willing to pay for—there are other services you can
provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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
- <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access
+ <span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access
journals like those published by the Public Library of
Science, but there are other variations. The Conversation is
primarily funded by a university-membership model, where
revenue streams were more about providing value, building a
relationship, and then eventually finding some money that
flows back out of a sense of reciprocity. While some look like
- traditional nonprofit funding models, they aren’t charity. The
+ traditional nonprofit funding models, they aren’t charity. The
endeavor exchange value with people, just not necessarily
synchronously or in a way that requires that those values be
equal. As David Bollier wrote in Think Like a Commoner,
- <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
- value given and received is strictly equal.</span>”</span>
+ <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
+ value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with
+ This should be a familiar dynamic—it is the way you deal with
your friends and family. We give without regard for what and
- when we will get back. David Bollier wrote, <span class="quote">“<span class="quote">Reciprocal
+ when we will get back. David Bollier wrote, <span class="quote">“<span class="quote">Reciprocal
social exchange lies at the heart of human identity, community
and culture. It is a vital brain function that helps the human
- species survive and evolve.</span>”</span>
+ species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into
- an endeavor that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We almost can’t help but think of relationships in
+ an endeavor that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We almost can’t help but think of relationships in
the market as being centered on an even-steven exchange of
value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative
- Commons content is invited to give—at any amount they can and
+ Commons content is invited to give—at any amount they can and
feel is appropriate, based on the public and personal value
they feel is generated by the open content. Critically, these
- models are not touted as <span class="quote">“<span class="quote">buying</span>”</span> something free.
+ models are not touted as <span class="quote">“<span class="quote">buying</span>”</span> 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
Crowdfunding models are based on recouping the costs of
creating and distributing content before the content is
created. If the endeavor is Made with Creative Commons, anyone
- who wants the work in question could simply wait until it’s
+ who wants the work in question could simply wait until it’s
created and then access it for free. That means, for this
model to work, people have to care about more than just
receiving the work. They have to want you to succeed. Amanda
Palmer credits the success of her crowdfunding on Kickstarter
and Patreon to the years she spent building her community and
creating a connection with her fans. She wrote in The Art of
- Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is
+ Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is
offered, ears are bent, emotions are exchanged, the compost of
real, deep connection is sprayed all over the fields. Then one
day, the artist steps up and asks for something. And if the
ground has been fertilized enough, the audience says, without
- hesitation: of course.</span>”</span>
+ hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility
that a particular community may feel. Knowledge Unlatched
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we
- repeatedly heard language like <span class="quote">“<span class="quote">persuading people to
- buy</span>”</span> and <span class="quote">“<span class="quote">inviting people to pay.</span>”</span> We heard
+ repeatedly heard language like <span class="quote">“<span class="quote">persuading people to
+ buy</span>”</span> and <span class="quote">“<span class="quote">inviting people to pay.</span>”</span> We heard
it even in connection with revenue streams that sit squarely
- within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
+ within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
convince my readers that the right thing to do is to pay
- me.</span>”</span> The founders of the for-profit company Lumen
+ me.</span>”</span> The founders of the for-profit company Lumen
Learning showed us the letter they send to those who opt not to
pay for the services they provide in connection with their
- CC-licensed educational content. It isn’t a cease-and-desist
- letter; it’s an invitation to pay because it’s the right thing
+ CC-licensed educational content. It isn’t a cease-and-desist
+ letter; it’s an invitation to pay because it’s the right thing
to do. This sort of behavior toward what could be considered
nonpaying customers is largely unheard of in the traditional
marketplace. But it seems to be part of the fabric of being Made
</p><p>
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 <span class="quote">“<span class="quote">the product,</span>”</span> the more
+ Commons content is to being <span class="quote">“<span class="quote">the product,</span>”</span> 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.
terms, but also about community, social good, contributing
ideas, expressing a value system, working together. These
components of sharing are hard to cultivate if you think about
- what you do in purely market terms. Decent social behavior isn’t
+ what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary
exchange. It takes a conscious effort to foster the context for
real sharing, based not strictly on impersonal market exchange,
but on connections with the people with whom you
- share—connections with you, with your work, with your values,
+ share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common
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, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.
+ Austin Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself.
Human beings want to know where things came from, how they
were made, and who made them. The stories you tell about the
work you do have a huge effect on how people feel and what
they understand about your work, and how people feel and what
they understand about your work affects how they value
- it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+ it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying
- about being a <span class="quote">“<span class="quote">brand.</span>”</span> That means not being
- afraid to be vulnerable. Amanda Palmer says, <span class="quote">“<span class="quote">When
- you’re afraid of someone’s judgment, you can’t connect with
- them. You’re too preoccupied with the task of impressing
- them.</span>”</span> Not everyone is suited to live life as an open
- book like Palmer, and that’s OK. There are a lot of ways to be
+ about being a <span class="quote">“<span class="quote">brand.</span>”</span> That means not being
+ afraid to be vulnerable. Amanda Palmer says, <span class="quote">“<span class="quote">When
+ you’re afraid of someone’s judgment, you can’t connect with
+ them. You’re too preoccupied with the task of impressing
+ them.</span>”</span> Not everyone is suited to live life as an open
+ book like Palmer, and that’s OK. There are a lot of ways to be
human. The trick is just avoiding pretense and the temptation
- to artificially craft an image. People don’t just want the
- glossy version of you. They can’t relate to it, at least not
+ to artificially craft an image. People don’t just want the
+ glossy version of you. They can’t relate to it, at least not
in a meaningful way.
</p><p>
This advice is probably even more important for businesses and
people!). When corporations and organizations make the people
behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate
- entity. In business-speak, this is about <span class="quote">“<span class="quote">humanizing
- your interactions</span>”</span> with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a gimmick. You can’t fake being
+ entity. In business-speak, this is about <span class="quote">“<span class="quote">humanizing
+ your interactions</span>”</span> with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a gimmick. You can’t fake being
human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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, <span class="quote">“<span class="quote">One of the most
+ Cards Against Humanity told us, <span class="quote">“<span class="quote">One of the most
surprising things you can do in capitalism is just be honest
- with people.</span>”</span> That means sharing the good and the bad.
- As Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by
- authentically communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about trying to satisfy everyone or
+ with people.</span>”</span> That means sharing the good and the bad.
+ As Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by
+ authentically communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about trying to satisfy everyone or
trying to sugarcoat mistakes or bad news, but instead about
explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input
and then giving context and explanation about decisions you
make, even if soliciting feedback and inviting discourse is
- time-consuming. If you don’t go through the effort to actually
+ time-consuming. If you don’t go through the effort to actually
respond to the input you receive, it can be worse than not
inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the
type of diversity of thought that helps endeavors excel. And
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based
solely on their own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any relatively introspective human knows this is a
- fiction—we are much more complicated beings with a whole range
+ fiction—we are much more complicated beings with a whole range
of needs, emotions, and motivations. In fact, we are hardwired
to work together and ensure fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative Commons requires an
assumption that people will largely act on those social
motivations, motivations that would be considered
- <span class="quote">“<span class="quote">irrational</span>”</span> in an economic sense. As Knowledge
- Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is best to ignore people
+ <span class="quote">“<span class="quote">irrational</span>”</span> in an economic sense. As Knowledge
+ Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is best to ignore people
who try to scare you about free riding. That fear is based on
- a very shallow view of what motivates human behavior.</span>”</span>
+ a very shallow view of what motivates human behavior.</span>”</span>
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.
</p><p>
The assumption that people will largely do the right thing can
be a self-fulfilling prophecy. Shirky wrote in Cognitive
- Surplus, <span class="quote">“<span class="quote">Systems that assume people will act in ways
+ Surplus, <span class="quote">“<span class="quote">Systems that assume people will act in ways
that create public goods, and that give them opportunities and
rewards for doing so, often let them work together better than
- neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often
+ neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior,
+ Rather than trying to exert control over people’s behavior,
this mode of operating requires a certain level of trust. We
might not realize it, but our daily lives are already built on
trust. As Surowiecki wrote in The Wisdom of Crowds,
- <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone to
- make sure citizens act honestly and responsibly. And it’s
+ <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone to
+ make sure citizens act honestly and responsibly. And it’s
impossible for any organization to rely on contracts alone to
make sure that its managers and workers live up to their
- obligation.</span>”</span> Instead, we largely trust that
- people—mostly strangers—will do what they are supposed to
+ obligation.</span>”</span> Instead, we largely trust that
+ people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating
- them like fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you
- have to be a fan first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be one of the few to reach
+ them like fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you
+ have to be a fan first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the
- gift in kind. It’s called karma. But social relationships are
+ gift in kind. It’s called karma. But social relationships are
fragile. It is all too easy to destroy them if you make the
mistake of treating people as anonymous customers or free
labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that rely on content from contributors
value that contributors generate. That does not mean you can
solve this problem by simply paying contributors for their
time or contributions. As soon as we introduce money into a
- relationship—at least when it takes a form of paying monetary
- value in exchange for other value—it can dramatically change
+ relationship—at least when it takes a form of paying monetary
+ value in exchange for other value—it can dramatically change
the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who
as a way of demonstrating their own commitment to the Creative
Commons value system, akin to a political statement. Other
times people will identify and feel connected with an
- endeavor’s separate social mission. Often both.
+ endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In
+ The expression of your values doesn’t have to be implicit. In
fact, many of the people we interviewed talked about how
important it is to state your guiding principles up front.
Lumen Learning attributes a lot of their success to having
resources) community in which they operate.
</p><p>
When your end goal is not about making a profit, people trust
- that you aren’t just trying to extract value for your own
+ that you aren’t just trying to extract value for your own
gain. People notice when you have a sense of purpose that
transcends your own self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed employees, motivates
contributors, and builds trust.
recognize and are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture
- community. People have to care—about you and each other. One
+ community. People have to care—about you and each other. One
critical piece to this is fostering a sense of belonging. As
- Jono Bacon writes in The Art of Community, <span class="quote">“<span class="quote">If there is
- no belonging, there is no community.</span>”</span> For Amanda Palmer
+ Jono Bacon writes in The Art of Community, <span class="quote">“<span class="quote">If there is
+ no belonging, there is no community.</span>”</span> For Amanda Palmer
and her band, that meant creating an accepting and inclusive
- environment where people felt a part of their <span class="quote">“<span class="quote">weird
- little family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like Red Hat, that means
+ environment where people felt a part of their <span class="quote">“<span class="quote">weird
+ little family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like Red Hat, that means
connecting around common beliefs or goals. As the CEO Jim
- Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into
+ Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into
passion is especially important in building the kinds of
participative communities that drive open
- organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+ organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate
- planning. Surowiecki wrote, <span class="quote">“<span class="quote">It takes a lot of work to
- put the group together. It’s difficult to ensure that people
- are working in the group’s interest and not in their own. And
- when there’s a lack of trust between the members of the group
- (which isn’t surprising given that they don’t really know each
+ planning. Surowiecki wrote, <span class="quote">“<span class="quote">It takes a lot of work to
+ put the group together. It’s difficult to ensure that people
+ are working in the group’s interest and not in their own. And
+ when there’s a lack of trust between the members of the group
+ (which isn’t surprising given that they don’t really know each
other), considerable energy is wasted trying to determine each
- other
’s bona fides.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community requires giving people
+ other
’s bona fides.</span>”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community requires giving people
within the community the power to create or influence the
rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If the rules are created and imposed in a top-down
- manner, people feel like they don’t have a voice, which in
+ manner, people feel like they don’t have a voice, which in
turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply
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 <span class="quote">“<span class="quote">The Sharing Economy
- Isn’t about Sharing at All,</span>”</span> authors Giana Eckhardt and
+ Business Review website called <span class="quote">“<span class="quote">The Sharing Economy
+ Isn’t about Sharing at All,</span>”</span> authors Giana Eckhardt and
Fleura Bardhi explained how the anonymous market-driven
trans-actions in most sharing-economy businesses are purely
about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
ownership.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem
- than you take. You can’t simply treat open content as a free
+ than you take. You can’t simply treat open content as a free
pool of resources from which to extract value. Part of giving
back to the ecosystem is contributing content back to the
- public under CC licenses. But it doesn’t have to just be about
+ public under CC licenses. But it doesn’t have to just be about
creating content; it can be about adding value in other ways.
The social blogging platform Medium provides value to its
community by incentivizing good behavior, and the result is an
valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of
creative work, and people are inherently less motivated to
- contribute when it doesn’t appear that their efforts will make
+ contribute when it doesn’t appear that their efforts will make
much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global
cocreation made possible by the Internet, and, indeed, the
successful examples of it are truly incredible and inspiring.
- But in a wide range of circumstances—perhaps more often than
- not—community cocreation is not part of the equation, even
+ But in a wide range of circumstances—perhaps more often than
+ not—community cocreation is not part of the equation, even
within endeavors built on CC content. Shirky wrote,
- <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the
+ <span class="quote">“<span class="quote">Sometimes the value of professional work trumps the
value of amateur sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>”</span>The
- only department where I wasn’t open to input was the writing,
+ her openness and involvement with her fans, said,</span>”</span>The
+ only department where I wasn’t open to input was the writing,
the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
While we tend to immediately think of cocreation and remixing
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
- <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting
+ <span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting
people feel more invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it shows a nonterritorial approach to ideas
and information. Stephen Covey (of The 7 Habits of Highly
Effective People fame) calls this the abundance
- mentality—treating ideas like something plentiful—and it can
+ mentality—treating ideas like something plentiful—and it can
create an environment where collaboration
flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
book is available at
<a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for
- the Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for
+ the Internet Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit
by Giving Something for Nothing, reprint with new preface (New
York: Hyperion, 2010), 224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop
Worrying and Let People Help (New York: Grand Central,
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor
- Books, 2005), 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of
+ Books, 2005), 124. Surowiecki says, <span class="quote">“<span class="quote">The measure of
success of laws and contracts is how rarely they are
- invoked.</span>”</span>
+ invoked.</span>”</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
William Landes Foster, Peter Kim, and Barbara Christiansen,
- <span class="quote">“<span class="quote">Ten Nonprofit Funding Models,</span>”</span> Stanford Social
+ <span class="quote">“<span class="quote">Ten Nonprofit Funding Models,</span>”</span> Stanford Social
Innovation Review, Spring 2009,
<a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA:
- O’Reilly Media, 2012), 36.
+ O’Reilly Media, 2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm737" class="footnote"><p><a href="#idm737" class="para"><sup class="para">[96] </sup></a>
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing
- Economy Isn’t about Sharing at All,</span>”</span> Harvard
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing
+ Economy Isn’t about Sharing at All,</span>”</span> Harvard
Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Sharing, reprint with new epilogue (New York: Portfolio,
2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring
- Civility to the Internet,</span>”</span> BBC News, March 3, 2016,
+ David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring
+ Civility to the Internet,</span>”</span> BBC News, March 3, 2016,
<a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The
Rise of Collaborative Consumption (New York: Harper
Business, 2010), 188.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapter
3. The Creative Commons Licenses</h2></div></div></div><p>
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Chapter
 3. The Creative Commons Licenses</h2></div></div></div><p>
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
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
- <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software licenses.
+ <span class="quote">“<span class="quote">copyleft</span>”</span> 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.
</p><p>
</p><p>
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
+ their new works must also acknowledge you, they don’t have to
license their derivative works on the same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is
the most restrictive of our six main licenses, only allowing
others to download your works and share them with others as long
- as they credit you, but they can’t change them or use them
+ as they credit you, but they can’t change them or use them
commercially.
</p><p>
In addition to these six licenses, Creative Commons has two
- public-domain tools—one for creators and the other for those who
+ 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:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works
- to the worldwide public domain (<span class="quote">“<span class="quote">no rights
- reserved</span>”</span>).
+ to the worldwide public domain (<span class="quote">“<span class="quote">no rights
+ reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
those ways. It is certainly true that a license that allows others
to make commercial use of your work (CC BY, CC BY-SA, and CC
BY-ND) forecloses some traditional revenue streams. If you apply
- an Attribution (CC BY) license to your book, you can’t force a
+ an Attribution (CC BY) license to your book, you can’t force a
film company to pay you royalties if they turn your book into a
feature-length film, or prevent another company from selling
physical copies of your work.
rights that copyright grants to creators. In some cases, reserving
those rights is important to how you bring in revenue. In other
cases, creators use a NonCommercial or NoDerivs license because
- they can’t give up on the dream of hitting the creative jackpot.
+ they can’t give up on the dream of hitting the creative jackpot.
The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held
out the dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing
your work in the digital commons, start with the Creative Commons
- page called <span class="quote">“<span class="quote">Share Your Work</span>”</span> at
+ page called <span class="quote">“<span class="quote">Share Your Work</span>”</span> at
<a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Part
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Part
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapter 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Table of Contents</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Chapter 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and
computer hardware and software company. Founded in 2005 in
Italy.
2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David
Cuartielles and Tom Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern
Italy, teachers and students needed an easy way to use electronics
and programming to quickly prototype design ideas. As musicians,
- artists, and designers, they needed a platform that didn’t require
+ artists, and designers, they needed a platform that didn’t require
engineering expertise. A group of teachers and students, including
Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino, and
David Mellis, built a platform that combined different open
documentation with the Attribution-Share-Alike license (CC BY-SA),
and software with the GNU General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger
- on a button, or a Twitter message—and turn it into
- outputs—activating a motor, turning on an LED, publishing
+ Arduino boards are able to read inputs—light on a sensor, a finger
+ on a button, or a Twitter message—and turn it into
+ outputs—activating a motor, turning on an LED, publishing
something online. You send a set of instructions to the
microcontroller on the board by using the Arduino programming
language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual
art).
- </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are
- complicated,</span>”</span> Tom says. Partly it was about supporting
+ </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are
+ complicated,</span>”</span> 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 <span class="quote">“<span class="quote">ended up
+ of what the founders build. David says this <span class="quote">“<span class="quote">ended up
strengthening the platform far beyond what we had even thought of
- building.</span>”</span>
+ building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea
- design school. He’d seen other organizations close their doors and
+ design school. He’d seen other organizations close their doors and
all their work and research just disappear. Open-sourcing ensured
that Arduino would outlive the Ivrea closure. Persistence is one
thing Tom really likes about open source. If key people leave, or
- a company shuts down, an open-source product lives on. In Tom’s
- view, <span class="quote">“<span class="quote">Open sourcing makes it easier to trust a
- product.</span>”</span>
+ a company shuts down, an open-source product lives on. In Tom’s
+ view, <span class="quote">“<span class="quote">Open sourcing makes it easier to trust a
+ product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino
founders started a consulting firm and multidisciplinary design
Revenue from Tinker was invested in sustaining and enhancing
Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made
+ For Tom, part of Arduino’s success is because the founders made
themselves the first customer of their product. They made products
- they themselves personally wanted. It was a matter of <span class="quote">“<span class="quote">I
- need this thing,</span>”</span> not <span class="quote">“<span class="quote">If we make this, we’ll make a
- lot of money.</span>”</span> Tom notes that being your own first customer
+ they themselves personally wanted. It was a matter of <span class="quote">“<span class="quote">I
+ need this thing,</span>”</span> not <span class="quote">“<span class="quote">If we make this, we’ll make a
+ lot of money.</span>”</span> Tom notes that being your own first customer
makes you more confident and convincing at selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model
+ Arduino’s business model has evolved over time—and Tom says model
is a grandiose term for it. Originally, they just wanted to make a
few boards and get them out into the world. They started out with
two hundred boards, sold them, and made a little profit. They used
generate enough funding to keep the venture going day to day. When
they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the
- design but still manufacture the physical product. As long as it’s
+ design but still manufacture the physical product. As long as it’s
a quality product and sold at a reasonable price, people will buy
it.
</p><p>
- Arduino now has a worldwide community of makers—students,
+ Arduino now has a worldwide community of makers—students,
hobbyists, artists, programmers, and professionals. Arduino
provides a wiki called Playground (a wiki is where all users can
edit and add pages, contributing to and benefiting from collective
research). People share code, circuit diagrams, tutorials, DIY
instructions, and tips and tricks, and show off their projects. In
- addition, there’s a multilanguage discussion forum where users can
+ addition, there’s a multilanguage discussion forum where users can
get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017,
324,928 members had made 2,989,489 posts on 379,044 topics. The
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, <span class="quote">“<span class="quote">If you do
+ successfully run one still apply. David says, <span class="quote">“<span class="quote">If you do
those other things well, sharing things in an open-source way can
- only help you.</span>”</span>
+ only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software
- ensures longevity, it does have risks. There’s a possibility that
+ ensures longevity, it does have risks. There’s a possibility that
others will create knockoffs, clones, and copies. The CC BY-SA
license means anyone can produce copies of their boards, redesign
- them, and even sell boards that copy the design. They don’t have
+ them, and even sell boards that copy the design. They don’t have
to pay a license fee to Arduino or even ask permission. However,
if they republish the design of the board, they have to give
attribution to Arduino. If they change the design, they must
plugged onto a board to give it extra features), and
kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support
+ Arduino’s focus is on high-quality boards, well-designed support
materials, and the building of community; this focus is one of the
keys to their success. And being open lets you build a real
- community. David says Arduino’s community is a big strength and
- something that really does matter—in his words, <span class="quote">“<span class="quote">It’s good
- business.</span>”</span> When they started, the Arduino team had almost
+ community. David says Arduino’s community is a big strength and
+ something that really does matter—in his words, <span class="quote">“<span class="quote">It’s good
+ business.</span>”</span> When they started, the Arduino team had almost
entirely no idea how to build a community. They started by
conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way
- it was meant to work and solved people’s problems. The community
+ it was meant to work and solved people’s problems. The community
grew organically from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders
sell boards using the Arduino name and logo, they have to pay a
small fee to Arduino. This allows Arduino to scale up
manufacturing and distribution while at the same time ensuring the
- Arduino brand isn’t hurt by low-quality copies.
+ Arduino brand isn’t hurt by low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy,
SparkFun in the United States, and Dog Hunter in Taiwan/China.
Arduino logo on their boards. Trademarking their brand provided
the founders with a way to protect Arduino, build it out further,
and fund software and tutorial development. The
- trademark-licensing fee for the brand became Arduino’s
+ trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders
+ How far to open things up wasn’t always something the founders
perfectly agreed on. David, who was always one to advocate for
opening things up more, had some fears about protecting the
Arduino name, thinking people would be mad if they policed their
there is anything that really needs to be protected and why. There
are lots of good reasons to not open up certain elements. This
strategy of sharing everything is certainly the complete opposite
- of how today’s world operates, where nothing is shared. Tom
+ of how today’s world operates, where nothing is shared. Tom
suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013
- entitled <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders
+ entitled <span class="quote">“<span class="quote">Send In the Clones,</span>”</span> 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,
</p><p>
For David, an exciting aspect of Arduino is the way lots of people
can use it to adapt technology in many different ways. Technology
- is always making more things possible but doesn’t always focus on
+ is always making more things possible but doesn’t always focus on
making it easy to use and adapt. This is where Arduino steps in.
- Arduino’s goal is <span class="quote">“<span class="quote">making things that help other people make
- things.</span>”</span>
+ Arduino’s goal is <span class="quote">“<span class="quote">making things that help other people make
+ things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and
electronics reach a larger audience. For Tom, Arduino has been
- about <span class="quote">“<span class="quote">the democratization of technology.</span>”</span> Tom sees
- Arduino’s open-source strategy as helping the world get over the
+ about <span class="quote">“<span class="quote">the democratization of technology.</span>”</span> Tom sees
+ Arduino’s open-source strategy as helping the world get over the
idea that technology has to be protected. Tom says,
- <span class="quote">“<span class="quote">Technology is a literacy everyone should learn.</span>”</span>
+ <span class="quote">“<span class="quote">Technology is a literacy everyone should learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good
+ Ultimately, for Arduino, going open has been good business—good
for product development, good for distribution, good for pricing,
and good for manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapter
5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Chapter
 5. Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused
on how to use digital technology to share knowledge and enable
collaboration in arts and culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana
Fossatti and Jorge Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business,
- Ártica, is the ultimate example of DIY. Not only are they
+ The story of Mariana Fossatti and Jorge Gemetto’s business,
+ Ártica, is the ultimate example of DIY. Not only are they
successful entrepreneurs, the niche in which their small business
operates is essentially one they built themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international
organization to develop research and online education about
in online education. Both were bloggers and heavy users of social
media, and both had a passion for arts and culture. They decided
to take their skills in digital technology and online learning and
- apply them to a topic area they loved. They launched Ártica, an
+ apply them to a topic area they loved. They launched Ártica, an
online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the
Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The
+ Ártica feels like a uniquely twenty-first century business. The
small company has a global online presence with no physical
offices. Jorge and Mariana live in Uruguay, and the other two
full-time employees, who Jorge and Mariana have never actually met
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and
+ Ártica offers personalized education and consulting services, and
helps clients implement projects. All of these services are
- customized. They call it an <span class="quote">“<span class="quote">artisan</span>”</span> process because
+ customized. They call it an <span class="quote">“<span class="quote">artisan</span>”</span> process because
of the time and effort it takes to adapt their work for the
- particular needs of students and clients. <span class="quote">“<span class="quote">Each student or
+ particular needs of students and clients. <span class="quote">“<span class="quote">Each student or
client is paying for a specific solution to his or her problems
- and questions,</span>”</span> Mariana said. Rather than sell access to
+ and questions,</span>”</span> Mariana said. Rather than sell access to
their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses
- designed to attract large audiences. <span class="quote">“<span class="quote">Over the years, we
+ designed to attract large audiences. <span class="quote">“<span class="quote">Over the years, we
realized that online communities are more specific than we
- thought,</span>”</span> Mariana said. Ártica now provides more options
+ thought,</span>”</span> Mariana said. Ártica now provides more options
for classes and has lower enrollment in each course. This means
they can provide more attention to individual students and offer
classes on more specialized topics.
institutions, and some are smaller projects commissioned by
individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing
a project like a new course or e-book, they will go ahead because
they believe in it. They take the stance that every new project
leads them to something new, every new resource they create opens
new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed
+ Ártica relies heavily on their free Creative Commons–licensed
content to attract new students and clients. Everything they
- create—online education, blog posts, videos—is published under an
- Attribution-ShareAlike license (CC BY-SA). <span class="quote">“<span class="quote">We use a
+ create—online education, blog posts, videos—is published under an
+ Attribution-ShareAlike license (CC BY-SA). <span class="quote">“<span class="quote">We use a
ShareAlike license because we want to give the greatest freedom to
our students and readers, and we also want that freedom to be
- viral,</span>”</span> Jorge said. For them, giving others the right to
- reuse and remix their content is a fundamental value. <span class="quote">“<span class="quote">How
+ viral,</span>”</span> Jorge said. For them, giving others the right to
+ reuse and remix their content is a fundamental value. <span class="quote">“<span class="quote">How
can you offer an online educational service without giving
permission to download, make and keep copies, or print the
- educational resources?</span>”</span> Jorge said. <span class="quote">“<span class="quote">If we want to do
- the best for our students—those who trust in us to the point that
- they are willing to pay online without face-to-face contact—we
- have to offer them a fair and ethical agreement.</span>”</span>
+ educational resources?</span>”</span> Jorge said. <span class="quote">“<span class="quote">If we want to do
+ the best for our students—those who trust in us to the point that
+ they are willing to pay online without face-to-face contact—we
+ have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps
them build their reputation and visibility. People often share and
cite their work. A few years ago, a publisher even picked up one
- of their e-books and distributed printed copies. Ártica views
+ of their e-books and distributed printed copies. Ártica views
reuse of their work as a way to open up new opportunities for
their business.
</p><p>
This belief that openness creates new opportunities reflects
- another belief—in serendipity. When describing their process for
+ another belief—in serendipity. When describing their process for
creating content, they spoke of all of the spontaneous and organic
- ways they find inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative
+ ways they find inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative
process starts with a conversation between us, or with friends
- from other projects,</span>”</span> Jorge said. <span class="quote">“<span class="quote">That can be the
+ from other projects,</span>”</span> Jorge said. <span class="quote">“<span class="quote">That can be the
first step for a new blog post or another simple piece of content,
which can evolve to a more complex product in the future, like a
- course or a book.</span>”</span>
+ course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their
- creative process be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we
- don’t need to work hard in order to get good professional results,
- but the design process is more flexible,</span>”</span> Jorge said. They
+ creative process be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we
+ don’t need to work hard in order to get good professional results,
+ but the design process is more flexible,</span>”</span> 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.
</p><p>
People and relationships are also just as important, sometimes
- more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more
+ more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more
important to pay attention to people and process, rather than
- content or specific formats or materials,</span>”</span> Mariana said.
- <span class="quote">“<span class="quote">Materials and content are fluid. The important thing is the
- relationships.</span>”</span>
+ content or specific formats or materials,</span>”</span> Mariana said.
+ <span class="quote">“<span class="quote">Materials and content are fluid. The important thing is the
+ relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make
+ Ártica believes in the power of the network. They seek to make
connections with people and institutions across the globe so they
can learn from them and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values.
- <span class="quote">“<span class="quote">Good content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We
+ At the core of everything Ártica does is a set of values.
+ <span class="quote">“<span class="quote">Good content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We
also think that it is very important to take a stand for some
- things in the cultural sector.</span>”</span> Mariana and Jorge are
+ things in the cultural sector.</span>”</span> Mariana and Jorge are
activists. They defend free culture (the movement promoting the
freedom to modify and distribute creative work) and work to
demonstrate the intersection between free culture and other
Ultimately, what drives their work is a mission to democratize art
and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its
+ Of course, Ártica also has to make enough money to cover its
expenses. Human resources are, by far, their biggest expense. They
tap a network of collaborators on a case-by-case basis and hire
contractors for specific projects. Whenever possible, they draw
from artistic and cultural resources in the commons, and they rely
on free software. Their operation is small, efficient, and
sustainable, and because of that, it is a success.
- </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span>
- Jorge said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an
- approach that is very specific and personal.</span>”</span> Ártica’s
+ </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span>
+ Jorge said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an
+ approach that is very specific and personal.</span>”</span> Ártica’s
model is rooted in the personal at every level. For Mariana and
Jorge, success means doing what brings them personal meaning and
purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">“<span class="quote">If they seek only
- the traditional type of success, they will get frustrated,</span>”</span>
- Mariana said. <span class="quote">“<span class="quote">We try to show them another image of what it
- looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapter
6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ picture of success we get from the media. <span class="quote">“<span class="quote">If they seek only
+ the traditional type of success, they will get frustrated,</span>”</span>
+ Mariana said. <span class="quote">“<span class="quote">We try to show them another image of what it
+ looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Chapter
 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D
films using Blender software. Founded in 2006 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi,
production coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
Rather than just talking about the theoretical benefits of sharing
and free culture, Ton is very much about doing and making free
- culture. Blender’s production coordinator Francesco Siddi told us,
- <span class="quote">“<span class="quote">Ton believes if you don’t make content using your tools,
- then you’re not doing anything.</span>”</span>
+ culture. Blender’s production coordinator Francesco Siddi told us,
+ <span class="quote">“<span class="quote">Ton believes if you don’t make content using your tools,
+ then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the
+ Blender’s history begins in the late 1990s, when Ton created the
Blender software. Originally, the software was an in-house
resource for his animation studio based in the Netherlands.
Investors became interested in the software, so he began marketing
the software to the public, offering a free version in addition to
a paid version. Sales were disappointing, and his investors gave
up on the endeavor in the early 2000s. He made a deal with
- investors—if he could raise enough money, he could then make the
+ investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding
software became freely available for anyone to use. Simply
applying the General Public License to the software, however, was
not enough to create a thriving community around it. Francesco
- told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and
+ told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and
their vision of how people work together. Ton is a fantastic
community builder and manager, and he put a lot of work into
fostering a community of developers so that the project could
- live.</span>”</span>
+ live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender
developed quickly because the community could make fixes and
- improvements. <span class="quote">“<span class="quote">Software should be free and open to
- hack,</span>”</span> Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing
- the same thing in the dark for ten years.</span>”</span> Ton set up the
+ improvements. <span class="quote">“<span class="quote">Software should be free and open to
+ hack,</span>”</span> Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing
+ the same thing in the dark for ten years.</span>”</span> Ton set up the
Blender Foundation to oversee and steward the software development
and maintenance.
</p><p>
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.
- <span class="quote">“<span class="quote">The idea that making money was possible by producing
- CC-licensed material was mind-blowing to people,</span>”</span> he said.
- <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to believe
- it.</span>’</span></span>”</span>
+ <span class="quote">“<span class="quote">The idea that making money was possible by producing
+ CC-licensed material was mind-blowing to people,</span>”</span> he said.
+ <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to believe
+ it.</span>’</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It
was so successful that Ton decided to set up the Blender
Institute, an entity dedicated to hosting open-movie projects. The
- Blender Institute’s next project was an even bigger success. The
+ Blender Institute’s next project was an even bigger success. The
film, Big Buck Bunny, went viral, and its animated characters were
picked up by marketers.
</p><p>
almost on an industrial scale because of the number of moving
parts. This requires a lot of specialized assistance, but the
Blender Institute has no problem finding the talent it needs to
- help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
- film projects because the talent emerges naturally,</span>”</span>
- Francesco said. <span class="quote">“<span class="quote">So many people want to work with us, and we
- can’t always hire them because of budget constraints.</span>”</span>
+ help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
+ film projects because the talent emerges naturally,</span>”</span>
+ Francesco said. <span class="quote">“<span class="quote">So many people want to work with us, and we
+ can’t always hire them because of budget constraints.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is a whole community who sees and
- understands the benefit of these projects,</span>”</span> Francesco said.
+ their work. <span class="quote">“<span class="quote">There is a whole community who sees and
+ understands the benefit of these projects,</span>”</span> Francesco said.
</p><p>
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.
- <span class="quote">“<span class="quote">Once a project is over, everyone goes home,</span>”</span> he
- said. <span class="quote">“<span class="quote">It is great fun, but then it ends. That is a
- problem.</span>”</span>
+ <span class="quote">“<span class="quote">Once a project is over, everyone goes home,</span>”</span> he
+ said. <span class="quote">“<span class="quote">It is great fun, but then it ends. That is a
+ problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive
ongoing support rather than on a project-by-project basis. Their
solution is Blender Cloud, a subscription-style crowdfunding model
akin to the online crowdfunding platform, Patreon. For about ten
euros each month, subscribers get access to download everything
- the Blender Institute produces—software, art, training, and more.
+ the Blender Institute produces—software, art, training, and more.
All of the assets are available under an Attribution license (CC
BY) or placed in the public domain (CC0), but they are initially
made available only to subscribers. Blender Cloud enables
- subscribers to follow Blender’s movie projects as they develop,
+ subscribers to follow Blender’s movie projects as they develop,
sharing detailed information and content used in the creative
process. Blender Cloud also has extensive training materials and
libraries of characters and other assets used in various projects.
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. <span class="quote">“<span class="quote">This is our freedom,</span>”</span> he told us, <span class="quote">“<span class="quote">and
- for artists, freedom is everything.</span>”</span>
+ base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span> he told us, <span class="quote">“<span class="quote">and
+ for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender
Institute. The Blender Foundation is funded primarily by
</p><p>
Since 2006, he has been making films available along with all of
their source material. He says he has hardly ever seen people
- stepping into Blender’s shoes and trying to make money off of
+ stepping into Blender’s shoes and trying to make money off of
their content. Ton believes this is because the true value of what
- they do is in the creative and production process. <span class="quote">“<span class="quote">Even
+ they do is in the creative and production process. <span class="quote">“<span class="quote">Even
when you share everything, all your original sources, it still
takes a lot of talent, skills, time, and budget to reproduce what
- you did,</span>”</span> Ton said.
+ you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapter
7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Chapter
 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly
interesting about the Cards Against Humanity business model.
- <span class="quote">“<span class="quote">We make a product. We sell it for money. Then we spend less
- money than we make,</span>”</span> Max said.
+ <span class="quote">“<span class="quote">We make a product. We sell it for money. Then we spend less
+ money than we make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game,
modeled after the game Apples to Apples. To play, one player asks
the other players submit their funniest white card in response.
The catch is that all of the cards are filled with crude,
gruesome, and otherwise awful things. For the right kind of people
- (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
+ (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold
same noncommercial terms. The ability to adapt the game is like an
entire new game unto itself.
</p><p>
- All together, these factors—the crass tone of the game and
+ 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.
+ game—give the game a massive cult following.
</p><p>
Their success is not the result of a grand plan. Instead, Cards
Against Humanity was the last in a long line of games and comedy
projects that Max Temkin and his friends put together for their
own amusement. As Max tells the story, they made the game so they
- could play it themselves on New Year’s Eve because they were too
+ could play it themselves on New Year’s Eve because they were too
nerdy to be invited to other parties. The game was a hit, so they
decided to put it up online as a free PDF. People started asking
if they could pay to have the game printed for them, and
eventually they decided to run a Kickstarter to fund the printing.
- They set their Kickstarter goal at $4,000—and raised $15,000. The
+ They set their Kickstarter goal at $4,000—and raised $15,000. The
game was officially released in May 2011.
</p><p>
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. <span class="quote">“<span class="quote">It kind of
- just happened,</span>”</span> he said.
+ they decided to make it an ongoing business. <span class="quote">“<span class="quote">It kind of
+ just happened,</span>”</span> he said.
</p><p>
- But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> 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 <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
+ calls the FAQ on their website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than
- vulgarity and shock value. The company’s marketing efforts around
+ vulgarity and shock value. The company’s marketing efforts around
Black Friday illustrate this particularly well. For those outside
the United States, Black Friday is the term for the day after the
Thanksgiving holiday, the biggest shopping day of the year. It is
an incredibly important day for Cards Against Humanity, like it is
for all U.S. retailers. Max said they struggled with what to do on
- Black Friday because they didn’t want to support what he called
- the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has become,
+ Black Friday because they didn’t want to support what he called
+ the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has become,
particularly since it follows a day that is about being grateful
for what you have. In 2013, after deliberating, they decided to
have an Everything Costs $5 More sale.
- </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering
- if our fans were going to hate us for it,</span>”</span> he said.
- <span class="quote">“<span class="quote">But it made us laugh so we went with it. People totally
- caught the joke.</span>”</span>
+ </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering
+ if our fans were going to hate us for it,</span>”</span> he said.
+ <span class="quote">“<span class="quote">But it made us laugh so we went with it. People totally
+ caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more
- importantly, it engages their fans. <span class="quote">“<span class="quote">One of the most
+ importantly, it engages their fans. <span class="quote">“<span class="quote">One of the most
surprising things you can do in capitalism is just be honest with
- people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks people that there is
- transparency about what you are doing.</span>”</span>
+ people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks people that there is
+ transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do
+ Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do
something a little subversive and unexpected, the public wants to
- be a part of the joke.</span>”</span> One year they did a Give Cards
+ be a part of the joke.</span>”</span> 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 decision to apply a Creative Commons license to the
game. Trusting your customers to reuse and remix your work
- requires a leap of faith. Cards Against Humanity obviously isn’t
+ requires a leap of faith. Cards Against Humanity obviously isn’t
afraid of doing the unexpected, but there are lines even they do
not want to cross. Before applying the license, Max said they
worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
- line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
- said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a
- hundred times over because there are so many benefits.</span>”</span>
+ line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+ said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a
+ hundred times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes
of it, but unsanctioned adaptations are more likely to fly under
and promote their creations openly. Today there are thousands of
fan expansions of the game.
</p><p>
- Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the
+ Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the
most people involved. Making the game free and available under a
CC license led to the unbelievable situation where we are one of
the best-marketed games in the world, and we have never spent a
- dime on marketing.</span>”</span>
+ dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its
customers to do with the game. They chose the
people from using the game to make money. It also requires that
adaptations of the game be made available under the same licensing
terms if they are shared publicly. Cards Against Humanity also
- polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can
- use our brand and our game and make money off of it,</span>”</span> Max
+ polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can
+ use our brand and our game and make money off of it,</span>”</span> Max
said. About 99.9 percent of the time, they just send an email to
those making commercial use of the game, and that is the end of
it. There have only been a handful of instances where they had to
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. <span class="quote">“<span class="quote">We have
- daylong arguments about commas,</span>”</span> Max said. <span class="quote">“<span class="quote">The
+ of work into creating new cards for the game. <span class="quote">“<span class="quote">We have
+ daylong arguments about commas,</span>”</span> Max said. <span class="quote">“<span class="quote">The
slacker tone of the cards gives people the impression that it is
easy to write them, but it is actually a lot of work and
- quibbling.</span>”</span>
+ quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The
+ That means cocreation with their fans really doesn’t work. The
company has a submission mechanism on their website, and they get
thousands of suggestions, but it is very rare that a submitted
card is adopted. Instead, the eight initial creators remain the
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. <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we
- make money so we can make more jokes and games,</span>”</span> he said.
+ success. <span class="quote">“<span class="quote">We don’t make jokes and games to make money—we
+ make money so we can make more jokes and games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various
- charities and causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span>
- Max said. <span class="quote">“<span class="quote">We all have other interests and hobbies. We are
+ charities and causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span>
+ Max said. <span class="quote">“<span class="quote">We all have other interests and hobbies. We are
passionate about other things going on in our lives. A lot of the
activism we have done comes out of us taking things from the rest
of our lives and channeling some of the excitement from the game
- into it.</span>”</span>
+ into it.</span>”</span>
</p><p>
Seeing money as fuel rather than the ultimate goal is what has
enabled them to embrace Creative Commons licensing without
for the company, but nonetheless, giving up exclusive control of
your work necessarily means giving up some opportunities to
extract more money from customers.
- </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
- licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a
+ </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
+ licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">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.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapter
8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Chapter
 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan,
founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
and the Age in Melbourne, Australia. He experienced firsthand the
decline of newspapers, including the collapse of revenues,
layoffs, and the constant pressure to reduce costs. After he left
- the Age in 2005, his concern for the future journalism didn’t go
+ the Age in 2005, his concern for the future journalism didn’t go
away. Andrew made a commitment to come up with an alternative
model.
</p><p>
still an appetite for journalism with depth and substance but was
concerned about the increasing focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a
+ While at the Age, he’d become friends with a vice-chancellor of a
university in Melbourne who encouraged him to talk to smart people
- across campus—an astrophysicist, a Nobel laureate, earth
+ across campus—an astrophysicist, a Nobel laureate, earth
scientists, economists . . . These were the kind of smart people
he wished were more involved in informing the world about what is
going on and correcting the errors that appear in media. However,
they were reluctant to engage with mass media. Often, journalists
- didn’t understand what they said, or unilaterally chose what
+ didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people
felt was wrong or mischaracterized. Newspapers want to attract a
mass audience. Scholars want to communicate serious news,
- findings, and insights. It’s not a perfect match. Universities are
+ findings, and insights. It’s not a perfect match. Universities are
massive repositories of knowledge, research, wisdom, and
expertise. But a lot of that stays behind a wall of their own
- making—there are the walled garden and ivory tower metaphors, and
+ making—there are the walled garden and ivory tower metaphors, and
in more literal terms, the paywall. Broadly speaking, universities
are part of society but disconnected from it. They are an enormous
public resource but not that good at presenting their expertise to
everything from story structure to headline, captions, and quotes.
The editors could help turn something that is academic into
something understandable and readable. And this would be a key
- difference from traditional journalism—the subject matter expert
+ difference from traditional journalism—the subject matter expert
would get a chance to check the article and give final approval
before it is published. Compare this with reporters just picking
and choosing the quotes and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a
functioning democracy is access to independent, high-quality,
- informative journalism. The Conversation’s aim is for people to
+ informative journalism. The Conversation’s aim is for people to
have a better understanding of current affairs and complex
- issues—and hopefully a better quality of public discourse. The
+ issues—and hopefully a better quality of public discourse. The
Conversation sees itself as a source of trusted information
dedicated to the public good. Their core mission is simple: to
provide readers with a reliable source of evidence-based
comes from the university and research community, it still needs
to be fully disclosed. The Conversation does not sit behind a
paywall. Andrew believes access to information is an issue of
- equality—everyone should have access, like access to clean water.
+ equality—everyone should have access, like access to clean water.
The Conversation is committed to an open and free Internet.
Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published
- with the Attribution- NoDerivs license (CC BY-ND). They’re freely
+ 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 republished their content. The
Conversation website gets about 2.9 million unique views per
month, but through republication they have thirty-five million
- readers. This couldn’t have been done without the Creative Commons
- license, and in Andrew’s view, Creative Commons is central to
+ readers. This couldn’t have been done without the Creative Commons
+ license, and in Andrew’s view, Creative Commons is central to
everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what
they find and recommend it to their friends, peers, and networks.
Readership has grown primarily through word of mouth. While they
- don’t have sales and marketing, they do promote their work through
+ don’t have sales and marketing, they do promote their work through
social media (including Twitter and Facebook), and by being an
accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what
+ It’s usual for the founders of any company to ask themselves what
kind of company it should be. It quickly became clear to the
founders of the Conversation that they wanted to create a public
good rather than make money off of information. Most media
companies are working to aggregate as many eyeballs as possible
- and sell ads. The Conversation founders didn’t want this model. It
+ and sell ads. The Conversation founders didn’t want this model. It
takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa,
the United Kingdom, France, and the United States, in addition to
the one for Australia. All five editions have their own editorial
- mastheads, advisory boards, and content. The Conversation’s global
+ mastheads, advisory boards, and content. The Conversation’s global
virtual newsroom has roughly ninety staff working with thirty-five
thousand academics from over sixteen hundred universities around
the world. The Conversation would like to be working with
university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners,
- strategic partners, and funders. They’ve received funding from
+ strategic partners, and funders. They’ve received funding from
foundations, corporates, institutions, and individual donations,
but the Conversation is shifting toward paid memberships by
universities and research institutions to sustain operations. This
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
- <span class="quote">“<span class="quote">members and funders.</span>”</span> Early participants may be
- designated as <span class="quote">“<span class="quote">founding members,</span>”</span> with seats on the
+ <span class="quote">“<span class="quote">members and funders.</span>”</span> Early participants may be
+ designated as <span class="quote">“<span class="quote">founding members,</span>”</span> with seats on the
editorial advisory board.
</p><p>
Academics are not paid for their contributions, but they get free
</p><p>
These reach and impact metrics show the benefits of membership.
With the Conversation, universities can engage with the public and
- show why they’re of value.
+ show why they’re of value.
</p><p>
- With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic
- Flair,</span>”</span> the Conversation represents a new form of
+ With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic
+ Flair,</span>”</span> the Conversation represents a new form of
journalism that contributes to a more informed citizenry and
improved democracy around the world. Its open business model and
- use of Creative Commons show how it’s possible to generate both a
+ use of Creative Commons show how it’s possible to generate both a
public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapter
9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Chapter
 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger,
and journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and
translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12,
2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he
- is adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the
+ Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he
+ is adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the
idea that you can take a thing that has certain qualities, remove
- the qualities, and go on selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m
- not out there trying to figure out how to be a brand. I’m doing
+ the qualities, and go on selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m
+ not out there trying to figure out how to be a brand. I’m doing
this thing that animates me to work crazy insane hours because
- it’s the most important thing I know how to do.</span>”</span>
+ it’s the most important thing I know how to do.</span>”</span>
</p><p>
Cory calls himself an entrepreneur. He likes to say his success
came from making stuff people happened to like and then getting
license. Cory is coeditor of the popular CC-licensed site Boing
Boing, where he writes about technology, politics, and
intellectual property. He has also written several nonfiction
- books, including the most recent Information Doesn’t Want to Be
+ books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the
Internet age.
</p><p>
takes on paid speaking gigs and is experimenting with
pay-what-you-want models for his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following,
+ While Cory’s extensive body of fiction work has a large following,
he is just as well known for his activism. He is an outspoken
opponent of restrictive copyright and digital-rights-management
(DRM) technology used to lock up content because he thinks both
undermine creators and the public interest. He is currently a
special adviser at the Electronic Frontier Foundation, where he is
involved in a lawsuit challenging the U.S. law that protects DRM.
- Cory says his political work doesn’t directly make him money, but
+ Cory says his political work doesn’t directly make him money, but
if he gave it up, he thinks he would lose credibility and, more
- importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My
+ importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My
political work is a different expression of the same
- artistic-political urge,</span>”</span> he said. <span class="quote">“<span class="quote">I have this
- suspicion that if I gave up the things that didn’t make me money,
+ artistic-political urge,</span>”</span> he said. <span class="quote">“<span class="quote">I have this
+ suspicion that if I gave up the things that didn’t make me money,
the genuineness would leach out of what I do, and the quality that
- causes people to like what I do would be gone.</span>”</span>
+ causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
- motivation. At the start of his book Information Doesn’t Want to
+ motivation. At the start of his book Information Doesn’t Want to
Be Free, he stresses how important it is not to become an artist
- if your goal is to get rich. <span class="quote">“<span class="quote">Entering the arts because you
+ if your goal is to get rich. <span class="quote">“<span class="quote">Entering the arts because you
want to get rich is like buying lottery tickets because you want
- to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It might work, but it almost
- certainly won’t. Though, of course, someone always wins the
- lottery.</span>”</span> He acknowledges that he is one of the lucky few
- to <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no
- matter what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.
- <span class="quote">“<span class="quote">Long before I wrote to keep myself fed and sheltered, I was
- writing to keep myself sane.</span>”</span>
+ to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It might work, but it almost
+ certainly won’t. Though, of course, someone always wins the
+ lottery.</span>”</span> He acknowledges that he is one of the lucky few
+ to <span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no
+ matter what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote.
+ <span class="quote">“<span class="quote">Long before I wrote to keep myself fed and sheltered, I was
+ writing to keep myself sane.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">It felt
- morally right,</span>”</span> he said of his decision to adopt Creative
- Commons licenses. <span class="quote">“<span class="quote">I felt like I wasn’t contributing to the
+ with Creative Commons is a moral imperative. <span class="quote">“<span class="quote">It felt
+ morally right,</span>”</span> he said of his decision to adopt Creative
+ Commons licenses. <span class="quote">“<span class="quote">I felt like I wasn’t contributing to the
culture of surveillance and censorship that has been created to
- try to stop copying.</span>”</span> In other words, using CC licenses
+ try to stop copying.</span>”</span> In other words, using CC licenses
symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing
- his work with Creative Commons. While he acknowledges he hasn’t
+ his work with Creative Commons. While he acknowledges he hasn’t
been able to do a controlled experiment to compare the commercial
benefits of licensing with CC against reserving all rights, he
thinks he has sold more books using a CC license than he would
have without it. Cory says his goal is to convince people they
- should pay him for his work. <span class="quote">“<span class="quote">I started by not calling them
- thieves,</span>”</span> he said.
+ should pay him for his work. <span class="quote">“<span class="quote">I started by not calling them
+ thieves,</span>”</span> he said.
</p><p>
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. <span class="quote">“<span class="quote">I knew there was a
+ looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a
- successful career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the
+ successful career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the
time, it took eighty hours to OCR a book, which is a big effort. I
decided to spare them the time and energy, and give them the book
- for free in a format destined to spread.</span>”</span>
+ for free in a format destined to spread.</span>”</span>
</p><p>
Cory admits the stakes were pretty low for him when he first
adopted Creative Commons licenses. He only had to sell two
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.
- <span class="quote">“<span class="quote">Getting the hell out of the way for people who want to
- share their love of you with other people sounds obvious, but it’s
- remarkable how many people don’t do it,</span>”</span> he said.
+ <span class="quote">“<span class="quote">Getting the hell out of the way for people who want to
+ share their love of you with other people sounds obvious, but it’s
+ remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables
- him to view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open
+ him to view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open
to fan activity makes you part of the conversation about what fans
- do with your work and how they interact with it,</span>”</span> he said.
- Cory’s own website routinely highlights cool things his audience
+ do with your work and how they interact with it,</span>”</span> he said.
+ Cory’s own website routinely highlights cool things his audience
has done with his work. Unlike corporations like Disney that tend
to have a hands-off relationship with their fan activity, he has a
- symbiotic relationship with his audience. <span class="quote">“<span class="quote">Engaging with
- your audience can’t guarantee you success,</span>”</span> he said.
- <span class="quote">“<span class="quote">And Disney is an example of being able to remain aloof and
+ symbiotic relationship with his audience. <span class="quote">“<span class="quote">Engaging with
+ your audience can’t guarantee you success,</span>”</span> he said.
+ <span class="quote">“<span class="quote">And Disney is an example of being able to remain aloof and
still being the most successful company in the creative industry
in history. But I figure my likelihood of being Disney is pretty
- slim, so I should take all the help I can get.</span>”</span>
+ slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative
Commons license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND).
is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his
+ In his book Information Doesn’t Want to Be Free, Cory likens his
philosophy to thinking like a dandelion. Dandelions produce
thousands of seeds each spring, and they are blown into the air
going in every direction. The strategy is to maximize the number
of blind chances the dandelion has for continuing its genetic
line. Similarly, he says there are lots of people out there who
may want to buy creative work or compensate authors for it in some
- other way. <span class="quote">“<span class="quote">The more places your work can find itself, the
+ other way. <span class="quote">“<span class="quote">The more places your work can find itself, the
greater the likelihood that it will find one of those would-be
customers in some unsuspected crack in the metaphorical
- pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The copies that others make of
- my work cost me nothing, and present the possibility that I’ll get
- something.</span>”</span>
+ pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The copies that others make of
+ my work cost me nothing, and present the possibility that I’ll get
+ something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be
- shared more widely around the Web. He avoids DRM—and openly
- opposes the practice—for similar reasons. DRM has the effect of
+ shared more widely around the Web. He avoids DRM—and openly
+ opposes the practice—for similar reasons. DRM has the effect of
tying a work to a particular platform. This digital lock, in turn,
strips the authors of control over their own work and hands that
- control over to the platform. He calls it Cory’s First Law:
- <span class="quote">“<span class="quote">Anytime someone puts a lock on something that belongs to
- you and won’t give you the key, that lock isn’t there for your
- benefit.</span>”</span>
+ control over to the platform. He calls it Cory’s First Law:
+ <span class="quote">“<span class="quote">Anytime someone puts a lock on something that belongs to
+ you and won’t give you the key, that lock isn’t there for your
+ benefit.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On the one hand, we can credibly
- make our work available to a widely dispersed audience,</span>”</span> he
- said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we historically
- sold to are making it harder to go around them.</span>”</span> Cory
+ designed to limit them. <span class="quote">“<span class="quote">On the one hand, we can credibly
+ make our work available to a widely dispersed audience,</span>”</span> he
+ said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we historically
+ sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying
upon major platforms that will try to take control over his work.
</p><p>
for free, as long as it is easy to do. He was extremely successful
using Humble Bundle, a platform that allows people to pay what
they want for DRM-free versions of a bundle of a particular
- creator’s work. He is planning to try his own pay-what-you-want
+ creator’s work. He is planning to try his own pay-what-you-want
experiment soon.
</p><p>
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. <span class="quote">“<span class="quote">If you look at the history of
- artists, most die in penury,</span>”</span> he said. <span class="quote">“<span class="quote">That reality
+ single email he gets. <span class="quote">“<span class="quote">If you look at the history of
+ artists, most die in penury,</span>”</span> he said. <span class="quote">“<span class="quote">That reality
means that for artists, we have to find ways to support ourselves
when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring
out how to stay connected to those people who have been touched by
- your work.</span>”</span>
+ your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts
+ Cory’s realism about the difficulty of making a living in the arts
does not reflect pessimism about the Internet age. Instead, he
says the fact that it is hard to make a living as an artist is
- nothing new. What is new, he writes in his book, <span class="quote">“<span class="quote">is how
+ nothing new. What is new, he writes in his book, <span class="quote">“<span class="quote">is how
many ways there are to make things, and to get them into other
- people’s hands and minds.</span>”</span>
+ people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapter
10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Chapter
 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel,
founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing
+ Figshare’s mission is to change the face of academic publishing
through improved dissemination, discoverability, and reusability
of scholarly research. Figshare is a repository where users can
- make all the output of their research available—from posters and
- presentations to data sets and code—in a way that’s easy to
+ make all the output of their research available—from posters and
+ presentations to data sets and code—in a way that’s easy to
discover, cite, and share. Users can upload any file format, which
can then be previewed in a Web browser. Research output is
disseminated in a way that the current scholarly-publishing model
does not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make
- money? How do we know you’ll be here in five years? Can you, as a
+ money? How do we know you’ll be here in five years? Can you, as a
for-profit venture, be trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate
working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and
- persistent identifiers— URL links that always point back to the
+ persistent identifiers— URL links that always point back to the
original object ensuring the research is citable for the long
term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for
- a persistent identifier. In the DOI system, an object’s metadata
+ a persistent identifier. In the DOI system, an object’s metadata
is stored as a series of numbers in the DOI name. Referring to an
object by its DOI is more stable than referring to it by its URL,
because the location of an object (the web page or URL) can often
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending
Creative Commons. Based on what was happening in those communities
- and Mark’s dialogue with peers, he went with CC0 (in the public
+ and Mark’s dialogue with peers, he went with CC0 (in the public
domain) for data sets and CC BY (Attribution) for figures, videos,
and data sets.
</p><p>
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 <span class="quote">“<span class="quote">You retain ownership.
+ value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership.
You license it. You get credit. We just make sure it
- persists.</span>”</span>
+ persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare
stands for figures.) Using investment funds, Mark made significant
</p><p>
Figshare diversified its business model to include services for
journals. Figshare began hosting large amounts of data for the
- journals’ online articles. This additional data improved the
+ journals’ online articles. This additional data improved the
quality of the articles. Outsourcing this service to Figshare
freed publishers from having to develop this functionality as part
of their own infrastructure. Figshare-hosted data also provides a
link back to the article, generating additional click-through and
- readership—a benefit to both journal publishers and researchers.
+ 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
for Institutions) that securely hosts research data of
institutions in the cloud. Services include not just hosting but
data metrics, data dissemination, and user-group administration.
- Figshare’s workflow, and the services they offer for institutions,
+ Figshare’s workflow, and the services they offer for institutions,
take into account the needs of librarians and administrators, as
well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles
and benefits of open science are at the heart of Figshare, and
Mark believes CC BY is the best license for this. On the other
- hand, institutions were saying they wouldn’t use Figshare unless
+ hand, institutions were saying they wouldn’t use Figshare unless
it offered a choice in licenses. He initially refused to offer
anything beyond CC0 and CC BY, but after seeing an open-source
CERN project offer all Creative Commons licenses without any
applications. As an example, Mark shared a Figshare data set
showing the journal subscriptions that higher-education
institutions in the United Kingdom paid to ten major
- publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a> Figshare’s API enables that data to be pulled into an
+ publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a> Figshare’s API enables that data to be pulled into an
app developed by a completely different researcher that converts
the data into a visually interesting graph, which any viewer can
alter by changing any of the variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
</p><p>
Mark says his success is partly about being in the right place at
the right time. He also believes that the diversification of
- Figshare’s model over time has been key to success. Figshare now
+ Figshare’s model over time has been key to success. Figshare now
offers a comprehensive set of services to researchers, publishers,
and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
subscriptions, he believes Figshare would have struggled. In
- Figshare’s early days, their primary users were early-career and
+ Figshare’s early days, their primary users were early-career and
late-career academics. It has only been because funders mandated
open licensing that Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus
- downloads, 800,000–plus user uploads, 2 million–plus articles,
- 500,000-plus collections, and 5,000–plus projects. Sixty percent
+ Today Figshare has 26 million–plus page views, 7.5 million–plus
+ downloads, 800,000–plus user uploads, 2 million–plus articles,
+ 500,000-plus collections, and 5,000–plus projects. Sixty percent
of their traffic comes from Google. A sister company called
Altmetric tracks the use of Figshare by others, including
Wikipedia and news sources.
Figshare uses the revenue it generates from the premium
subscribers, journal publishers, and institutions to fund and
expand what it can offer to researchers for free. Figshare has
- publicly stuck to its principles—keeping the free service free and
- requiring the use of CC BY and CC0 from the start—and from Mark’s
+ publicly stuck to its principles—keeping the free service free and
+ requiring the use of CC BY and CC0 from the start—and from Mark’s
perspective, this is why people trust Figshare. Mark sees new
competitors coming forward who are just in it for money. If
- Figshare was only in it for the money, they wouldn’t care about
- offering a free version. Figshare’s principles and advocacy for
+ Figshare was only in it for the money, they wouldn’t care about
+ offering a free version. Figshare’s principles and advocacy for
openness are a key differentiator. Going forward, Mark sees
Figshare not only as supporting open access to research but also
enabling people to collaborate and make new discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapter
11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Chapter
 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace,
founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data
presented at the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are
thousands of valuable and relevant data sets freely available to
- us right now, but most people don’t use them. She used to think
- this meant people didn’t care about being informed, but she’s come
+ us right now, but most people don’t use them. She used to think
+ this meant people didn’t care about being informed, but she’s come
to see that she was wrong. Almost everyone wants to be informed
- about issues that matter—not only to them, but also to their
+ about issues that matter—not only to them, but also to their
families, their communities, their businesses, and their country.
- But there’s a big difference between availability and
+ But there’s a big difference between availability and
accessibility of information. Data is spread across thousands of
sites and is held within databases and spreadsheets that require
both time and skill to engage with. To use data when making a
improving economic prosperity, social well-being, environmental
quality, and environmental productivity for New Zealand and New
Zealanders. While giving talks to community and business groups,
- Lillian realized <span class="quote">“<span class="quote">every single issue we addressed would have
+ Lillian realized <span class="quote">“<span class="quote">every single issue we addressed would have
been easier to deal with if more people understood the basic
- facts.</span>”</span> But understanding the basic facts sometimes
+ facts.</span>”</span> But understanding the basic facts sometimes
requires data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual
people could contribute their data and visuals via a wiki.
However, few people had graphs that could be used and shared, and
there were no standards or consistency around the data and the
- visuals. Realizing the wiki model wasn’t working, Lillian brought
+ visuals. Realizing the wiki model wasn’t working, Lillian brought
the process of data aggregation, curation, and visual presentation
in-house, and invested in the technology to help automate some of
it. Wiki New Zealand became Figure.NZ, and efforts were reoriented
toward providing services to those wanting to open their data and
present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other
+ Here’s how it works. Figure.NZ sources data from other
organizations, including corporations, public repositories,
government departments, and academics. Figure.NZ imports and
- extracts that data, and then validates and standardizes it—all
+ extracts that data, and then validates and standardizes it—all
with a strong eye on what will be best for users. They then make
the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the
colleague. Lillian spent time looking at what Creative Commons
offered and thought it looked good, was clear, and made common
sense. It was easy to use and easy for others to understand. Over
- time, she’s come to realize just how fortunate and important that
- decision turned out to be. New Zealand’s government has an
+ time, she’s come to realize just how fortunate and important that
+ decision turned out to be. New Zealand’s government has an
open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and
noncopyrighted work and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize the licensing of works with
government copyright and how they can be reused, and it does this
with Creative Commons licenses. As a result, 98 percent of all
government-agency data is Creative Commons licensed, fitting in
- nicely with Figure.NZ’s decision.
+ nicely with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively
- new, only a hundred years old or so. She’s convinced that twenty
+ new, only a hundred years old or so. She’s convinced that twenty
years from now, we will see new and different models for business.
Figure.NZ is set up as a nonprofit charity. It is purpose-driven
but also strives to pay people well and thinks like a business.
Lillian sees the charity-nonprofit status as an essential element
for the mission and purpose of Figure.NZ. She believes Wikipedia
- would not work if it were for profit, and similarly, Figure.NZ’s
+ would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want
- to use it that they can rely on Figure.NZ’s motives. People see
+ to use it that they can rely on Figure.NZ’s motives. People see
them as a trusted wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses
Figure.NZ has multiple lines of business. They provide commercial
services to organizations that want their data publicly available
and want to use Figure.NZ as their publishing platform. People who
- want to publish open data appreciate Figure.NZ’s ability to do it
+ want to publish open data appreciate Figure.NZ’s ability to do it
faster, more easily, and better than they can. Customers are
encouraged to help their users find, use, and make things from the
- data they make available on Figure.NZ’s website. Customers control
+ data they make available on Figure.NZ’s website. Customers control
what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves
- customers who want a specific collection of charts created—for
+ customers who want a specific collection of charts created—for
example, for their website or annual report. Charging the
organizations that want to make their data available enables
Figure.NZ to provide their site free to all users, to truly
sometimes makes it difficult for customers and Figure.NZ to figure
out what it would cost to import, standardize, and display that
data in a useful way. To deal with this, Figure.NZ uses
- <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate a
+ <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate a
certain budget to the task that Figure.NZ is then free to draw
- from, as long as Figure.NZ frequently reports on what they’ve
+ from, as long as Figure.NZ frequently reports on what they’ve
produced so the customer can determine the value for money. This
strategy has helped build trust and transparency about the level
of effort associated with doing work that has never been done
before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB
- Bank and Statistics New Zealand are partners who back Figure.NZ’s
+ Bank and Statistics New Zealand are partners who back Figure.NZ’s
efforts. As one example, with their support Figure.NZ has been
able to create Business Figures, a special way for businesses to
find useful data without having to know what questions to
developed a deep expertise in taking random styles of data,
standardizing it, and making it useful. Lillian realized that
Figure.NZ could easily become a warehouse of seventy people doing
- data. But for Lillian, growth isn’t always good. In her view,
+ data. But for Lillian, growth isn’t always good. In her view,
bigger often means less effective. Lillian set artificial
constraints on growth, forcing the organization to think
differently and be more efficient. Rather than in-house growth,
they are growing and building external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a
+ Figure.NZ’s website displays visuals and data associated with a
wide range of categories including crime, economy, education,
employment, energy, environment, health, information and
communications technology, industry, tourism, and many others. A
</p><p>
Figure.NZ believes data and visuals should be useful. They provide
their customers with a data collection template and teach them why
- it’s important and how to use it. They’ve begun putting more
+ it’s important and how to use it. They’ve begun putting more
emphasis on tracking what users of their website want. They also
get requests from social media and through email for them to share
- data for a specific topic—for example, can you share data for
+ data for a specific topic—for example, can you share data for
water quality? If they have the data, they respond quickly; if
- they don’t, they try and identify the organizations that would
+ they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
- Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place
+ Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place
for people to be curious about, access, and interpret data on
topics they are interested in.
</p><p>
behalf of others, whether it was on behalf of a country or
companies.
</p><p>
- "But now we live in a world where it’s really easy to share
+ "But now we live in a world where it’s really easy to share
information widely and also to communicate widely. In the world we
live in now, the best future is the one where everyone can make
well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed
decisions is one of the areas where there is the biggest gaps. We
- don’t really use numbers as a part of our thinking and part of our
+ don’t really use numbers as a part of our thinking and part of our
understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds
of sites. In addition, for the most part, deep thinking based on
- data is constrained to experts because most people don’t have data
+ data is constrained to experts because most people don’t have data
literacy. There once was a time when many citizens in society
- couldn’t read or write. However, as a society, we’ve now come to
+ couldn’t read or write. However, as a society, we’ve now come to
believe that reading and writing skills should be something all
- citizens have. We haven’t yet adopted a similar belief around
+ citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a
few specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that
- everyone can use numbers in their thinking, and it’s built a
+ everyone can use numbers in their thinking, and it’s built a
technological platform along with trust and a network of
relationships to make that possible. What you can see on Figure.NZ
are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help
+ <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help
people analyze what they see around them. A way to be thoughtful
and informed about society. A means of engaging in conversation
and shaping decision making that transcends personal experience.
The long-term value and impact is almost impossible to measure,
but the goal is to help citizens gain understanding and work
- together in more informed ways to shape the future.</span>”</span>
+ together in more informed ways to shape the future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for
+ 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 <span class="quote">“<span class="quote">network effect</span>”</span>— users
+ Zealand and to get the <span class="quote">“<span class="quote">network effect</span>”</span>— users
dramatically increasing value for themselves and for others
through use of their service. Creative Commons is core to making
the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapter
12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Chapter
 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter,
founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- The serial entrepreneur Dr. Frances Pinter has been at the
+ 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
Open Access award in 2014 and a Curtin University Commercial
Innovation Award for Innovation in Education in 2015.
</p><p>
- Dr. Pinter has been in academic publishing most of her career.
+ 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
associated with getting the book to print would be lost.
Surprisingly, Bloomsbury found that sales of the print versions of
these books were 10 to 20 percent higher than normal. Frances
- found it intriguing that the Creative Commons–licensed free online
+ found it intriguing that the Creative Commons–licensed free online
book acts as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of
- the book: 1) the Creative Commons–licensed free online book in PDF
+ the book: 1) the Creative Commons–licensed free online book in PDF
form, 2) the printed book, and 3) a digital version of the book on
an aggregator platform with enhanced features. She thought of this
- as the <span class="quote">“<span class="quote">ice cream model</span>”</span>: the free PDF was vanilla
+ as the <span class="quote">“<span class="quote">ice cream model</span>”</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to
+ After a while, Frances had an epiphany—what if there was a way to
get libraries to underwrite the costs of making these books up
- until they’re ready be printed, in other words, cover the fixed
+ until they’re ready be printed, in other words, cover the fixed
costs of getting to the first digital copy? Then you could either
bring down the cost of the printed book, or do a whole bunch of
- interesting things with the printed book and e-book—the ice cream
+ interesting things with the printed book and e-book—the ice cream
cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some
open-access journals charge researchers to cover publishing costs.
Frances began to imagine a coalition of libraries paying for the
- prepress costs—a <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and
+ prepress costs—a <span class="quote">“<span class="quote">book-processing charge</span>”</span>—and
providing everyone in the world with an open-access version of the
books released under a Creative Commons license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a
+ This idea really took hold in her mind. She didn’t really have a
name for it but began talking about it and making presentations to
see if there was interest. The more she talked about it, the more
people agreed it had appeal. She offered a bottle of champagne to
cost per book was just under fifty dollars. The unlatching process
took roughly ten months. It started with a call to publishers for
titles, followed by having a library task force select the titles,
- getting authors’ permissions, getting the libraries to pledge,
+ getting authors’ permissions, getting the libraries to pledge,
billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to
</p><p>
The cost for the publisher to get to a first digital copy of a
monograph is $5,000 to $50,000. A good one costs in the $10,000 to
- $15,000 range. Monographs typically don’t sell a lot of copies. A
+ $15,000 range. Monographs typically don’t sell a lot of copies. A
publisher who in the past sold three thousand copies now typically
sells only three hundred. That makes unlatching monographs a low
risk for publishers. For the first round, it took five months to
get thirteen publishers. For the second round, it took one month
to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs.
+ Authors don’t generally make a lot of royalties from monographs.
Royalties range from zero dollars to 5 to 10 percent of receipts.
The value to the author is the awareness it brings to them; when
their book is being read, it increases their reputation. Open
nonparticipating libraries could be seen as free riders, in the
library world, wealthy libraries are used to paying more than poor
libraries and accept that part of their money should be spent to
- support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like
+ support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> 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 monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered
+ In the first round, Knowledge Unlatched’s overheads were covered
by grants. In the second round, they aim to demonstrate the model
is sustainable. Libraries and publishers will each pay a 7.5
- percent service charge that will go toward Knowledge Unlatched’s
+ percent service charge that will go toward Knowledge Unlatched’s
running costs. With plans to scale up in future rounds, Frances
figures they can fully recover costs when they are unlatching two
hundred books at a time. Moving forward, Knowledge Unlatched is
include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways
- of valuing academic content. It’s about considering how many
+ of valuing academic content. It’s about considering how many
people can find, access, and use your content without pay
barriers. Knowledge Unlatched taps into the new possibilities and
behaviors of the digital world. In the Knowledge Unlatched model,
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapter
13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Chapter
 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational
institutions use open educational resources (OER). Founded in
2013 in the U.S.
2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and
Kim Thanos, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+ comfortable fit with the education sector but meant they’d be
constantly fund-raising and seeking grants from philanthropies.
Also, grants usually require money to be used in certain ways for
specific deliverables. If you learn things along the way that
change how you think the grant money should be used, there often
- isn’t a lot of flexibility to do so.
+ isn’t a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational
+ But as a for-profit, they’d have to convince educational
institutions to pay for what Lumen had to offer. On the positive
- side, they’d have more control over what to do with the revenue
+ side, they’d have more control over what to do with the revenue
and investment money; they could make decisions to invest the
funds or use them differently based on the situation and shifting
opportunities. In the end, they chose the for-profit status, with
Originally, Lumen did custom contracts for each institution. This
was complicated and challenging to manage. However, through that
process patterns emerged which allowed them to generalize a set of
- approaches and offerings. Today they don’t customize as much as
+ approaches and offerings. Today they don’t customize as much as
they used to, and instead they tend to work with customers who can
use their off-the-shelf options. Lumen finds that institutions and
faculty are generally very good at seeing the value Lumen brings
and are willing to pay for it. Serving disadvantaged learner
populations has led Lumen to be very pragmatic; they describe what
- they offer in quantitative terms—with facts and figures—and in a
+ they offer in quantitative terms—with facts and figures—and in a
way that is very student-focused. Lumen Learning helps colleges
- and universities—
+ and universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with
OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully
- customizable OER course materials through the institution’s
+ provide enrolled students day one access to Lumen’s fully
+ customizable OER course materials through the institution’s
learning-management system;
</p></li><li class="listitem"><p>
measure improvements in student success with metrics like
collaborate with faculty to make ongoing improvements to OER
based on student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed
+ Lumen has developed a suite of open, Creative Commons–licensed
courseware in more than sixty-five subjects. All courses are
freely and publicly available right off their website. They can be
copied and used by others as long as they provide attribution to
</p><p>
Then there are three types of bundled services that cost money.
One option, which Lumen calls Candela courseware, offers
- integration with the institution’s learning-management system,
+ integration with the institution’s learning-management system,
technical and pedagogical support, and tracking of effectiveness.
Candela courseware costs institutions ten dollars per enrolled
student.
Lumen generates revenue by charging for their value-added tools
and services on top of their free courses, just as solar-power
companies provide the tools and services that help people use a
- free resource—sunlight. And Lumen’s business model focuses on
+ free resource—sunlight. And Lumen’s business model focuses on
getting the institutions to pay, not the students. With projects
they did prior to Lumen, David and Kim learned that students who
have access to all course materials from day one have greater
access to those who paid. Right from the start, their stance was
that they would not put their content behind a paywall. Lumen
invests zero dollars in technologies and processes for restricting
- access—no digital rights management, no time bombs. While this has
+ access—no digital rights management, no time bombs. While this has
been a challenge from a business-model perspective, from an
open-access perspective, it has generated immense goodwill in the
community.
In most cases, development of their courses is funded by the
institution Lumen has a contract with. When creating new courses,
Lumen typically works with the faculty who are teaching the new
- course. They’re often part of the institution paying Lumen, but
+ course. They’re often part of the institution paying Lumen, but
sometimes Lumen has to expand the team and contract faculty from
other institutions. First, the faculty identifies all of the
- course’s learning outcomes. Lumen then searches for, aggregates,
+ course’s learning outcomes. Lumen then searches for, aggregates,
and curates the best OER they can find that addresses those
learning needs, which the faculty reviews.
</p><p>
their progress are areas where new content is frequently needed.
Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any
- of Lumen’s new content is given an Attribution (CC BY) license.
+ of Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could
be to mix differently licensed work together. A common strategy
with OER is to place the Creative Commons license and attribution
- information in the website’s footer, which stays the same for all
- pages. This doesn’t quite work, however, when mixing different OER
+ information in the website’s footer, which stays the same for all
+ pages. This doesn’t quite work, however, when mixing different OER
together.
</p><p>
Remixing OER often results in multiple attributions on every page
- of every course—text from one place, images from another, and
+ of every course—text from one place, images from another, and
videos from yet another. Some are licensed as Attribution (CC BY),
others as Attribution-ShareAlike (CC BY-SA). If this information
is put within the text of the course, faculty members sometimes
information as metadata, and getting it to show up at the end of
each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income
+ Lumen’s commitment to open licensing and helping low-income
students has led to strong relationships with institutions,
open-education enthusiasts, and grant funders. People in their
network generously increase the visibility of Lumen through
presentations, word of mouth, and referrals. Sometimes the number
- of general inquiries exceed Lumen’s sales capacity.
+ of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their
- strategy is to be proactive and focus on what’s going on in higher
+ strategy is to be proactive and focus on what’s going on in higher
education in different regions of the United States, watching out
for things happening at the system level in a way that fits with
what Lumen offers. A great example is the Virginia community
there are nine other U.S. states with similar system-level
activity where Lumen is strategically focusing its efforts. Where
there are projects that would require a lot of resources on
- Lumen’s part, they prioritize the ones that would impact the
+ Lumen’s part, they prioritize the ones that would impact the
largest number of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
- nonnegotiables: Lumen’s use of CC BY, the most permissive of the
+ nonnegotiables: Lumen’s use of CC BY, the most permissive of the
Creative Commons licenses, for all the materials it creates; and
day-one access for students. Having clear nonnegotiables allows
them to then engage with the education community to solve for
business models that achieve institution goals, while keeping
Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be
+ Openness also means that Lumen’s OER must necessarily be
nonexclusive and nonrivalrous. This represents several big
challenges for the business model: Why should you invest in
creating something that people will be reluctant to pay for? How
estimate of how much their students are saving and encouraging
them to switch to a paid model. Lumen explains the advantages of
the paid model: a more interactive relationship with Lumen;
- integration with the institution’s learning-management system; a
+ integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future
sustainability with funding supporting the evolution and
improvement of the OER they are using.
balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of
- giving more value than they take. They’ve also worked hard at
+ giving more value than they take. They’ve also worked hard at
finding the right structure for their value-add and how to package
it in a way that is understandable and repeatable.
</p><p>
funded with angel capital. Going forward, their strategy is to
replace grant funding with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on
+ In creating Lumen Learning, David and Kim say they’ve landed on
solutions they never imagined, and there is still a lot of
learning taking place. For them, open business models are an
emerging field where we are all learning through sharing. Their
biggest recommendations for others wanting to pursue the open
model are to make your commitment to open resources public, let
- people know where you stand, and don’t back away from it. It
+ people know where you stand, and don’t back away from it. It
really is about trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapter
14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Chapter
 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known
- as the <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+ as the <span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and
<a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for
engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22,
2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
- <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees
+ <span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees
to make money. The bulk of his income comes from writing songs
under commission for people and companies, but he has a wide
variety of income sources. He has supporters on the crowdfunding
conference. The song then went viral, and the experience landed
him in Time magazine.
</p><p>
- Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about
+ Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> 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 <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
+ as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity
- a friend alerted him to seven years ago—an event called Fun-A-Day,
+ a friend alerted him to seven years ago—an event called Fun-A-Day,
where people are supposed to create a piece of art every day for
thirty-one days straight. He was in need of a new project, so he
decided to give it a try by writing and posting a song each day.
he decided to see if he could continue it for one year. He never
stopped. He has written and posted a new song literally every day,
seven days a week, since he began the project in 2009. When he
- isn’t writing songs that he is hired to write by clients, he
+ isn’t writing songs that he is hired to write by clients, he
writes songs about whatever is on his mind that day. His songs are
catchy and mostly lighthearted, but they often contain at least an
undercurrent of a deeper theme or meaning. Occasionally, they are
there were more people wanting him to write songs for them. Today
he earns most of his money this way.
</p><p>
- His website explains his gig as <span class="quote">“<span class="quote">taking any message, from
+ His website explains his gig as <span class="quote">“<span class="quote">taking any message, from
the super simple to the totally complicated, and conveying that
- message through a heartfelt, fun and quirky song.</span>”</span> He
+ message through a heartfelt, fun and quirky song.</span>”</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative
+ Jonathan can’t recall when exactly he first learned about Creative
Commons, but he began applying CC licenses to his songs and videos
- as soon as he discovered the option. <span class="quote">“<span class="quote">CC seems like such a
- no-brainer,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I don’t understand how
+ as soon as he discovered the option. <span class="quote">“<span class="quote">CC seems like such a
+ no-brainer,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I don’t understand how
anything else would make sense. It seems like such an obvious
thing that you would want your work to be able to be
- shared.</span>”</span>
+ shared.</span>”</span>
</p><p>
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.
- <span class="quote">“<span class="quote">If you let someone cover your song or remix it or use parts
- of it, that’s how music is supposed to work,</span>”</span> Jonathan
- said. <span class="quote">“<span class="quote">That is how music has worked since the beginning of
- time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+ <span class="quote">“<span class="quote">If you let someone cover your song or remix it or use parts
+ of it, that’s how music is supposed to work,</span>”</span> Jonathan
+ said. <span class="quote">“<span class="quote">That is how music has worked since the beginning of
+ time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is all of this
+ more he could do to build community. <span class="quote">“<span class="quote">There is all of this
conventional wisdom about how to build an audience online, and I
- generally think I don’t do any of that,</span>”</span> Jonathan said.
+ generally think I don’t do any of that,</span>”</span> Jonathan said.
</p><p>
He does have a fan community he cultivates on Bandcamp, but it
- isn’t his major focus. <span class="quote">“<span class="quote">I do have a core audience that has
- stuck around for a really long time, some even longer than I’ve
- been doing song-a-day,</span>”</span> he said. <span class="quote">“<span class="quote">There is also a
+ isn’t his major focus. <span class="quote">“<span class="quote">I do have a core audience that has
+ stuck around for a really long time, some even longer than I’ve
+ been doing song-a-day,</span>”</span> he said. <span class="quote">“<span class="quote">There is also a
transitional aspect that drop in and get what they need and then
- move on.</span>”</span> Focusing less on community building than other
- artists makes sense given Jonathan’s primary income source of
+ move on.</span>”</span> Focusing less on community building than other
+ artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">“<span class="quote">How
- to Choose a Master Password,</span>”</span> Jonathan explained the
+ simple concepts and putting them to music. In his song <span class="quote">“<span class="quote">How
+ to Choose a Master Password,</span>”</span> Jonathan explained the
process of creating a secure password in a silly, simple song. He
was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a
the core message and develop the chorus. Then he looks for
connections or parts he can make rhyme. The entire process really
does resemble good journalism, but of course the final product of
- his work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he said. <span class="quote">“<span class="quote">I find that creative
+ his work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he said. <span class="quote">“<span class="quote">I find that creative
challenge really satisfying. I enjoy getting lost in that
- process.</span>”</span>
+ process.</span>”</span>
</p><p>
Jonathan admits that in an ideal world, he would exclusively write
the music he wanted to write, rather than what clients hire him to
interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his
- art, but he does have lines he won’t cross. He won’t write songs
+ art, but he does have lines he won’t cross. He won’t write songs
about things he fundamentally does not believe in, and there are
- times he has turned down jobs on principle. He also won’t stray
- too much from his natural style. <span class="quote">“<span class="quote">My style is silly, so I
- can’t really accommodate people who want something super
- serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do very easily,
- and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+ times he has turned down jobs on principle. He also won’t stray
+ too much from his natural style. <span class="quote">“<span class="quote">My style is silly, so I
+ can’t really accommodate people who want something super
+ serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do very easily,
+ and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his
own unique style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit
+ Jonathan’s song-a-day commitment exemplifies the power of habit
and grit. Conventional wisdom about creative productivity,
including advice in books like the best-seller The Creative Habit
by Twyla Tharp, routinely emphasizes the importance of ritual and
action. No amount of planning can replace the value of simple
- practice and just doing. Jonathan Mann’s work is a living
+ practice and just doing. Jonathan Mann’s work is a living
embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the
song-a-day process has changed him. Rather than seeing any given
piece of work as precious and getting stuck on trying to make it
- perfect, he has become comfortable with just doing. If today’s
- song is a bust, tomorrow’s song might be better.
+ perfect, he has become comfortable with just doing. If today’s
+ song is a bust, tomorrow’s song might be better.
</p><p>
Jonathan seems to have this mentality about his career more
generally. He is constantly experimenting with ways to make a
sticks. While he has major accomplishments he is proud of, like
being in the Guinness World Records or having his song used by
Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a
+ </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a
certain extent, a creative person is not ever going to feel
completely satisfied because then so much of what drives you would
- be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapter
15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Chapter
 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
across borders, languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward
- Boatman while he was a student in architecture design school. He’d
+ Boatman while he was a student in architecture design school. He’d
always done a lot of sketches and started to draw what used to
fascinate him as a child, like trains, sequoias, and bulldozers.
He began thinking how great it would be if he had a simple image
When Edward went on to work at an architecture firm, he had to
make a lot of presentation boards for clients. But finding
high-quality sources for symbols and icons was difficult. He
- couldn’t find any website that could provide them. Perhaps his
+ couldn’t find any website that could provide them. Perhaps his
idea for creating a library of icons could actually help people in
similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d be a good way to introduce the
+ campaign, back when Kickstarter was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d be a good way to introduce the
global web community to their idea. Their goal was to raise
$1,500, but in twenty days they got over $14,000. They realized
their idea had the potential to be something much bigger.
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 <span class="quote">“<span class="quote">digital
- dust</span>”</span> on their hard drives. It’s easy to convince them to
+ designers have old drawings just gathering <span class="quote">“<span class="quote">digital
+ dust</span>”</span> on their hard drives. It’s easy to convince them to
finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from
around the world. But not all submissions are accepted. The Noun
- Project’s quality-review process means that only the best works
+ Project’s quality-review process means that only the best works
become part of its collection. They make sure to provide
encouraging, constructive feedback whenever they reject a piece of
work, which maintains and builds the relationship they have with
their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s
- business model; this decision was inspired by Chris Anderson’s
+ Creative Commons is an integral part of the Noun Project’s
+ business model; this decision was inspired by Chris Anderson’s
book Free: The Future of Radical Price, which introduced Edward to
the idea that you could build a business model around free
content.
having to give credit, they can use CC0 to put the work into the
public domain.
</p><p>
- Noun Project’s business model and means of generating revenue have
+ Noun Project’s business model and means of generating revenue have
evolved significantly over time. Their initial plan was to sell
T-shirts with the icons on it, which in retrospect Edward says was
a horrible idea. They did get a lot of email from people saying
they loved the icons but asking if they could pay a fee instead of
giving attribution. Ad agencies (among others) wanted to keep
marketing and presentation materials clean and free of attribution
- statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
- off.</span>”</span>
+ statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
+ off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be
+ They asked their global network of designers whether they’d be
open to receiving modest remuneration instead of attribution.
Designers saw it as a win-win. The idea that you could offer your
designs for free and have a global audience and maybe even make
some money was pretty exciting for most designers.
</p><p>
The Noun Project first adopted a model whereby using an icon
- without giving attribution would cost $1.99 per icon. The model’s
+ without giving attribution would cost $1.99 per icon. The model’s
second iteration added a subscription component, where there would
- be a monthly fee to access a certain number of icons—ten, fifty, a
- hundred, or five hundred. However, users didn’t like these
+ be a monthly fee to access a certain number of icons—ten, fifty, a
+ hundred, or five hundred. However, users didn’t like these
hard-count options. They preferred to try out many similar icons
to see which worked best before eventually choosing the one they
wanted to use. So the Noun Project moved to an unlimited model,
whereby users have unlimited access to the whole library for a
flat monthly fee. This service is called NounPro and costs $9.99
- per month. Edward says this model is working well—good for
+ per month. Edward says this model is working well—good for
customers, good for creators, and good for the platform.
</p><p>
Customers then began asking for an application-programming
interface (API), which would allow Noun Project icons and symbols
to be directly accessed from within other applications. Edward
knew that the icons and symbols would be valuable in a lot of
- different contexts and that they couldn’t possibly know all of
+ different contexts and that they couldn’t possibly know all of
them in advance, so they built an API with a lot of flexibility.
Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of
- charging for its use. You can use what’s called the
- <span class="quote">“<span class="quote">Playground API</span>”</span> for free to test how it integrates
+ charging for its use. You can use what’s called the
+ <span class="quote">“<span class="quote">Playground API</span>”</span> for free to test how it integrates
with your application, but full implementation will require you to
purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API
options) is split a little differently. At the end of each month,
- the total revenue from subscriptions is divided by Noun Project’s
- total number of downloads, resulting in a rate per download—for
+ the total revenue from subscriptions is divided by Noun Project’s
+ total number of downloads, resulting in a rate per download—for
example, it could be $0.13 per download for that month. For each
download, the revenue is split 40 percent to the designer and 60
- percent to the Noun Project. (For API usage, it’s per use instead
- of per download.) Noun Project’s share is higher this time as it’s
+ percent to the Noun Project. (For API usage, it’s per use instead
+ of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their
collections. Lingo is free for personal use. A pro version for
$9.99 per month lets you add guests. A team version for $49.95 per
month allows up to twenty-five team members to collaborate, and to
- view, use, edit, and add new assets to each other’s collections.
+ view, use, edit, and add new assets to each other’s collections.
And if you subscribe to NounPro, you can access Noun Project from
within Lingo.
</p><p>
digital designers, advertising and design agencies, educators, and
others who need to communicate ideas visually.
</p><p>
- For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s
- visual language</span>”</span> is the most important aspect of what they
- do; it’s their stated mission. It differentiates them from others
+ For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s
+ visual language</span>”</span> is the most important aspect of what they
+ do; it’s their stated mission. It differentiates them from others
who offer graphics, icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate
in the Noun Project, this is how designers rank their reasons: 1)
to support the Noun Project mission, 2) to promote their own
- personal brand, and 3) to generate money. It’s striking to see
+ personal brand, and 3) to generate money. It’s striking to see
that money comes third, and mission, first. If you want to engage
- a global network of contributors, it’s important to have a mission
+ a global network of contributors, it’s important to have a mission
beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of
+ In Edward’s view, Creative Commons is central to their mission of
sharing and social good. Using Creative Commons makes the Noun
- Project’s mission genuine and has generated a lot of their initial
+ Project’s mission genuine and has generated a lot of their initial
traction and credibility. CC comes with a built-in community of
users and fans.
</p><p>
- Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a
+ Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a
passionate community around your product or your business. They
- are going to go to bat for you when you’re getting ripped in the
+ are going to go to bat for you when you’re getting ripped in the
media. If you go down the road of choosing to work with Creative
- Commons, you’re taking the first step to building a great
+ Commons, you’re taking the first step to building a great
community and tapping into a really awesome community that comes
with it. But you need to continue to foster that community through
- other initiatives and continue to nurture it.</span>”</span>
+ other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second
- motivation—promoting a personal brand—by connecting every icon and
- symbol to the creator’s name and profile page; each profile
+ The Noun Project nurtures their creators’ second
+ motivation—promoting a personal brand—by connecting every icon and
+ symbol to the creator’s name and profile page; each profile
features their full collection. Users can also search the icons by
- the creator’s name.
+ the creator’s name.
</p><p>
The Noun Project also builds community through
- Iconathons
—hackathons for icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring organization, the
+ Iconathons
—hackathons for icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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.
CC0 so they can be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of
- their customers’ needs has actually enabled the Noun Project to
+ their customers’ needs has actually enabled the Noun Project to
build the paid version, using a service-oriented model. The Noun
- Project’s success lies in creating services and content that are a
+ Project’s success lies in creating services and content that are a
strategic mix of free and paid while staying true to their
- mission—creating, sharing, and celebrating the world’s visual
+ mission—creating, sharing, and celebrating the world’s visual
language. Integrating Creative Commons into their model has been
key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapter
16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Chapter
 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison,
technical director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
the London-based Open Data Institute (ODI) offers data-related
training, events, consulting services, and research. For ODI,
Creative Commons licenses are central to making their own business
- model and their customers’ open. CC BY (Attribution), CC BY-SA
+ model and their customers’ open. CC BY (Attribution), CC BY-SA
(Attribution-ShareAlike), and CC0 (placed in the public domain)
- all play a critical role in ODI’s mission to help people around
+ all play a critical role in ODI’s mission to help people around
the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
can help citizens improve their lives by better understanding what
is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by
+ The Open Data Institute’s 2012–17 business plan starts out by
describing its vision to establish itself as a world-leading
center and to research and be innovative with the opportunities
- created by the UK government’s open data policy. (The government
+ created by the UK government’s open data policy. (The government
was an early pioneer in open policy and open-data initiatives.) It
- goes on to say that the ODI wants to—
+ goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and
how open-data policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business
- models, and defining what this means. Jeni Tennison, ODI’s
- technical director, puts it this way: <span class="quote">“<span class="quote">There is a whole
- ecosystem of open—open-source software, open government,
- open-access research—and a whole ecosystem of data. ODI’s work
- cuts across both, with an emphasis on where they overlap—with open
- data.</span>”</span> ODI’s particular focus is to show open data’s
+ models, and defining what this means. Jeni Tennison, ODI’s
+ technical director, puts it this way: <span class="quote">“<span class="quote">There is a whole
+ ecosystem of open—open-source software, open government,
+ open-access research—and a whole ecosystem of data. ODI’s work
+ cuts across both, with an emphasis on where they overlap—with open
+ data.</span>”</span> ODI’s particular focus is to show open data’s
potential for revenue.
</p><p>
- As an independent nonprofit, ODI secured £10 million over five
+ 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
Network.
</p><p>
Jeni started out as a developer and technical architect for
- data.gov.uk, the UK government’s pioneering open-data initiative.
+ data.gov.uk, the UK government’s pioneering open-data initiative.
She helped make data sets from government departments available as
open data. She joined ODI in 2012 when it was just starting up, as
one of six people. It now has a staff of about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK
government and Omidyar grants, and the other half from
- project-based research and commercial work. In Jeni’s view, having
+ project-based research and commercial work. In Jeni’s view, having
this balance of revenue sources establishes some stability, but
also keeps them motivated to go out and generate these matching
funds in response to market needs.
</p><p>
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
+ from £1 to £100. Members receive a newsletter and related
communications and a discount on ODI training courses and the
annual summit, and they can display an ODI-supporter badge on
their website. Commercial membership is divided into two tiers:
- small to medium size enterprises and nonprofits at £720 a year,
- and corporations and government organizations at £2,200 a year.
+ small to medium size enterprises and nonprofits at £720 a year,
+ and corporations and government organizations at £2,200 a year.
Commercial members have greater opportunities to connect and
collaborate, explore the benefits of open data, and unlock new
business opportunities. (All members are listed on their
five-day-long public training course, which has subsequently been
reduced to three days; now the most popular course is one day
long. The fee, in addition to the time commitment, can be a
- barrier for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people
- who would be able to pay don’t know they need it. Most who know
- they need it can’t pay.</span>”</span> Public-sector organizations
+ barrier for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people
+ who would be able to pay don’t know they need it. Most who know
+ they need it can’t pay.</span>”</span> Public-sector organizations
sometimes give vouchers to their employees so they can attend as a
form of professional development.
</p><p>
high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit
+ Education about open data is also a part of ODI’s annual summit
event, where curated presentations and speakers showcase the work
of ODI and its members across the entire ecosystem. Tickets to the
summit are available to the public, and hundreds of people and
their own data too. Big data is a hot topic.
</p></li><li class="listitem"><p>
Open innovation. Many large-scale enterprises are aware they
- don’t innovate very well. One way they can innovate is to open
+ 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.
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government
visitors from over fifty countries wanted to learn more about the
- UK government’s open-data practices and how ODI saw that
+ UK government’s open-data practices and how ODI saw that
translating into economic value. They were contracted as a service
provider to international governments, which prompted a need to
- set up international ODI <span class="quote">“<span class="quote">nodes.</span>”</span>
+ set up international ODI <span class="quote">“<span class="quote">nodes.</span>”</span>
</p><p>
Nodes are franchises of the ODI at a regional or city level.
Hosted by existing (for-profit or not-for-profit) organizations,
Europe develop a sustainable business around open data, offering
mentoring, advice, training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services,
nodes, and start-up programs create an ever-growing network of
open-data users and leaders. (In fact, ODI even operates something
ODI has created an online tool that organizations can use to
assess the legal, practical, technical, and social aspects of
their open data. If it is of high quality, the organization can
- earn ODI’s Open Data Certificate, a globally recognized mark that
+ earn ODI’s Open Data Certificate, a globally recognized mark that
signals that their open data is useful, reliable, accessible,
discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
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 <span class="quote">“<span class="quote">open licenses</span>”</span> of their
+ rather than creating new <span class="quote">“<span class="quote">open licenses</span>”</span> of their
own.
</p><p>
For ODI, open is at the heart of what they do. They also release
any software code they produce under open-source-software
licenses, and publications and reports under CC BY or CC BY-SA
- licenses. ODI’s mission is to connect and equip people around the
+ licenses. ODI’s mission is to connect and equip people around the
world so they can innovate with data. Disseminating stories,
research, guidance, and code under an open license is essential
for achieving that mission. It also demonstrates that it is
them, not for the methodologies they use. Producing open content,
data, and source code helps establish credibility and creates
leads for the paid services that they offer. According to Jeni,
- <span class="quote">“<span class="quote">The biggest lesson we have learned is that it is completely
- possible to be open, get customers, and make money.</span>”</span>
+ <span class="quote">“<span class="quote">The biggest lesson we have learned is that it is completely
+ possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and
return on investment, ODI has a public dashboard of key
Total amount of cash investments unlocked in direct
investments in ODI, competition funding, direct contracts, and
partnerships, and income that ODI nodes and ODI start-ups have
- generated since joining the ODI program: £44.5 million
+ generated since joining the ODI program: £44.5 million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe:
1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in
person and online: 2.2 million
Total number of people trained by ODI and its nodes since ODI
began: 5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
</p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>;
- <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapter
17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Chapter
 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick
Ierodiaconou and Joni Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked
as architects together. They also made goods. Their first client
was Mint Digital, who had an interest in open licensing. Nick and
- Joni were exploring digital fabrication, and Mint’s interest in
+ Joni were exploring digital fabrication, and Mint’s interest in
open licensing got them to thinking how the open-source world may
interact and apply to physical goods. They sought to design
something for their client that was also reproducible. As they put
- it, they decided to <span class="quote">“<span class="quote">ship the recipe, but not the
- goods.</span>”</span> They created the design using software, put it
+ it, they decided to <span class="quote">“<span class="quote">ship the recipe, but not the
+ goods.</span>”</span> They created the design using software, put it
under an open license, and had it manufactured locally near the
client. This was the start of the idea for Opendesk. The idea for
- Wikihouse—another open project dedicated to accessible housing for
- all—started as discussions around the same table. The two projects
+ Wikihouse—another open project dedicated to accessible housing for
+ all—started as discussions around the same table. The two projects
ultimately went on separate paths, with Wikihouse becoming a
nonprofit foundation and Opendesk a for-profit company.
</p><p>
intellectual property and licensing options. It was a thorny
space, especially for designs. Just what aspect of a design is
copyrightable? What is patentable? How can allowing for digital
- sharing and distribution be balanced against the designer’s desire
+ sharing and distribution be balanced against the designer’s desire
to still hold ownership? In the end, they decided there was no
need to reinvent the wheel and settled on using Creative Commons.
</p><p>
viable model that benefited designers when their designs were
sold. Coming up with a business model was going to be complex.
</p><p>
- They gave a lot of thought to three angles—the potential for
+ They gave a lot of thought to three angles—the potential for
social sharing, allowing designers to choose their license, and
the impact these choices would have on the business model.
</p><p>
In support of social sharing, Opendesk actively advocates for (but
- doesn’t demand) open licensing. And Nick and Joni are agnostic
- about which Creative Commons license is used; it’s up to the
+ doesn’t demand) open licensing. And Nick and Joni are agnostic
+ about which Creative Commons license is used; it’s up to the
designer. They can be proprietary or choose from the full suite of
Creative Commons licenses, deciding for themselves how open or
closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content.
- They understand that you get positive feedback when you’re
- attributed, what Nick and Joni called <span class="quote">“<span class="quote">reputational
- glow.</span>”</span> And Opendesk does an awesome job profiling the
+ They understand that you get positive feedback when you’re
+ attributed, what Nick and Joni called <span class="quote">“<span class="quote">reputational
+ glow.</span>”</span> And Opendesk does an awesome job profiling the
designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a
most Opendesk designers choose the Attribution-NonCommercial
license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s
- for noncommercial use — and there have been many, many downloads.
+ Anyone can download a design and make it themselves, provided it’s
+ for noncommercial use — and there have been many, many downloads.
Or users can buy the product from Opendesk, or from a registered
- maker in Opendesk’s network, for on-demand personal fabrication.
+ maker in Opendesk’s network, for on-demand personal fabrication.
The network of Opendesk makers currently is made up of those who
do digital fabrication using a computer-controlled CNC (Computer
Numeric Control) machining device that cuts shapes out of wooden
sheets according to the specifications in the design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making
+ Makers benefit from being part of Opendesk’s network. Making
furniture for local customers is paid work, and Opendesk generates
- business for them. Joni said, <span class="quote">“<span class="quote">Finding a whole network and
+ business for them. Joni said, <span class="quote">“<span class="quote">Finding a whole network and
community of makers was pretty easy because we built a site where
people could write in about their capabilities. Building the
community by learning from the maker community is how we have
- moved forward.</span>”</span> Opendesk now has relationships with
+ moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model.
- Their model builds off the makers’ quotes. Here’s how it’s
- expressed on Opendesk’s website:
+ Their model builds off the makers’ quotes. Here’s how it’s
+ expressed on Opendesk’s website:
</p><p>
When customers buy an Opendesk product directly from a registered
maker, they pay:
a percentage fee to the channel through which the sale is made
(at the moment this is Opendesk, but in the future we aim to
open this up to third-party sellers who can sell Opendesk
- products through their own channels—this covers sales and
+ products through their own channels—this covers sales and
marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
a local delivery service charge (the delivery is typically
third-party delivery partner)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such
- as on-site assembly (additional services are discretionary—in
+ as on-site assembly (additional services are discretionary—in
many cases makers will be happy to quote for assembly on-site
and designers may offer bespoke design options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker
location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided
with a transparent breakdown of fees including the manufacturing
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers.
According to Nick and Joni, a typical designer fee is around 2.5
- percent, so Opendesk’s 8 percent is more generous, and providing a
+ percent, so Opendesk’s 8 percent is more generous, and providing a
higher value to the designer.
</p><p>
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
+ 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.
</p><p>
To manage resources and remain effective, Opendesk has so far
- focused on a very narrow niche—primarily office furniture of a
+ focused on a very narrow niche—primarily office furniture of a
certain simple aesthetic, which uses only one type of material and
one manufacturing technique. This allows them to be more strategic
and more disruptive in the market, by getting things to market
quickly with competitive prices. It also reflects their vision of
creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
- making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution
+ On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
+ making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution
channel. Makers get profitable jobs and new customers. You get
designer products without the designer price tag, a more social,
eco-friendly alternative to mass-production and an affordable way
- to buy custom-made products.</span>”</span>
+ to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture
has a known provenance. People really like that their furniture
was designed by a certain international designer but was made by a
- maker in their local community; it’s a great story to tell. It
+ maker in their local community; it’s a great story to tell. It
certainly sets apart Opendesk furniture from the usual
mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and
- evolve Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.
- They’re engaging thought leaders and practitioners to define this
+ evolve Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model.
+ They’re engaging thought leaders and practitioners to define this
new movement. They have a separate Open Making site, which
includes a manifesto, a field guide, and an invitation to get
involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles and
- business practices they’d like to see used.
+ business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property
(IP) and commercialization. Many of their designers fear the idea
that behavioral economics can replace some of the thorny legal
issues. In their business model, Nick and Joni are trying to
suspend the focus on IP and build an open business model that
- works for all stakeholders—designers, channels, manufacturers, and
+ works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
- <span class="quote">“<span class="quote">open,</span>”</span> not IP.
+ <span class="quote">“<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which
changes the way we think about how goods are made.
- Commercialization is integral to their mission, and they’ve begun
+ Commercialization is integral to their mission, and they’ve begun
to focus on success metrics that track how many makers and
designers are engaged through Opendesk in revenue-making work.
</p><p>
- As a global platform for local making, Opendesk’s business model
+ As a global platform for local making, Opendesk’s business model
has been built on honesty, transparency, and inclusivity. As Nick
and Joni describe it, they put ideas out there that get traction
and then have faith in people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapter
18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Chapter
 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was
- started in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron
+ 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
+ traditional textbooks and courses, Dr. Baraniuk wanted to provide
authors and learners a way to share and freely adapt educational
materials such as courses, books, and reports. Today, Connexions
- (now called OpenStax CNX) is one of the world’s best libraries of
+ (now called OpenStax CNX) is one of the world’s best libraries of
customizable educational materials, all licensed with Creative
- Commons and available to anyone, anywhere, anytime—for free.
+ Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and
looking at ways to reduce the risk that came with relying on
publishers, David Harris began investigating open educational
resources (OER) and discovered Connexions. A year and a half
later, Connexions received a grant to help grow the use of OER so
- that it could meet the needs of students who couldn’t afford
+ that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort.
Connexions became OpenStax CNX; the program to create open
textbooks became OpenStax College, now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices
of publishing along with where publishers have inefficiencies. In
- David’s view, peer review and high standards for quality are
+ David’s view, peer review and high standards for quality are
critically important if you want to scale easily. Books have to
have logical scope and sequence, they have to exist as a whole and
not in pieces, and they have to be easy to find. The working
textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the
- textbooks with students. If that goes well, they’re encouraged to
+ textbooks with students. If that goes well, they’re encouraged to
adopt the entire book. They can simply paste a URL into their
course syllabus, for free and unlimited access. And with the CC BY
license, teachers are free to delete chapters, make changes, and
on.
</p><p>
Institutions can stand out by offering students a lower-cost
- education through the use of OpenStax textbooks; there’s even a
+ education through the use of OpenStax textbooks; there’s even a
textbook-savings calculator they can use to see how much students
would save. OpenStax keeps a running list of institutions that
have adopted their textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects,
OpenStax has adopted a model that embraces open licensing and
relies on an extensive network of partners.
revisions of their titles, such as Introduction to Sociology 2e,
using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
- efficiency. OpenStax’s partners don’t have to worry about
+ In David’s view, this approach lets the market operate at peak
+ efficiency. OpenStax’s partners don’t have to worry about
developing textbook content, freeing them up from those
development costs and letting them focus on what they do best.
With OpenStax textbooks available at no cost, they can provide
- their services at a lower cost—not free, but still saving students
+ their services at a lower cost—not free, but still saving students
money. OpenStax benefits not only by receiving mission-support
- fees but through free publicity and marketing. OpenStax doesn’t
+ fees but through free publicity and marketing. OpenStax doesn’t
have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very
+ OpenStax’s cost of sales to acquire a single student is very, very
low and is a fraction of what traditional players in the market
face. This year, Tyton Partners is actually evaluating the costs
of sales for an OER effort like OpenStax in comparison with
policy. This is working well, since the sell-through of their
print titles is virtually a hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So
+ David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So
what is OER 1.0? Historically in the OER field, many OER
initiatives have been locally funded by institutions or government
- ministries. In David’s view, this results in content that has high
- local value but is infrequently adopted nationally. It’s therefore
+ ministries. In David’s view, this results in content that has high
+ local value but is infrequently adopted nationally. It’s therefore
difficult to show payback over a time scale that is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national
scope and sequence of existing textbooks. They ask questions like
what does the customer need? Where are students having challenges?
Then they identify potential authors and put them through a
- rigorous evaluation—only one in ten authors make it through.
+ rigorous evaluation—only one in ten authors make it through.
OpenStax selects a team of authors who come together to develop a
template for a chapter and collectively write the first draft (or
- revise it, in the acquisitions model). (OpenStax doesn’t do books
+ revise it, in the acquisitions model). (OpenStax doesn’t do books
with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less
than three reviewers per chapter. A second draft is generated,
</p><p>
All the people involved in this process are paid. OpenStax does
not rely on volunteers. Writers, reviewers, illustrators, and
- editors are all paid an up-front fee—OpenStax does not use a
+ editors are all paid an up-front fee—OpenStax does not use a
royalty model. A best-selling author might make more money under
the traditional publishing model, but that is only maybe 5 percent
- of all authors. From David’s perspective, 95 percent of all
+ of all authors. From David’s perspective, 95 percent of all
authors do better under the OER 2.0 model, as there is no risk to
them and they earn all the money up front.
</p><p>
David thinks of the Attribution license (CC BY) as the
- <span class="quote">“<span class="quote">innovation license.</span>”</span> It’s core to the mission of
+ <span class="quote">“<span class="quote">innovation license.</span>”</span> It’s core to the mission of
OpenStax, letting people use their textbooks in innovative ways
without having to ask for permission. It frees up the whole market
and has been central to OpenStax being able to bring on partners.
academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that
- traditional publishers can’t. Traditional publishers rely on
+ traditional publishers can’t. Traditional publishers rely on
copyright to prevent others from making copies and heavily invest
- in digital rights management to ensure their books aren’t shared.
+ in digital rights management to ensure their books aren’t shared.
By using CC BY, OpenStax avoids having to deal with digital rights
management and its costs. OpenStax books can be copied and shared
over and over again. CC BY changes the rules of engagement and
</p><p>
OpenStax has primarily focused on introductory-level college
courses where there is high enrollment, but they are starting to
- think about verticals—a broad offering for a specific group or
+ think about verticals—a broad offering for a specific group or
need. David thinks it would be terrific if OpenStax could provide
access to free textbooks through the entire curriculum of a
nursing degree, for example.
business model based on Creative Commons, OpenStax is making it
possible for every student who wants access to education to get
it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapter
19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Chapter
 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the
U.S.
</p><p>
(performances), selling merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15,
2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what
- she calls a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually
+ she calls a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually
experimenting to find new ways to sustain her creative
work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates
- exactly what she has been and continues to strive for—<span class="quote">“<span class="quote">the
+ exactly what she has been and continues to strive for—<span class="quote">“<span class="quote">the
ideal sweet spot . . . in which the artist can share freely and
directly feel the reverberations of their artistic gifts to the
- community, and make a living doing that.</span>”</span>
+ community, and make a living doing that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On the one hand, we have
- this beautiful shareability,</span>”</span> Amanda said. <span class="quote">“<span class="quote">On the
- other, you’ve got a bunch of confused artists wondering how to
- make money to buy food so we can make more art.</span>”</span>
+ frustrating time for creators. <span class="quote">“<span class="quote">On the one hand, we have
+ this beautiful shareability,</span>”</span> Amanda said. <span class="quote">“<span class="quote">On the
+ other, you’ve got a bunch of confused artists wondering how to
+ make money to buy food so we can make more art.</span>”</span>
</p><p>
Amanda began her artistic career as a street performer. She would
dress up in an antique wedding gown, paint her face white, stand
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.
- <span class="quote">“<span class="quote">All I needed was . . . some people,</span>”</span> she wrote in
- her book. <span class="quote">“<span class="quote">Enough people. Enough to make it worth coming
+ <span class="quote">“<span class="quote">All I needed was . . . some people,</span>”</span> she wrote in
+ her book. <span class="quote">“<span class="quote">Enough people. Enough to make it worth coming
back the next day, enough people to help me make rent and put food
- on the table. Enough so I could keep making art.</span>”</span>
+ on the table. Enough so I could keep making art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but
- her career remains dominated by that same sentiment—finding ways
- to reach <span class="quote">“<span class="quote">her crowd</span>”</span> and feeling gratitude when she
+ her career remains dominated by that same sentiment—finding ways
+ to reach <span class="quote">“<span class="quote">her crowd</span>”</span> and feeling gratitude when she
does. With her band the Dresden Dolls, Amanda tried the
- traditional path of signing with a record label. It didn’t take
+ traditional path of signing with a record label. It didn’t take
for a variety of reasons, but one of them was that the label had
- absolutely no interest in Amanda’s view of success. They wanted
+ absolutely no interest in Amanda’s view of success. They wanted
hits, but making music for the masses was never what Amanda and
the Dresden Dolls set out to do.
</p><p>
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 <span class="quote">“<span class="quote">pay what you want</span>”</span> basis and selling CDs
+ files on a <span class="quote">“<span class="quote">pay what you want</span>”</span> basis and selling CDs
and vinyl. She also made money from live performances and
merchandise sales. Eventually, in 2012 she decided to try her hand
at the sort of crowdfunding we know so well today. Her Kickstarter
from her fan base on Patreon, a crowdfunding site that allows
artists to get recurring donations from fans. More than eight
thousand people have signed up to support her so she can create
- music, art, and any other creative <span class="quote">“<span class="quote">thing</span>”</span> that she
+ music, art, and any other creative <span class="quote">“<span class="quote">thing</span>”</span> that she
is inspired to make. The recurring pledges are made on a
- <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+ <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an
Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA).
</p><p>
Commons. Amanda says the Dresden Dolls used to get ten emails per
week from fans asking if they could use their music for different
projects. They said yes to all of the requests, as long as it
- wasn’t for a completely for-profit venture. At the time, they used
- a short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made
- everyone sign that contract so at least I wouldn’t be leaving the
+ wasn’t for a completely for-profit venture. At the time, they used
+ a short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made
+ everyone sign that contract so at least I wouldn’t be leaving the
band vulnerable to someone later going on and putting our music in
- a Camel cigarette ad,</span>”</span> Amanda said. Once she discovered
+ a Camel cigarette ad,</span>”</span> Amanda said. Once she discovered
Creative Commons, adopting the licenses was an easy decision
because it gave them a more formal, standardized way of doing what
they had been doing all along. The NonCommercial licenses were a
natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music.
- In The Art of Asking, she wrote that some of her fans’ unofficial
+ In The Art of Asking, she wrote that some of her fans’ unofficial
videos using her music surpass the official videos in number of
views on YouTube. Rather than seeing this sort of thing as
- competition, Amanda celebrates it. <span class="quote">“<span class="quote">We got into this because
- we wanted to share the joy of music,</span>”</span> she said.
+ competition, Amanda celebrates it. <span class="quote">“<span class="quote">We got into this because
+ we wanted to share the joy of music,</span>”</span> she said.
</p><p>
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. <span class="quote">“<span class="quote">Not only did most our early fans
+ was completely blurred. <span class="quote">“<span class="quote">Not only did most our early fans
know where I lived and where we practiced, but most of them had
- also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+ also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to
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. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill
- unto itself,</span>”</span> Amanda wrote.
+ to listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill
+ unto itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much
they know about her life. Rather than trying to craft a public
persona or image, she essentially lives her life as an open book.
She has written openly about incredibly personal events in her
- life, and she isn’t afraid to be vulnerable. Having that kind of
- trust in her fans—the trust it takes to be truly honest—begets
+ life, and she isn’t afraid to be vulnerable. Having that kind of
+ trust in her fans—the trust it takes to be truly honest—begets
trust from her fans in return. When she meets fans for the first
time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture
+ </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture
looking palatable and consumable that we forget that being human
and showing the flaws and exposing the vulnerability actually
- create a deeper connection than just looking fantastic,</span>”</span>
- Amanda said. <span class="quote">“<span class="quote">Everything in our culture is telling us
+ create a deeper connection than just looking fantastic,</span>”</span>
+ Amanda said. <span class="quote">“<span class="quote">Everything in our culture is telling us
otherwise. But my experience has shown me that the risk of making
- yourself vulnerable is almost always worth it.</span>”</span>
+ yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them,
she sleeps on their couches, listens to their stories, cries with
them. In short, she treats her fans like friends in nearly every
possible way, even when they are complete strangers. This
- mentality—that fans are friends—is completely intertwined with
- Amanda’s success as an artist. It is also intertwined with her use
+ mentality—that fans are friends—is completely intertwined with
+ Amanda’s success as an artist. It is also intertwined with her use
of Creative Commons licenses. Because that is what you do with
- your friends—you share.
+ your friends—you share.
</p><p>
After years of investing time and energy into building trust with
her fans, she has a strong enough relationship with them to ask
- for support—through pay-what-you-want donations, Kickstarter,
+ for support—through pay-what-you-want donations, Kickstarter,
Patreon, or even asking them to lend a hand at a concert. As
Amanda explains it, crowdfunding (which is really what all of
these different things are) is about asking for support from
people who know and trust you. People who feel personally invested
in your success.
- </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take
- care of you, they become your allies, your family,</span>”</span> she
+ </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take
+ care of you, they become your allies, your family,</span>”</span> 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 <span class="quote">“<span class="quote">weird little family.</span>”</span>
+ belonging to their <span class="quote">“<span class="quote">weird little family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable
- for every creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen
+ for every creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen
to be the type of person who loves cavorting with
- strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I recognize that it’s not
- necessarily everyone’s idea of a good time. Everyone does it
- differently. Replicating what I have done won’t work for others if
- it isn’t joyful to them. It’s about finding a way to channel
- energy in a way that is joyful to you.</span>”</span>
+ strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I recognize that it’s not
+ necessarily everyone’s idea of a good time. Everyone does it
+ differently. Replicating what I have done won’t work for others if
+ it isn’t joyful to them. It’s about finding a way to channel
+ energy in a way that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves
them in her work as much as possible, she does keep one job
- primarily to herself—writing the music. She loves the creativity
+ primarily to herself—writing the music. She loves the creativity
with which her fans use and adapt her work, but she intentionally
does not involve them at the first stage of creating her artistic
work. And, of course, the songs and music are what initially draw
art and then the bond strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish
- and maintain this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span>
- she said, <span class="quote">“<span class="quote">but my experience in forty years on this planet
- has pointed me to an obvious truth—that connection with human
+ and maintain this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span>
+ she said, <span class="quote">“<span class="quote">but my experience in forty years on this planet
+ has pointed me to an obvious truth—that connection with human
beings feels so much better and more fulfilling than approaching
art through a capitalist lens. There is no more satisfying end
goal than having someone tell you that what you do is genuinely of
- value to them.</span>”</span>
+ value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill,
usually what they are saying is that the money symbolizes some
deeper value the music provided them. For Amanda, art is not just
- a product; it’s a relationship. Viewed from this lens, what Amanda
+ a product; it’s a relationship. Viewed from this lens, what Amanda
does today is not that different from what she did as a young
street performer. She shares her music and other artistic gifts.
She shares herself. And then rather than forcing people to help
her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapter
20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Chapter
 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page,
publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three
- leading scientists—Harold E. Varmus, Patrick O. Brown, and Michael
- Eisen—started an online petition. They were calling for scientists
- to stop submitting papers to journals that didn’t make the full
+ leading scientists—Harold E. Varmus, Patrick O. Brown, and Michael
+ Eisen—started an online petition. They were calling for scientists
+ to stop submitting papers to journals that didn’t make the full
text of their papers freely available immediately or within six
months. Although tens of thousands signed the petition, most did
not follow through. In August 2001, Patrick and Michael announced
For Louise Page, the current publisher of PLOS, this traditional
model results in inequity. Access is restricted to those who can
pay. Most research is funded through government-appointed
- agencies, that is, with public funds. It’s unjust that the public
+ agencies, that is, with public funds. It’s unjust that the public
who funded the research would be required to pay again to access
the results. Not everyone can afford the ever-escalating
subscription fees publishers charge, especially when library
access the journal, PLOS decided to turn the model on its head and
charge a publication fee, known as an article-processing charge.
This up-front fee, generally paid by the funder of the research or
- the author’s institution, covers the expenses such as editorial
+ the author’s institution, covers the expenses such as editorial
oversight, peer-review management, journal production, online
hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional
</p><p>
Calculating the article-processing charge involves taking all the
costs associated with publishing the journal and determining a
- cost per article that collectively recovers costs. For PLOS’s
+ cost per article that collectively recovers costs. For PLOS’s
journals in biology, medicine, genetics, computational biology,
neglected tropical diseases, and pathogens, the article-processing
charge ranges from $2,250 to $2,900. Article-publication charges
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support
- for individuals and institutions to help authors who can’t afford
+ for individuals and institutions to help authors who can’t afford
the article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between
Restricting access to subscribers means that tools for managing
access control are necessary. They spend millions of dollars on
access-control systems, staff to manage them, and sales staff.
- With PLOS’s open-access publishing, there’s no need for these
+ With PLOS’s open-access publishing, there’s no need for these
massive expenses; the articles are free, open, and accessible to
all upon publication. Additionally, traditional publishers tend to
spend more on marketing to libraries, who ultimately pay the
volume of articles, the more time the approval process inevitably
takes.
</p><p>
- Peer review is another part of the process that could change. It’s
+ Peer review is another part of the process that could change. It’s
possible to redefine what peer review actually is, when to review,
and what constitutes the final article for publication. Louise
talked about the potential to shift to an open-review process,
placing the emphasis on transparency rather than double-blind
- reviews. Louise thinks we’re moving into a direction where it’s
+ reviews. Louise thinks we’re moving into a direction where it’s
actually beneficial for an author to know who is reviewing their
paper and for the reviewer to know their review will be public. An
open-review process can also ensure everyone gets credit; right
</p><p>
Louise says research with negative outcomes is almost as important
as positive results. If journals published more research with
- negative outcomes, we’d learn from what didn’t work. It could also
+ negative outcomes, we’d learn from what didn’t work. It could also
reduce how much the research wheel gets reinvented around the
world.
</p><p>
based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help
researchers get their discoveries out early and establish
- precedence. A big challenge is that researchers don’t have a lot
+ precedence. A big challenge is that researchers don’t have a lot
of time to comment on preprints.
</p><p>
What constitutes a journal article could also change. The idea of
Ultimately, for PLOS, its authors, and its readers, success is
about making research discoverable, available, and reproducible
for the advancement of science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapter
21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Chapter
 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma,
the data manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data
manager, staff were fed up with the situation the museum was in.
They also realized that even with the new and larger space, it
- still wouldn’t be able to show very much of the whole
- collection—eight thousand of over one million works representing
+ still wouldn’t be able to show very much of the whole
+ collection—eight thousand of over one million works representing
just 1 percent. Staff began exploring ways to express themselves,
to have something to show for all of the work they had been doing.
The Rijksmuseum is primarily funded by Dutch taxpayers, so was
there a way for the museum provide benefit to the public while it
- was closed? They began thinking about sharing Rijksmuseum’s
+ was closed? They began thinking about sharing Rijksmuseum’s
collection using information technology. And they put up a
card-catalog like database of the entire collection online.
</p><p>
important pieces in the Rijksmuseum collection? That eventually
led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s
digital library, museum, and archive for cultural
heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all across
Europe, Europeana had become an important online platform. In
scary, but at the same time it stimulated even more discussion on
whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection
- and couldn’t realistically monitor and enforce compliance with the
+ They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection
+ and couldn’t realistically monitor and enforce compliance with the
restrictive licensing terms they currently had in place. For
- example, many copies and versions of Vermeer’s Milkmaid (part of
+ example, many copies and versions of Vermeer’s Milkmaid (part of
their collection) were already online, many of them of very poor
quality. They could spend time and money policing its use, but it
- would probably be futile and wouldn’t make people stop using their
- images online. They ended up thinking it’s an utter waste of time
+ would probably be futile and wouldn’t make people stop using their
+ images online. They ended up thinking it’s an utter waste of time
to hunt down people who use the Rijksmuseum collection. And
anyway, restricting access meant the people they were frustrating
the most were schoolkids.
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality
- image of Vermeer’s Milkmaid, for example, is downloaded two to
+ image of Vermeer’s Milkmaid, for example, is downloaded two to
three thousand times a month. On the Internet, images from a
source like the Rijksmuseum are more trusted, and releasing them
with a Creative Commons CC0 means they can easily be found in
other platforms. For example, Rijksmuseum images are now used in
thousands of Wikipedia articles, receiving ten to eleven million
- views per month. This extends Rijksmuseum’s reach far beyond the
+ views per month. This extends Rijksmuseum’s reach far beyond the
scope of its website. Sharing these images online creates what
- Lizzy calls the <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of
+ Lizzy calls the <span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of
art becomes so famous that people want to see it in real life by
visiting the actual museum.
</p><p>
generate revenue generation, including for the Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up
- digital representations of their collection online, there’s
+ digital representations of their collection online, there’s
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 about one million
a year. Making the collection available online has generated
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 children’s toys, people also see what
- museum the image comes from and this increases the museum’s
+ leaflets, milk cartons, and children’s toys, people also see what
+ museum the image comes from and this increases the museum’s
visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery
to create a new web presence that would be different from any
- other museum’s. In addition to redesigning their main website to
+ other museum’s. In addition to redesigning their main website to
be mobile friendly and responsive to devices like the iPad, the
Rijksmuseum also created the Rijksstudio, where users and artists
could use and do various things with the Rijksmuseum
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 <span class="quote">“<span class="quote">like</span>”</span> works and compile your personal
+ You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your 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
</p><p>
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 artists’
+ in the 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
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.
- They’ve even partnered with the DIY marketplace Etsy to inspire
+ They’ve even partnered with the DIY marketplace Etsy to inspire
people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of
an elaborate cabinet along with an oil painting by Jan Asselijn
competition invites the public to use Rijksstudio images to make
new creative designs. A jury of renowned designers and curators
selects ten finalists and three winners. The final award comes
- with a prize of €10,000. The second edition in 2015 attracted a
+ with a prize of €10,000. The second edition in 2015 attracted a
staggering 892 top-class entries. Some award winners end up with
their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work
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 with the many improvements to the
- Rijksmuseum’s website, dramatically increased visits to their
+ Rijksmuseum’s website, dramatically increased visits to their
website from thirty-five thousand visits per month to three
hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy
- says those fears did not come true because <span class="quote">“<span class="quote">ninety-nine
- percent of people have respect for great art.</span>”</span> Many museums
+ of awful things people might do with the museum’s works. But Lizzy
+ says those fears did not come true because <span class="quote">“<span class="quote">ninety-nine
+ percent of people have respect for great art.</span>”</span> Many museums
think they can make a lot of money by selling things related to
- their collection. But in Lizzy’s experience, museums are usually
+ their collection. But in Lizzy’s experience, museums are usually
bad at selling things, and sometimes efforts to generate a small
- amount of money block something much bigger—the real value that
+ amount of money block something much bigger—the real value that
the 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 use of their
- collection has generated great promotional value—far more than the
+ collection has generated great promotional value—far more than the
previous practice of charging fees for access and use. Lizzy sums
- up their experience: <span class="quote">“<span class="quote">Give away; get something in return.
- Generosity makes people happy to join you and help out.</span>”</span>
+ up their experience: <span class="quote">“<span class="quote">Give away; get something in return.
+ Generosity makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>;
the 2014 award:
<a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
the 2015 award:
- <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapter
22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Chapter
 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009
in the U.S.
</p><p>
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo,
cofounder and executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
publication had helped start a sharing movement four years prior,
but over time, they watched one part of the movement stray from
its ideals. As giants like Uber and Airbnb gained ground,
- attention began to center on the <span class="quote">“<span class="quote">sharing economy</span>”</span> we
- know now—profit-driven, transactional, and loaded with
+ attention began to center on the <span class="quote">“<span class="quote">sharing economy</span>”</span> we
+ know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this
domain invited Shareable to advocate for them. The magazine faced
a choice: ride the wave or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand.
In 2013, the cofounder and executive editor Neal Gorenflo wrote an
- opinion piece in the PandoDaily that charted Shareable’s new
+ opinion piece in the PandoDaily that charted Shareable’s new
critical stance on the Silicon Valley version of the sharing
economy, while contrasting it with aspects of the real sharing
economy like open-source software, participatory budgeting (where
citizens decide how a public budget is spent), cooperatives, and
- more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative
- consumption is dead, it’s more that it risks dying as it gets
- absorbed by the <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
+ more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative
+ consumption is dead, it’s more that it risks dying as it gets
+ absorbed by the <span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy
defined what Shareable was and is. He does not think the magazine
- would still be around had they chosen differently. <span class="quote">“<span class="quote">We would
+ would still be around had they chosen differently. <span class="quote">“<span class="quote">We would
have gotten another type of audience, but it would have spelled
- the end of us,</span>”</span> he said. <span class="quote">“<span class="quote">We are a small,
+ the end of us,</span>”</span> he said. <span class="quote">“<span class="quote">We are a small,
mission-driven organization. We would never have been able to
weather the criticism that Airbnb and Uber are getting
- now.</span>”</span>
+ now.</span>”</span>
</p><p>
Interestingly, impassioned supporters are only a small sliver of
- Shareable’s total audience. Most are casual readers who come
+ Shareable’s total audience. Most are casual readers who come
across a Shareable story because it happens to align with a
project or interest they have. But choosing principles over the
possibility of riding the coattails of the major corporate players
- in the sharing space saved Shareable’s credibility. Although they
+ in the sharing space saved Shareable’s credibility. Although they
became detached from the corporate sharing economy, the online
- magazine became the voice of the <span class="quote">“<span class="quote">real sharing
- economy</span>”</span> and continued to grow their audience.
+ magazine became the voice of the <span class="quote">“<span class="quote">real sharing
+ economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means
to furthering their role as a leader and catalyst of a movement.
- Shareable became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that
+ Shareable became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that
time, there was a sharing movement bubbling beneath the surface,
- but no one was connecting the dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We
- decided to step into that space and take on that role.</span>”</span> The
+ but no one was connecting the dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We
+ decided to step into that space and take on that role.</span>”</span> The
small team behind the nonprofit publication truly believed sharing
could be central to solving some of the major problems human
- beings face—resource inequality, social isolation, and global
+ beings face—resource inequality, social isolation, and global
warming.
</p><p>
They have worked hard to find ways to tell stories that show
- different metrics for success. <span class="quote">“<span class="quote">We wanted to change the
- notion of what constitutes the good life,</span>”</span> Neal said. While
+ different metrics for success. <span class="quote">“<span class="quote">We wanted to change the
+ notion of what constitutes the good life,</span>”</span> Neal said. While
they started out with a very broad focus on sharing generally,
today they emphasize stories about the physical commons like
- <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas managed in a
+ <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas managed in a
sustainable, cooperative way), as well as digital platforms that
are run democratically. They particularly focus on how-to content
that help their readers make changes in their own lives and
communities.
</p><p>
- More than half of Shareable’s stories are written by paid
+ More than half of Shareable’s stories are written by paid
journalists that are contracted by the magazine.
- <span class="quote">“<span class="quote">Particularly in content areas that are a priority for us,
- we really want to go deep and control the quality,</span>”</span> Neal
+ <span class="quote">“<span class="quote">Particularly in content areas that are a priority for us,
+ we really want to go deep and control the quality,</span>”</span> Neal
said. The rest of the content is either contributed by guest
writers, often for free, or written by other publications from
their network of content publishers. Shareable is a member of the
Post Growth Alliance, which facilitates the sharing of content and
audiences among a large and growing group of mostly nonprofits.
Each organization gets a chance to present stories to the group,
- and the organizations can use and promote each other’s stories.
+ and the organizations can use and promote each other’s stories.
Much of the content created by the network is licensed with
Creative Commons.
</p><p>
- All of Shareable’s original content is published under the
+ All of Shareable’s original content is published under the
Attribution license (CC BY), meaning it can be used for any
purpose as long as credit is given to Shareable. Creative Commons
- licensing is aligned with Shareable’s vision, mission, and
- identity. That alone explains the organization’s embrace of the
+ licensing is aligned with Shareable’s vision, mission, and
+ identity. That alone explains the organization’s embrace of the
licenses for their content, but Neal also believes CC licensing
- helps them increase their reach. <span class="quote">“<span class="quote">By using CC
- licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far
+ helps them increase their reach. <span class="quote">“<span class="quote">By using CC
+ licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far
more people through a formal and informal network of republishers
- or affiliates. That has definitely been the case. It’s hard for us
+ or affiliates. That has definitely been the case. It’s hard for us
to measure the reach of other media properties, but most of the
outlets who republish our work have much bigger audiences than we
- do.</span>”</span>
+ do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable
has also experimented with book publishing. In 2012, they worked
with a traditional publisher to release Share or Die: Voices of
the Get Lost Generation in an Age of Crisis. The CC-licensed book
was available in print form for purchase or online for free. To
- this day, the book—along with their CC-licensed guide Policies for
- Shareable Cities—are two of the biggest generators of traffic on
+ this day, the book—along with their CC-licensed guide Policies for
+ Shareable Cities—are two of the biggest generators of traffic on
their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable
</p><p>
For Shareable, success is very much about their impact on the
world. This is true for Neal, but also for everyone who works for
- Shareable. <span class="quote">“<span class="quote">We attract passionate people,</span>”</span> Neal said.
+ Shareable. <span class="quote">“<span class="quote">We attract passionate people,</span>”</span> Neal said.
At times, that means employees work so hard they burn out. Neal
tries to stress to the Shareable team that another part of success
is having fun and taking care of yourself while you do something
- you love. <span class="quote">“<span class="quote">A central part of human beings is that we long to
- be on a great adventure with people we love,</span>”</span> he said.
- <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
+ you love. <span class="quote">“<span class="quote">A central part of human beings is that we long to
+ be on a great adventure with people we love,</span>”</span> he said.
+ <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
create new worlds, but we also seek the comfort of hearth and
- home.</span>”</span>
+ home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch
their Sharing Cities Network. Neal said at first they were on pace
to fail spectacularly. They called in their advisers in a panic
- and asked for help. The advice they received was simple—<span class="quote">“<span class="quote">Sit
- your ass in a chair and start making calls.</span>”</span> That’s exactly
+ and asked for help. The advice they received was simple—<span class="quote">“<span class="quote">Sit
+ your ass in a chair and start making calls.</span>”</span> That’s exactly
what they did, and they ended up reaching their $50,000 goal. Neal
said the campaign helped them reach new people, but the vast
majority of backers were people in their existing base.
Shareable began hosting events in 2010. These events were designed
to bring the sharing community together. But over time they
realized they could reach far more people if they helped their
- readers to host their own events. <span class="quote">“<span class="quote">If we wanted to go big on
+ readers to host their own events. <span class="quote">“<span class="quote">If we wanted to go big on
a conference, there was a huge risk and huge staffing needs, plus
only a fraction of our community could travel to the
- event,</span>”</span> Neal said. Enabling others to create their own
+ event,</span>”</span> Neal said. Enabling others to create their own
events around the globe allowed them to scale up their work more
effectively and reach far more people. Shareable has catalyzed
three hundred different events reaching over twenty thousand
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapter
23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Chapter
 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that
creates textbooks and integrated learning experiences. Founded
in 2012 in South Africa.
custom services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative
- Commons, Siyavula—and its founder, Mark Horner—have been around
+ Commons, Siyavula—and its founder, Mark Horner—have been around
the block a few times. Siyavula has significantly shifted
- directions and strategies to survive and prosper. Mark says it’s
+ directions and strategies to survive and prosper. Mark says it’s
been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at
the University of Cape Town in South Africa founded the Free High
School Science Texts project. Most students in South Africa high
- schools didn’t have access to high-quality, comprehensive science
+ schools didn’t have access to high-quality, comprehensive science
and math textbooks, so Mark and his colleagues set out to write
them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of
open-source software. To make the books open and free, they
- adopted the Free Software Foundation’s GNU Free Documentation
+ adopted the Free Software Foundation’s GNU Free Documentation
License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to
publish scientific documents, to author the books. Over a period
of five years, the Free High School Science Texts project produced
In 2007, the Shuttleworth Foundation offered funding support to
make the 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
+ were no substantial criticisms of the textbooks’ pedagogical
content. This pleased both the authors and Shuttleworth; Mark
remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark
- shifted his focus to rural schools, which didn’t have textbooks at
+ shifted his focus to rural schools, which didn’t have textbooks at
all, and looked into the printing and distribution options. A few
sponsors came on board but not enough to meet the need.
</p><p>
in Cape Town. One result was the Cape Town Open Education
Declaration, a statement of principles, strategies, and commitment
to help the open-education movement grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to run a project
- writing open content for all subjects for K–12 in English. That
+ writing open content for all subjects for K–12 in English. That
project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company
- offered Shuttleworth the option to buy out the publisher’s
- existing K–9 content for every subject in South African schools in
+ offered Shuttleworth the option to buy out the publisher’s
+ existing K–9 content for every subject in South African schools in
both English and Afrikaans. A deal was struck, and all the
acquired content was licensed with Creative Commons, significantly
expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively
- through communities of practice—that is, with fellow educators and
+ through communities of practice—that is, with fellow educators and
writers. Although sharing is fundamental to teaching, there can be
a few challenges when you create educational resources
collectively. One concern is legal. It is standard practice in
education to copy diagrams and snippets of text, but of course
- this doesn’t always comply with copyright law. Another concern is
- transparency. Sharing what you’ve authored means everyone can see
+ this doesn’t always comply with copyright law. Another concern is
+ transparency. Sharing what you’ve authored means everyone can see
it and opens you up to criticism. To alleviate these concerns,
Mark adopted a team-based approach to authoring and insisted the
curricula be based entirely on resources with Creative Commons
Not only did Mark want the resources to be shareable, he wanted
all teachers to be able to remix and edit the content. Mark and
his team had to come up with an open editable format and provide
- tools for editing. They ended up putting all the books they’d
+ tools for editing. They ended up putting all the books they’d
acquired and authored on a platform called Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many teachers to use Connexions, but
it proved to be too complex and the textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure
its work as a foundation into a fellowship model (for reasons
completely unrelated to Siyavula). As part of that transition in
- 2009–10, Mark inherited Siyavula as an independent entity and took
+ 2009–10, Mark inherited Siyavula as an independent entity and took
ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies.
could drive vast amounts of traffic to their website. In addition
to print books, Siyavula could also make the books available on
their website, making it possible for learners to access them
- using any device—computer, tablet, or mobile phone.
+ using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond
what was in the textbooks as a service they charge for. One key
- thing you can’t do well in a printed textbook is demonstrate
+ thing you can’t do well in a printed textbook is demonstrate
solutions. Typically, a one-line answer is given at the end of the
book but nothing on the process for arriving at that solution.
Mark and his team developed practice items and detailed solutions,
- giving learners plenty of opportunity to test out what they’ve
+ giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice
items to the individual needs of each learner. They called this
service Intelligent Practice and embedded links to it in the open
Rather than wait, schools who could afford it provided students
with a different textbook. The Siyavula books were eventually
distributed, but with well-off schools mainly using a different
- book, the primary market for Siyavula’s Intelligent Practice
+ book, the primary market for Siyavula’s Intelligent Practice
service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got
+ Siyavula’s site did see a dramatic increase in traffic. They got
five hundred thousand visitors per month to their math site and
the same number to their science site. Two-fifths of the traffic
- was reading on a <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone
+ was reading on a <span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone
with no apps). People on basic phones were reading math and
science on a two-inch screen at all hours of the day. To Mark, it
was quite amazing and spoke to a need they were servicing.
using a credit card. This proved problematic, especially for those
in the low-income demographic, as credit cards were not prevalent.
Mark says Siyavula got a harsh business-model lesson early on. As
- he describes it, it’s not just about product, but how you sell it,
+ he describes it, it’s not just about product, but how you sell it,
who the market is, what the price is, and what the barriers to
entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business
+ Mark describes this as the first version of Siyavula’s business
model: open textbooks serving as marketing material and driving
traffic to your site, where you can offer a related service and
convert some people into a paid customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on
- how they can add value on top of their basic service. They’ll
+ For Mark a key decision for Siyavula’s business was to focus on
+ how they can add value on top of their basic service. They’ll
charge only if they are adding unique value. The actual content of
- the textbook isn’t unique at all, so Siyavula sees no value in
+ the textbook isn’t unique at all, so Siyavula sees no value in
locking it down and charging for it. Mark contrasts this with
traditional publishers who charge over and over again for the same
content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious
- idea—scale up. They also decided to sell the Intelligent Practice
+ Version two of Siyavula’s business model was a big, ambitious
+ idea—scale up. They also decided to sell the Intelligent Practice
service to schools directly. Schools can subscribe on a
per-student, per-subject basis. A single subscription gives a
learner access to a single subject, including practice content
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress
- of an entire class or view an individual learner’s results. They
+ of an entire class or view an individual learner’s results. They
can see the questions that learners are working on, identify areas
of difficulty, and be more strategic in their teaching. Students
also have their own personalized dashboard, where they can view
- the sections they’ve practiced, how many points they’ve earned,
+ the sections they’ve practiced, how many points they’ve earned,
and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to
In partnership with, and sponsored by, the Sasol Inzalo
Foundation, Siyavula produced a series of natural sciences and
technology workbooks for grades 4 to 6 called Thunderbolt Kids
- that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
- teacher’s guides and other resources.
+ that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+ teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors
to help fund openly licensed textbooks. It helped that Siyavula
one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
- government are freely and openly available on Siyavula’s website
- under an Attribution-NoDerivs license (CC BY-ND) —NoDerivs means
+ government are freely and openly available on Siyavula’s website
+ under an Attribution-NoDerivs license (CC BY-ND) —NoDerivs means
that these books cannot be modified. Non-government-branded books
are available under an Attribution license (CC BY), allowing
others to modify and redistribute the books.
hard copies of the books to schoolkids, Siyavula itself received
no funding from the government. Siyavula initially tried to
convince the government to provide them with five rand per book
- (about US35¢). With those funds, Mark says that Siyavula could
+ (about US35¢). With those funds, Mark says that Siyavula could
have run its entire operation, built a community-based model for
producing more books, and provide Intelligent Practice for free to
every child in the country. But after a lengthy negotiation, the
textbooks even more, the South African government changed its
textbook policy. To save costs, the government declared there
would be only one authorized textbook for each grade and each
- subject. There was no guarantee that Siyavula’s would be chosen.
+ subject. There was no guarantee that Siyavula’s would be chosen.
This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on
improving its Intelligent Practice technology for its existing
- books. Mark calls this version three of Siyavula’s business
- model—focusing on the technology that provides the
+ books. Mark calls this version three of Siyavula’s business
+ model—focusing on the technology that provides the
revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an
investment by the Omidyar Network (the philanthropic venture
nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission.
- Their shareholders’ agreement lists lots of requirements around
+ Their shareholders’ agreement lists lots of requirements around
openness for Siyavula, including stipulations that content always
- be put under an open license and that they can’t charge for
+ be put under an open license and that they can’t charge for
something that people volunteered to do for them. They believe
each individual should have access to the resources and support
they need to achieve the education they deserve. Having
of Siyavula. In terms of open business models, Mark and Siyavula
may have been around the block a few times, but both he and the
company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapter
24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Chapter
 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle,
founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
market in China, with a huge grin on his face. He was traveling in
China when he came across their LilyPad wearable technology being
made by someone else. His reaction was glee.
- </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and
- success,</span>”</span> Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that
+ </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and
+ success,</span>”</span> Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that
they were selling to a market we were never going to get access to
- otherwise. It was evidence of our impact on the world.</span>”</span>
+ otherwise. It was evidence of our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is
an electronics manufacturer. The company sells its products
images, tutorial content, and curricula, so anyone can make their
products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It
- touches on our natural human instinct to share,</span>”</span> he said.
+ Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It
+ touches on our natural human instinct to share,</span>”</span> he said.
But he also strongly believes it makes SparkFun better at what
they do. They encourage copying, and their products are copied at
a very fast rate, often within ten to twelve weeks of release.
This forces the company to compete on something other than product
design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
- <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows
+ </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+ <span class="quote">“<span class="quote">Claiming your territory with intellectual property allows
you to get comfy and rest on your laurels. It gives you a safety
- net. We took away that safety net.</span>”</span>
+ net. We took away that safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development
- and improvement. <span class="quote">“<span class="quote">Our products are so much better than they
- were five years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just
- sell products. Now it’s a product plus a video, a seventeen-page
+ and improvement. <span class="quote">“<span class="quote">Our products are so much better than they
+ were five years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just
+ sell products. Now it’s a product plus a video, a seventeen-page
hookup guide, and example firmware on three different platforms to
get you up and running faster. We have gotten better because we
- had to in order to compete. As painful as it is for us, it’s
- better for the customers.</span>”</span>
+ had to in order to compete. As painful as it is for us, it’s
+ better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people
come directly to SparkFun because SparkFun makes their lives
easier. The example code works; there is a service number to call;
they ship replacement parts the day they get a service call. They
- invest heavily in service and support. <span class="quote">“<span class="quote">I don’t believe
+ invest heavily in service and support. <span class="quote">“<span class="quote">I don’t believe
businesses should be competing with IP [intellectual property]
- barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the stuff they
- should be competing on.</span>”</span>
+ barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the stuff they
+ should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He
+ SparkFun’s company history began in Nathan’s college dorm room. He
spent a lot of time experimenting with and building electronics,
- and he realized there was a void in the market. <span class="quote">“<span class="quote">If you
- wanted to place an order for something,</span>”</span> he said,
- <span class="quote">“<span class="quote">you first had to search far and wide to find it, and then
- you had to call or fax someone.</span>”</span> In 2003, during his third
+ and he realized there was a void in the market. <span class="quote">“<span class="quote">If you
+ wanted to place an order for something,</span>”</span> he said,
+ <span class="quote">“<span class="quote">you first had to search far and wide to find it, and then
+ you had to call or fax someone.</span>”</span> In 2003, during his third
year of college, he registered
<a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a> and started reselling
products out of his bedroom. After he graduated, he started making
Once he started designing his own products, he began putting the
software and schematics online to help with technical support.
After doing some research on licensing options, he chose Creative
- Commons licenses because he was drawn to the <span class="quote">“<span class="quote">human-readable
- deeds</span>”</span> that explain the licensing terms in simple terms.
+ Commons licenses because he was drawn to the <span class="quote">“<span class="quote">human-readable
+ deeds</span>”</span> that explain the licensing terms in simple terms.
SparkFun still uses CC licenses for all of the schematics and
firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with
140 employees. In 2015, SparkFun earned $33 million in revenue.
Selling components and widgets to hobbyists, professionals, and
- artists remains a major part of SparkFun’s business. They sell
+ artists remains a major part of SparkFun’s business. They sell
their own products, but they also partner with Arduino (also
profiled in this book) by manufacturing boards for resale using
- Arduino’s brand.
+ Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating
a hands-on curriculum to teach students about electronics using
enabling others to re-create and fix their products on their own,
the more recent focus on introducing young people to technology is
a natural extension of their core business.
- </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next
- generation of technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our
+ </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next
+ generation of technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our
goal is to affect the lives of three hundred and fifty thousand
- high school students by 2020.</span>”</span>
+ high school students by 2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products
+ The Creative Commons license underlying all of SparkFun’s products
is central to this mission. The license not only signals a
willingness to share, but it also expresses a desire for others to
get in and tinker with their products, both to learn and to make
their products better. SparkFun uses the Attribution-ShareAlike
- license (CC BY-SA), which is a <span class="quote">“<span class="quote">copyleft</span>”</span> license
+ license (CC BY-SA), which is a <span class="quote">“<span class="quote">copyleft</span>”</span> license
that allows people to do anything with the content as long as they
provide credit and make any adaptations available under the same
licensing terms.
technology enthusiasts from around the area to race their own
self-created bots against each other, participate in training
workshops, and socialize. From a business perspective, Nathan says
- it’s a terrible idea. But they don’t hold the event for business
- reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel and
+ it’s a terrible idea. But they don’t hold the event for business
+ reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel and
have interactions with our customers all the time, but most of our
- employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our
+ employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our
employees the opportunity to get face-to-face contact with our
- customers.</span>”</span> The event infuses their work with a human
+ customers.</span>”</span> The event infuses their work with a human
element, which makes it more meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work
SparkFun does. The company is, of course, focused on being
fiscally responsible, but they are ultimately driven by something
- other than money. <span class="quote">“<span class="quote">Profit is not the goal; it is the outcome
- of a well-executed plan,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We focus on
- having a bigger impact on the world.</span>”</span> Nathan believes they
+ other than money. <span class="quote">“<span class="quote">Profit is not the goal; it is the outcome
+ of a well-executed plan,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We focus on
+ having a bigger impact on the world.</span>”</span> Nathan believes they
get some of the brightest and most amazing employees because they
- aren’t singularly focused on the bottom line.
+ aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its
financials with its employees. They also generally strive to avoid
being another soulless corporation. They actively try to reveal
the humans behind the company, and they work to ensure people
- coming to their site don’t find only unchanging content.
+ coming to their site don’t find only unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious
+ SparkFun’s customer base is largely made up of industrious
electronics enthusiasts. They have customers who are regularly
- involved in the company’s customer support, independently
+ involved in the company’s customer support, independently
responding to questions in forums and product-comment sections.
Customers also bring product ideas to the company. SparkFun
regularly sifts through suggestions from customers and tries to
- build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
- been listening to the community,</span>”</span> Nathan said.
- <span class="quote">“<span class="quote">Customers would identify a pain point, and we would design
- something to address it.</span>”</span>
+ build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
+ been listening to the community,</span>”</span> Nathan said.
+ <span class="quote">“<span class="quote">Customers would identify a pain point, and we would design
+ something to address it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always
- translate to people actively contributing to SparkFun’s projects.
+ translate to people actively contributing to SparkFun’s projects.
The company has a public repository of software code for each of
its devices online. On a particularly active project, there will
only be about two dozen people contributing significant
improvements. The vast majority of projects are relatively
- untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
- open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s
- not really true.</span>”</span>
+ untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
+ open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s
+ not really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun
instead focuses on enabling people to copy, tinker, and improve
products on their own. They heavily invest in tutorials and other
material designed to help people understand how the products work
- so they can fix and improve things independently. <span class="quote">“<span class="quote">What
+ so they can fix and improve things independently. <span class="quote">“<span class="quote">What
gives me joy is when people take open-source layouts and then
- build their own circuit boards from our designs,</span>”</span> Nathan
+ build their own circuit boards from our designs,</span>”</span> Nathan
said.
</p><p>
Obviously, opening up the design of their products is a necessary
may lose a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapter
25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Chapter
 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials
designed to teach people around the world about HIV and AIDS.
Founded in 2005 in the U.S.
2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar,
the CEO, and Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In late 2005, Piya and her team used research-based design to
create new educational materials and worked with local partners in
India to help distribute them. As soon as the animated software
- was posted online, Piya’s team started receiving requests from
+ was posted online, Piya’s team started receiving requests from
individuals and governments who were interested in bringing this
- model to more countries. <span class="quote">“<span class="quote">We realized fairly quickly that
+ model to more countries. <span class="quote">“<span class="quote">We realized fairly quickly that
educating large populations about a topic that was considered
taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally
- appropriate education,</span>”</span> Piya said.
+ appropriate education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to
+ Very shortly after the initial release, Piya’s team decided to
spin the endeavor into an independent nonprofit out of Stanford
University. They also decided to use Creative Commons licenses on
the materials.
in the content. They chose the Attribution-NonCommercial-NoDerivs
license (CC BY-NC-ND), which essentially gives the public the
right to distribute only verbatim copies of the content, and for
- noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
- TeachAIDS, and we couldn’t stand by derivatives without vetting
- them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.
- <span class="quote">“<span class="quote">It was almost a no-brainer to go with a CC license because
+ noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
+ TeachAIDS, and we couldn’t stand by derivatives without vetting
+ them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said.
+ <span class="quote">“<span class="quote">It was almost a no-brainer to go with a CC license because
it was a plug-and-play solution to this exact problem. It has
allowed us to scale our materials safely and quickly worldwide
while preserving our content and protecting us at the same
- time.</span>”</span>
+ time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content
was an outgrowth of the careful precision with which TeachAIDS
crafts their content. The organization invests heavily in research
and testing to determine the best method of conveying the
- information. <span class="quote">“<span class="quote">Creating high-quality content is what matters
- most to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">Research drives everything
- we do.</span>”</span>
+ information. <span class="quote">“<span class="quote">Creating high-quality content is what matters
+ most to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">Research drives everything
+ we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when
it comes from familiar voices they trust and admire. To achieve
is undertaken entirely by people who are specifically brought on
to help with a particular project, rather than ongoing staff. The
final product they create is designed to require zero training for
- people to implement in practice. <span class="quote">“<span class="quote">In our research, we found
- we can’t depend on people passing on the information correctly,
- even if they have the best of intentions,</span>”</span> Piya said.
- <span class="quote">“<span class="quote">We need materials where you can push play and they will
- work.</span>”</span>
+ people to implement in practice. <span class="quote">“<span class="quote">In our research, we found
+ we can’t depend on people passing on the information correctly,
+ even if they have the best of intentions,</span>”</span> Piya said.
+ <span class="quote">“<span class="quote">We need materials where you can push play and they will
+ work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several
+ Piya’s team was able to produce all of these versions over several
years with a head count that never exceeded eight full-time
employees. The organization is able to reduce costs by relying
heavily on volunteers and in-kind donations. Nevertheless, the
nonprofit needed a sustainable revenue model to subsidize content
creation and physical distribution of the materials. Charging even
- a low price was simply not an option. <span class="quote">“<span class="quote">Educators from
+ a low price was simply not an option. <span class="quote">“<span class="quote">Educators from
various nonprofits around the world were just creating their own
- materials using whatever they could find for free online,</span>”</span>
- Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
- highly effective model was to make it completely free.</span>”</span>
+ materials using whatever they could find for free online,</span>”</span>
+ Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
+ highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they
settled on advertising as a funding model. But they were extremely
unrestricted donations to the nonprofit. This gives the nonprofit
more stability, but even more importantly, it enables them to
subsidize projects being localized for an area with no sponsors.
- <span class="quote">“<span class="quote">If we just created versions based on where we could get
+ <span class="quote">“<span class="quote">If we just created versions based on where we could get
sponsorships, we would only have materials for wealthier
- countries,</span>”</span> Shuman said.
+ countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go
into a new country, various companies hear about us and reach out
- to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">We don’t have to do much to find
- or attract them.</span>”</span> They believe the sponsorships are easy to
+ to us,</span>”</span> Piya said. <span class="quote">“<span class="quote">We don’t have to do much to find
+ or attract them.</span>”</span> They believe the sponsorships are easy to
sell because they offer so much value to sponsors. TeachAIDS
sponsorships give corporations the chance to reach new eyeballs
with their brand, but at a much lower cost than other advertising
Importantly, the value to corporate sponsors goes beyond
commercial considerations. As a nonprofit with a clearly
articulated social mission, corporate sponsorships are donations
- to a cause. <span class="quote">“<span class="quote">This is something companies can be proud of
- internally,</span>”</span> Shuman said. Some companies have even built
+ to a cause. <span class="quote">“<span class="quote">This is something companies can be proud of
+ internally,</span>”</span> Shuman said. Some companies have even built
publicity campaigns around the fact that they have sponsored these
initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to
- life-saving education—is at the root of everything the
+ The core mission of TeachAIDS—ensuring global access to
+ life-saving education—is at the root of everything the
organization does. It underpins the work; it motivates the
funders. The CC license on the materials they create furthers that
mission, allowing them to safely and quickly scale their materials
- worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a game
- changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapter
26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a game
+ changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Chapter
 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the
film, TV, video, gaming, and in-store-media industries. Founded
in 2008 in the Netherlands.
2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van
Oorschot, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
uncovered five or six examples, Hessel found the business models
lacking. The lawyers expressed interest in being their legal team
should they decide to pursue this as an entrepreneurial
- opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are interested in a
- venture like this, you might have something special.</span>”</span> So
+ opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are interested in a
+ venture like this, you might have something special.</span>”</span> So
after some more research, in early 2008, Hessel and Sandra decided
to build a platform.
</p><p>
Hessel and his legal team reached out to collecting societies,
starting with those in the Netherlands. What would be the best
legal way forward that would respect the wishes of composers and
- musicians who’d be interested in trying out new models like the
+ musicians who’d be interested in trying out new models like the
In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that
they primarily work with unknown artists and provide them exposure
- in parts of the world where they don’t get airtime normally and a
- source of revenue—and this convinced them that it was OK. However,
- Hessel says, <span class="quote">“<span class="quote">We are still fighting for a good cause every
- single day.</span>”</span>
+ in parts of the world where they don’t get airtime normally and a
+ source of revenue—and this convinced them that it was OK. However,
+ Hessel says, <span class="quote">“<span class="quote">We are still fighting for a good cause every
+ single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered
with big organizations who have lots of clients and can act as a
kind of Tribe of Noise reseller. The largest telecom network in
- the Netherlands, for example, sells Tribe’s In-store Music Service
+ the Netherlands, for example, sells Tribe’s In-store Music Service
subscriptions to their business clients, which include fashion
retailers and fitness centers. They have a similar deal with the
leading trade association representing hotels and restaurants in
- the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span> this
+ the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span> this
service into other countries where collecting societies understand
what you can do with Creative Commons. Outside of the Netherlands,
early adoptions have happened in Scandinavia, Belgium, and the
U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid
- when their music ends up in Tribe of Noise’s in-store music
- channels. The musicians’ share is 42.5 percent. It’s not uncommon
+ Tribe of Noise doesn’t pay the musicians up front; they get paid
+ when their music ends up in Tribe of Noise’s in-store music
+ channels. The musicians’ share is 42.5 percent. It’s not uncommon
in a traditional model for the artist to get only 5 to 10 percent,
so a share of over 40 percent is a significantly better deal.
- Here’s how they give an example on their website:
+ Here’s how they give an example on their website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in
total, are selected for a bespoke in-store music channel
broadcasting at a large retailer with 1,000 stores nationwide. In
this case the overall playlist contains 350 songs so the
- musician’s share is 5/350 = 1.43%. The license fee agreed with
+ musician’s share is 5/350 = 1.43%. The license fee agreed with
this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is
1.43%, you end up with US$12 * 1000 stores * 0.425 * 0.0143 =
license would preclude them getting rich off the sale of that
song.
</p><p>
- Hessel’s legal team took this feedback and created a second model
+ Hessel’s legal team took this feedback and created a second model
and separate area of the platform called Tribe of Noise Pro. Songs
- uploaded to Tribe of Noise Pro aren’t Creative Commons licensed;
- Tribe of Noise has instead created a <span class="quote">“<span class="quote">nonexclusive
- exploitation</span>”</span> contract, similar to a Creative Commons
+ uploaded to Tribe of Noise Pro aren’t Creative Commons licensed;
+ Tribe of Noise has instead created a <span class="quote">“<span class="quote">nonexclusive
+ exploitation</span>”</span> contract, similar to a Creative Commons
license but allowing musicians to opt out whenever they want. When
you opt out, Tribe of Noise agrees to take your music off the
Tribe of Noise platform within one to two months. This lets the
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are
looking for music. If they buy a license from this catalog, they
- don’t have to state the name of the creator; they just license the
+ don’t have to state the name of the creator; they just license the
song for a specific amount. This is a big plus for media makers.
And musicians can pull their repertoire at any time. Hessel sees
this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of
- Noise Pro and the community area of Tribe of Noises. There aren’t
+ Noise Pro and the community area of Tribe of Noises. There aren’t
that many artists who upload only to Tribe of Noise Pro, which has
a smaller repertoire of music than the community area.
</p><p>
model by licensing some of their songs under CC BY-SA and opting
in others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record
+ It’s not uncommon for performance-rights organizations, record
labels, or music publishers to sign contracts with musicians based
on exclusivity. Such an arrangement prevents those musicians from
uploading their music to Tribe of Noise. In the United States, you
far, Tribe of Noise has been able to make all this work without
litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact
+ For Hessel the key to Tribe of Noise’s success is trust. The fact
that Creative Commons licenses work the same way all over the
world and have been translated into all languages really helps
build that trust. Tribe of Noise believes in creating a model
they have a live and kicking community, with people who think that
the Tribe of Noise team has their best interests in mind. Creative
Commons makes it possible to create a new business model for
- music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapter
27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Chapter
 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that
hosts Wikipedia and its sister projects. Founded in 2003 in the
U.S.
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa,
former Chief Officer of Community Engagement, and Stephen
LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
As of December 2016, there were more than forty-two million
articles in the 295 language editions of the online encyclopedia,
- according to—what else?—the Wikipedia article about Wikipedia.
+ according to—what else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization
that owns the Wikipedia domain name and hosts the site, along with
groups focused on a particular theme, user groups, and many
thousands who are not connected to a particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There
is a common saying that Wikipedia works in practice but not in
- theory.</span>”</span> While it undoubtedly has its challenges and flaws,
+ theory.</span>”</span> While it undoubtedly has its challenges and flaws,
Wikipedia and its sister projects are a striking testament to the
power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit
like a unicorn. Indeed, there is nothing else like Wikipedia.
- Still, much of what makes the projects successful—community,
- transparency, a strong mission, trust—are consistent with what it
+ Still, much of what makes the projects successful—community,
+ transparency, a strong mission, trust—are consistent with what it
takes to be successfully Made with Creative Commons more
generally. With Wikipedia, everything just happens at an
unprecedented scale.
thousand edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for
- asynchronous cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where
- incremental community improvement really works,</span>”</span> Luis
+ asynchronous cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where
+ incremental community improvement really works,</span>”</span> Luis
Villa, former Chief Officer of Community Engagement, told us. The
rules and processes that govern cocreation on Wikipedia and its
sister projects are all community-driven and vary by language
process includes elaborate systems to resolve disputes, methods
for managing particularly controversial subject areas, talk pages
explaining decisions, and much, much more. The Wikimedia
- Foundation’s decision to leave governance of the projects to the
- community is very deliberate. <span class="quote">“<span class="quote">We look at the things that
+ Foundation’s decision to leave governance of the projects to the
+ community is very deliberate. <span class="quote">“<span class="quote">We look at the things that
the community can do well, and we want to let them do those
- things,</span>”</span> Stephen told us. Instead, the foundation focuses
+ things,</span>”</span> Stephen told us. Instead, the foundation focuses
its time and resources on what the community cannot do as
effectively, like the software engineering that supports the
technical infrastructure of the sites. In 2015-16, about half of
- the foundation’s budget went to direct support for the Wikimedia
+ the foundation’s budget went to direct support for the Wikimedia
sites.
</p><p>
Some of that is directed at servers and general IT support, but
the foundation also invests a significant amount on architecture
designed to help the site function as effectively as possible.
- <span class="quote">“<span class="quote">There is a constantly evolving system to keep the balance
- in place to avoid Wikipedia becoming the world’s biggest graffiti
- wall,</span>”</span> Luis said. Depending on how you measure it,
+ <span class="quote">“<span class="quote">There is a constantly evolving system to keep the balance
+ in place to avoid Wikipedia becoming the world’s biggest graffiti
+ wall,</span>”</span> Luis said. Depending on how you measure it,
somewhere between 90 to 98 percent of edits to Wikipedia are
positive. Some portion of that success is attributable to the
tools Wikimedia has in place to try to incentivize good actors.
- <span class="quote">“<span class="quote">The secret to having any healthy community is bringing back
- the right people,</span>”</span> Luis said. <span class="quote">“<span class="quote">Vandals tend to get
+ <span class="quote">“<span class="quote">The secret to having any healthy community is bringing back
+ the right people,</span>”</span> Luis said. <span class="quote">“<span class="quote">Vandals tend to get
bored and go away. That is partially our model working, and
- partially just human nature.</span>”</span> Most of the time, people want
+ partially just human nature.</span>”</span> Most of the time, people want
to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community
be used for any purpose and modified so long as credit is given
and anything new is shared back with the public under the same
license. In theory, that means anyone can copy the content and
- start a new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open
+ start a new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open
has only made Wikipedia bigger and stronger. The desire to protect
- is not always what is best for everyone.</span>”</span>
+ is not always what is best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted
Wikipedia is that copycat efforts do not have the Wikipedia
community to sustain what they do. Wikipedia is not simply a
- source of up-to-the-minute content on every given topic—it is also
+ source of up-to-the-minute content on every given topic—it is also
a global patchwork of humans working together in a million
different ways, in a million different capacities, for a million
different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
- explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an
- incredible diversity of motivations,</span>”</span> Stephen said. For
+ explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an
+ incredible diversity of motivations,</span>”</span> Stephen said. For
example, there is one editor of the English Wikipedia edition who
has corrected a single grammatical error in articles more than
forty-eight thousand times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia users are also editors.
But editing is not the only way to contribute to Wikipedia.
- <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
- financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
- contributors.</span>”</span>
+ <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
+ financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
+ contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not
contributors; we are passive readers. The Wikimedia Foundation
</p><p>
Any given edit on Wikipedia could be motivated by nearly an
infinite number of reasons. But the social mission of the project
- is what binds the global community together. <span class="quote">“<span class="quote">Wikipedia is
+ is what binds the global community together. <span class="quote">“<span class="quote">Wikipedia is
an example of how a mission can motivate an entire
- movement,</span>”</span> Stephen told us.
+ movement,</span>”</span> Stephen told us.
</p><p>
Of course, what results from that movement is one of the
- Internet’s great public resources. <span class="quote">“<span class="quote">The Internet has a lot
+ Internet’s great public resources. <span class="quote">“<span class="quote">The Internet has a lot
of businesses and stores, but it is missing the digital equivalent
- of parks and open public spaces,</span>”</span> Stephen said.
- <span class="quote">“<span class="quote">Wikipedia has found a way to be that open public
- space.</span>”</span>
+ of parks and open public spaces,</span>”</span> Stephen said.
+ <span class="quote">“<span class="quote">Wikipedia has found a way to be that open public
+ space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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</p><p>
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</p><p>
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</p><p>
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+ Workshop in cooperation with the Heinrich Böll Foundation, Berlin,
Germany, 2015.
<a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
For more information, see
Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons:
A World Beyond Market and State. Amherst, MA: Levellers Press, 2012.
</p><p>
- Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
+ Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
Collaborative Consumption. New York: Harper Business, 2010.
</p><p>
Boyle, James. The Public Domain: Enclosing the Commons of the Mind.
Chesbrough, Henry. Open Business Models: How to Thrive in the New
Innovation Landscape. Boston: Harvard Business School Press, 2006.
</p><p>
- ———. Open Innovation: The New Imperative for Creating and Profiting
+ ———. Open Innovation: The New Imperative for Creating and Profiting
from Technology. Boston: Harvard Business Review Press, 2006.
</p><p>
City of Bologna. Regulation on Collaboration between Citizens and
Italy: City of Bologna, 2014).
<a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
</p><p>
- Cole, Daniel H. <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from
- the Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in
+ Cole, Daniel H. <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from
+ the Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in
Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Creative Commons. 2015 State of the Commons. Mountain View, CA:
Creative Commons, 2015.
<a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p><p>
- Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
- Internet Age. San Francisco: McSweeney’s, 2014.
+ Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the
+ Internet Age. San Francisco: McSweeney’s, 2014.
</p><p>
- Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t
- about Sharing at All.</span>”</span> Harvard Business Review, January 28,
+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t
+ about Sharing at All.</span>”</span> Harvard Business Review, January 28,
2015.
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p><p>
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
</p><p>
- Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of
- Information in a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott
+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of
+ Information in a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott
and Hepting, Free Knowledge.
</p><p>
Foster, William Landes, Peter Kim, and Barbara Christiansen.
- <span class="quote">“<span class="quote">Ten Nonprofit Funding Models.</span>”</span> Stanford Social
+ <span class="quote">“<span class="quote">Ten Nonprofit Funding Models.</span>”</span> Stanford Social
Innovation Review, Spring 2009.
<a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p><p>
University Press, 2014.
</p><p>
Frischmann, Brett M., Michael J. Madison, and Katherine J.
- Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
+ Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing.
Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New
York: Farrar, Straus and Giroux, 2010.
</p><p>
- ———. The Gift: Creativity and the Artist in the Modern World. 2nd
+ ———. The Gift: Creativity and the Artist in the Modern World. 2nd
Vintage Books edition. New York: Vintage Books, 2007.
</p><p>
Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and
Get Discovered. New York: Workman, 2014.
</p><p>
- ———. Steal Like an Artist: 10 Things Nobody Told You about Being
+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
Creative. New York: Workman, 2012.
</p><p>
Kramer, Bryan. Shareology: How Sharing Is Powering the Human
Economy. New York: Morgan James, 2016.
</p><p>
- Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to
- the Internet.</span>”</span> BBC News, March 3, 2016.
+ Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to
+ the Internet.</span>”</span> BBC News, March 3, 2016.
<a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
</p><p>
Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the
<a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
(licensed under CC BY-SA).
</p><p>
- Ramos, José Maria, ed. The City as Commons: A Policy Reader.
+ Ramos, José Maria, ed. The City as Commons: A Policy Reader.
Melbourne, Australia: Commons Transition Coalition, 2016.
<a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
(licensed under CC BY-NC-ND).
</p><p>
Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and
- Open Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA:
- O’Reilly Media, 2001. See esp. <span class="quote">“<span class="quote">The Magic Cauldron.</span>”</span>
+ Open Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA:
+ O’Reilly Media, 2001. See esp. <span class="quote">“<span class="quote">The Magic Cauldron.</span>”</span>
<a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p><p>
- Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use
+ Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use
Continuous Innovation to Create Radically Successful Businesses. New
York: Crown Business, 2011.
</p><p>
Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth
Became the Enemy of Prosperity. New York: Portfolio, 2016.
</p><p>
- Sandel, Michael J. What Money Can’t Buy: The Moral Limits of
+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of
Markets. New York: Farrar, Straus and Giroux, 2012.
</p><p>
Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
Collaborators. London, England: Penguin Books, 2010.
</p><p>
- Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New
+ Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New
York: OR Books, 2015.
</p><p>
Stephany, Alex. The Business of Sharing: Making in the New Sharing
MacEwan, Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James
Cloos, Jamie Stevens, Jamil Khatib, Jane Finette, Jason Blasso,
Jason E. Barkeloo, Jay M Williams, Jean-Philippe Turcotte, Jeanette
- Frey, Jeff De Cagna, Jérôme Mizeret, Jessica Dickinson Goodman,
- Jessy Kate Schingler, Jim O’Flaherty, Jim Pellegrini, Jiří Marek, Jo
+ Frey, Jeff De Cagna, Jérôme Mizeret, Jessica Dickinson Goodman,
+ Jessy Kate Schingler, Jim O’Flaherty, Jim Pellegrini, Jiří Marek, Jo
Allum, Joachim von Goetz, Johan Adda, John Benfield, John Bevan,
- Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos Belair, Justin
+ Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos Belair, Justin
Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova,
Kristoffer Steen, Kyle Simpson, Laurie Racine, Leonardo Bueno
Benyayer, Maik Schmalstich, Mairi Thomson, Marcia Hofmann, Maria
Liberman, Marino Hernandez, Mario R. Hemsley, MD, Mark Cohen, Mark
Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black, Matt Hall, Max
- van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+ van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha
Batic, Mike Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal
Stimler, Niall McDonagh, Niall Twohig, Nicholas Norfolk, Nick
Coghlan, Nicole Hickman, Nikki Thompson, Norrie Mailer, Omar
- Kaminski, OpenBuilds, Papp István Péter, Pat Sticks, Patricia
+ Kaminski, OpenBuilds, Papp István Péter, Pat Sticks, Patricia
Brennan, Paul and Iris Brest, Paul Elosegui, Penny Pearson, Peter
Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv Jhangiani,
Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones, Robert
Scott Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena
Oristaglio, Simon Law, Solomon Simon, Stefano Guidotti, Subhendu
Ghosh, Susan Chun, Suzie Wiley, Sylvain Carle, Theresa Bernardo,
- Thomas Hartman, Thomas Kent, Timothée Planté, Timothy Hinchliff,
+ Thomas Hartman, Thomas Kent, Timothée Planté, Timothy Hinchliff,
Traci Long DeForge, Trevor Hogue, Tumuult, Vickie Goode, Vikas Shah,
Virginia Kopelman, Wayne Mackintosh, William Peter Nash, Winie
Evers, Wolfgang Renninger, Xavier Antoviaque, Yancey Strickler
Morris, Adam Procter, Adam Quirk, Adam Rory Porter, Adam Simmons,
Adam Tinworth, Adam Zimmerman, Adrian Ho, Adrian Smith, Adriane
Ruzak, Adriano Loconte, Al Sweigart, Alain Imbaud, Alan Graham, Alan
- M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert O’Connor, Alec
+ M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert O’Connor, Alec
Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex Blood, Alex
C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown, Alexander
Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Louro, Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison
Link, Alison Pentecost, Alistair Boettiger, Alistair Walder, Alix
Bernier, Allan Callaghan, Allen Riddell, Allison Breland Crotwell,
- Allison Jane Smith, Álvaro Justen, Amanda Palmer, Amanda Wetherhold,
+ Allison Jane Smith, Álvaro Justen, Amanda Palmer, Amanda Wetherhold,
Amit Bagree, Amit Tikare, Amos Blanton, Amy Sept, Anatoly Volynets,
- Anders Ericsson, Andi Popp, André Bose Do Amaral, Andre Dickson,
- André Koot, André Ricardo, Andre van Rooyen, Andre Wallace, Andrea
+ Anders Ericsson, Andi Popp, André Bose Do Amaral, Andre Dickson,
+ André Koot, André Ricardo, Andre van Rooyen, Andre Wallace, Andrea
Bagnacani, Andrea Pepe, Andrea Pigato, Andreas Jagelund, Andres
Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew Hearse,
Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve,
Andy Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan,
Anne-Marie Scott, Antero Garcia, Antoine Authier, Antoine Michard,
- Anton Kurkin, Anton Porsche, Antònia Folguera, António Ornelas,
+ Anton Kurkin, Anton Porsche, Antònia Folguera, António Ornelas,
Antonis Triantafyllakis, aois21 publishing, April Johnson, Aria F.
Chernik, Ariane Allan, Ariel Katz, Arithmomaniac, Arnaud Tessier,
Arnim Sommer, Ashima Bawa, Ashley Elsdon, Athanassios Diacakis,
Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin
Costantini, Benjamin Daemon, Benjamin Keele, Benjamin Pflanz,
- Berglind Ósk Bergsdóttir, Bernardo Miguel Antunes, Bernd Nurnberger,
+ Berglind Ósk Bergsdóttir, Bernardo Miguel Antunes, Bernd Nurnberger,
Bernhard Seefeld, Beth Gis, Beth Tillinghast, Bethanye Blount, Bill
Bonwitt, Bill Browne, Bill Keaggy, Bill Maiden, Bill Rafferty, Bill
Scanlon, Bill Shields, Bill Slankard, BJ Becker, Bjorn
- Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+ Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris
Mindzak, Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden
- Hassett, Bradford Benn, Bradley Keyes, Bradley L’Herrou, Brady
+ Hassett, Bradford Benn, Bradley Keyes, Bradley L’Herrou, Brady
Forrest, Brandon McGaha, Branka Tokic, Brant Anderson, Brenda
- Sullivan, Brendan O’Brien, Brendan Schlagel, Brett Abbott, Brett
+ Sullivan, Brendan O’Brien, Brendan Schlagel, Brett Abbott, Brett
Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian S. Weis,
Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno
Christos Keramitsis, Chuck Roslof, Chutika Udomsinn, Claire Wardle,
Clare Forrest, Claudia Cristiani, Claudio Gallo, Claudio Ruiz,
Clayton Dewey, Clement Delort, Cliff Church, Clint Lalonde, Clint
- O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin Campbell,
+ O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin Campbell,
Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
- Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa,
+ Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa,
Cory Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig
Maloney, Craig Thomler, Creative Commons Uruguay, Crina Kienle,
Cristiano Gozzini, Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn,
Broadcast, Dom jurkewitz, Dom Lane, 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
+ 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,
Celeste, Eric Finkenbiner, Eric Hellman, Eric Steuer, Erica
Fletcher, Erik Hedman, Erik Lindholm Bundgaard, Erika Reid, Erin
Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan Bousse, Erwin
- Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman,
+ Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan Tangman,
Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes,
Felix Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand
Deschambault, Filipe Rodrigues, Filippo Toso, Fiona MacAlister,
- fiona.mac.uk, Floor Scheffer, Florent Darrault, Florian Hähnel,
+ fiona.mac.uk, Floor Scheffer, Florent Darrault, Florian Hähnel,
Florian Schneider, Floyd Wilde, Foxtrot Games, Francis Clarke,
- Francisco Rivas-Portillo, Francois Dechery, Francois Grey, François
- Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric
- Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
- Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett
+ Francisco Rivas-Portillo, Francois Dechery, Francois Grey, François
+ Gros, François Pelletier, Fred Benenson, Frédéric Abella, Frédéric
+ Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+ Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett
Heath, Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil,
Gauthier de Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood,
Geoffrey Lehr, George Baier IV, George De Bruin, George Lawie,
Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives Project, Gorm
Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Graham
Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
- Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory
+ Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory
Flynn, Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz
- de Carvalho Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas,
- Haggen So, Håkon T Sønderland, Hamid Larbi, Hamish MacEwan, Hannes
+ de Carvalho Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas,
+ Haggen So, Håkon T Sønderland, Hamid Larbi, 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
+ 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, Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain
+ Lyne, Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain
Davidson, Ian Capstick, Ian Johnson, Ian Upton, Icaro Ferracini,
Igor Lesko, Imran Haider, Inma de la Torre, Iris Brest, Irwin
Madriaga, Isaac Sandaljian, Isaiah Tanenbaum, Ivan F. Villanueva B.,
- J P Cleverdon, Jaakko Tammela Jr, Jacek Darken Gołębiowski, Jack
+ J P Cleverdon, Jaakko Tammela Jr, Jacek Darken Gołębiowski, Jack
Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla, Jaime Woo, Jake
Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach, James
Chesky, James Cloos, James Docherty, James Ellars, James K Wood,
Lofton, Jane Mason, Jane Park, Janos Kovacs, Jasmina Bricic, Jason
Blasso, Jason Chu, Jason Cole, Jason E. Barkeloo, Jason Hibbets,
Jason Owen, Jason Sigal, Jay M Williams, Jazzy Bear Brown, JC Lara,
- Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe
+ Jean-Baptiste Carré, Jean-Philippe Dufraigne, Jean-Philippe
Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff De
Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey
Meyer, Jen Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet,
Jeremy Russell, Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome
- Glacken, Jérôme Mizeret, Jessica Dickinson Goodman, Jessica Litman,
- Jessica Mackay, Jessy Kate Schingler, Jesús Longás Gamarra, Jesus
- Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, Jim
- Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon
+ Glacken, Jérôme Mizeret, Jessica Dickinson Goodman, Jessica Litman,
+ Jessica Mackay, Jessy Kate Schingler, Jesús Longás Gamarra, Jesus
+ Marin, Jim Matt, Jim Meloy, Jim O’Flaherty, Jim Pellegrini, Jim
+ Tittsler, Jimmy Alenius, Jiří Marek, Jo Allum, Joachim Brandon
LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen,
- Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi Sandfort,
+ Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi Sandfort,
Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
- Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield,
+ Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield,
John Bevan, John C Patterson, John Crumrine, John Dimatos, John
Feyler, John Huntsman, John Manoogian III, John Muller, John Ober,
John Paul Blodgett, John Pearce, John Shale, John Sharp, John
Simpson, John Sumser, John Weeks, John Wilbanks, John Worland,
Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon Andersen, Jon Cohrs,
- Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg,
+ Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith, Jonas Öberg,
Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst,
- Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
- Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll,
+ Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+ Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll,
Joseph Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua
Tobkin, JP Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo
Carbajal, Juan Pablo Marin Diaz, Judith Newman, Judy Tuan, Jukka
- Hellén, Julia Benson-Slaughter, Julia Devonshire, Julian Fietkau,
+ Hellén, Julia Benson-Slaughter, Julia Devonshire, Julian Fietkau,
Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, Julio
- Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin
+ Terra, Julius Mikkelä, Justin Christian, Justin Grimes, Justin
Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
- Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara
+ Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara
Malenfant, Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl
Nelson, Kasia Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart,
Kathleen Beck, Kathleen Hanrahan, Kathryn Abuzzahab, Kathryn Deiss,
Larsen, Ken Haase, Ken Torbeck, Kendel Ratley, Kendra Byrne, Kerry
Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin Rumon, Kevin
Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
- l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus,
+ l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus,
Konrad Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin
Buxton, Kristina Popova, Kristofer Bratt, Kristoffer Steen, Kumar
McMillan, Kurt Whittemore, Kyle Pinches, Kyle Simpson, L Eaton, Lalo
Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke Woodbury,
Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud
- Abu-Wardeh, Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi
+ Abu-Wardeh, Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi
Thomson, Mandy Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich,
- Marc Harpster, Marc Martí, Marc Olivier Bastien, Marc Stober,
- Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia Hofmann,
+ Marc Harpster, Marc Martí, Marc Olivier Bastien, Marc Stober,
+ Marc-André Martin, Marcel de Leeuwe, Marcel Hill, Marcia Hofmann,
Marcin Olender, Marco Massarotto, Marco Montanari, Marco Morales,
Marcos Medionegro, Marcus Bitzl, Marcus Norrgren, Margaret Gary,
Mari Moreshead, Maria Liberman, Marielle Hsu, Marino Hernandez,
Humpolec, Martin Mayr, Martin Peck, Martin Sanchez, Martino Loco,
Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary Ellen Davis,
Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du, Massimo
- V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+ V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall,
Matt Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt
Vance, Matt Wagstaff, Matteo Cocco, Matthew Bendert, Matthew
Bergholt, Matthew Darlison, Matthew Epler, Matthew Hawken, Matthew
Heimbecker, Matthew Orstad, Matthew Peterworth, Matthew Sheehy,
Matthew Tucker, Adaptive Handy Apps, LLC, Mattias Axell, Max Green,
- Max Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric
+ Max Kossatz, Max lupo, Max Temkin, Max van Balgooy, Médéric
Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan Finlayson, Melissa
Aho, Melissa Sterry, Melle Funambuline, Menachem Goldstein, Micah
Bridges, Michael Ailberto, Michael Anderson, Michael Andersson
Michael May, Michael Murphy, Michael Murvine, Michael Perkins,
Michael Sauers, Michael St.Onge, Michael Stanford, Michael Stanley,
Michael Underwood, Michael Weiss, Michael Wright, Michael-Andreas
- Kuttner, Michaela Voigt, Michal Rosenn, Michał Szymański, Michel
+ Kuttner, Michaela Voigt, Michal Rosenn, Michał Szymański, Michel
Gallez, Michell Zappa, Michelle Heeyeon You, Miha Batic, Mik
Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher, Mike Maloney,
Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon, Mike Stop
- Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+ Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
- <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams,
+ <span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams,
Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis,
- Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik,
+ Moritz Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik,
MD, Myk Pilgrim, Myra Harmer, Nadine Forget-Dubois, Nagle
Industries, LLC, Nah Wee Yang, Natalie Brown, Natalie Freed, Nathan
D Howell, Nathan Massey, Nathan Miller, Neal Gorenflo, Neal
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola
Chernev, Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah
Kardos-Fein, Noah Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer,
- O.P. Gobée, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier
+ O.P. Gobée, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier
Schulbaum, Olle Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove
- Ødegård, Øystein Kjærnet, Pablo López Soriano, Pablo Vasquez,
- Pacific Design, Paige Mackay, Papp István Péter, Paris Marx, Parker
+ Ødegård, Øystein Kjærnet, Pablo López Soriano, Pablo Vasquez,
+ Pacific Design, Paige Mackay, Papp István Péter, Paris Marx, Parker
Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat Ludwig, Pat
Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf, Patrick
Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
Patrik Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest,
Paul Bailey, Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts,
Paul Jacobson, Paul Keller, Paul Rowe, Paul Timpson, Paul Walker,
- Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan
- Hsing, Penny Pearson, Per Åström, Perry Jetter, Péter Fankhauser,
+ Pavel Dostál, Peeter Sällström Randsalu, Peggy Frith, Pen-Yuan
+ Hsing, Penny Pearson, Per Åström, Perry Jetter, Péter Fankhauser,
Peter Hirtle, Peter Humphries, Peter Jenkins, Peter Langmar, Peter
- le Roux, Peter Marinari, Peter Mengelers, Peter O’Brien, Peter
+ le Roux, Peter Marinari, Peter Mengelers, Peter O’Brien, Peter
Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr Viktorin,
Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip Pangrac,
Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer, Philippe
Kirill, Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race
DiLoreto, Rachel Mercer, Rafael Scapin, Rafaela Kunz, Rain Doggerel,
Raine Lourie, Rajiv Jhangiani, Ralph Chapoteau, Randall Kirby, Randy
- Brians, Raphaël Alexandre, Raphaël Schröder, Rasmus Jensen, Rayn
+ Brians, Raphaël Alexandre, Raphaël Schröder, Rasmus Jensen, Rayn
Drahps, Rayna Stamboliyska, Rebecca Godar, Rebecca Lendl, Rebecca
Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich McCue, Richard
- <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard Blumberg,
+ <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard Blumberg,
Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell,
Rik ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder,
Orzanna, Robert Paterson Hunter, Robert R. Daniel Jr., Robert
Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto Selvaggio,
Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
- Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao,
+ Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao,
Rolf and Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron
Zuijlen, Ronald Bissell, Ronald van den Hoff, Ronda Snow, Rory
Landon Aronson, Ross Findlay, Ross Pruden, Ross Williams, Rowan
Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
- A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel
+ A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel
Oliveira Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus,
Sandy Bjar, Sandy ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia,
Sara Armstrong, Sara Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah
Simon Linder, Simon Moffitt, Solomon Kahn, Solomon Simon, Soujanna
Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson, Stefan
Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
- Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen
+ Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen
Murphey, Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli,
Stevan Matheson, Steve Battle, Steve Fisches, Steve Fitzhugh, Steve
Guen-gerich, Steve Ingram, Steve Kroy, Steve Midgley, Steve Rhine,
- Steven Kasprzyk, Steven Knudsen, Steven Melvin, Stig-Jørund B. Ö.
+ Steven Kasprzyk, Steven Knudsen, Steven Melvin, Stig-Jørund B. Ö.
Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, Subhendu
- Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie
+ Ghosh, Sujal Shah, Sune Bøegh, Susan Chun, Susan R Grossman, Suzie
Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery,
Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz, T. L. Mason,
Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej
Dhawan, Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl,
Theresa Bernardo, Thibault Badenas, Thomas Bacig, Thomas Boehnlein,
- Thomas Bøvith, Thomas Chang, Thomas Hartman, Thomas Kent, Thomas
+ Thomas Bøvith, Thomas Chang, Thomas Hartman, Thomas Kent, Thomas
Morgan, Thomas Philipp-Edmonds, Thomas Thrush, Thomas Werkmeister,
Tieg Zaharia, Tieu Thuy Nguyen, Tim Chambers, Tim Cook, Tim Evers,
- Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy
- Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias
+ Tim Nichols, Tim Stahmer, Timothée Planté, Timothy Arfsten, Timothy
+ Hinchliff, Timothy Vollmer, Tina Coffman, Tisza Gergő, Tobias
Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom Bamford,
Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De
Benetti, Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp,
Tracey Depellegrin, Tracey Henton, Tracey James, Traci Long DeForge,
Trent Yarwood, Trevor Hogue, Trey Blalock, Trey Hunner, Tryggvi
- Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo
+ Björgvinsson, Tumuult, Tushar Roy, Tyler Occhiogrosso, Udo
Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum, Vaughan jenkins,
Veethika Mishra, Vic King, Vickie Goode, Victor DePina, Victor
Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture,
- Vikas Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet,
+ Vikas Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet,
Virginia Gentilini, Virginia Kopelman, Vitor Menezes, Vivian
Marthell, Wayne Mackintosh, Wendy Keenan, Werner Wiethege, Wesley
- Derbyshire, Widar Hellwig, Willa Köerner, William Bettridge-Radford,
+ Derbyshire, Widar Hellwig, Willa Köerner, William Bettridge-Radford,
William Jefferson, William Marshall, William Peter Nash, William
Ray, William Robins, Willow Rosenberg, Winie Evers, Wolfgang
Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier Moisant, Xueqi
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Gjort med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nb" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjort med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright"> © 2017, 2019 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Gjort med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nb" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjort med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright"> © 2017, 2019 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
Denne boken er CC BY-SA-lisensiert, noe som betyr at du fritt kan kopiere,
-distribuere videre, remikse, transformere og bygge videre på innholdet for
-ethvert formål, selv kommersielt, så lenge du gir riktig kreditering, gir en
+distribuere videre, remikse, transformere og bygge videre på innholdet for
+ethvert formål, selv kommersielt, så lenge du gir riktig kreditering, gir en
lenke til lisensen og angir om endringer er gjort. Hvis du remikser,
-omformer eller bygger videre, må dine bidrag følgelig distribueres med samme
-lisens som den opprinnelige. Lisensdetaljer er
å finne på: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/" target="_top">https://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Jeg vet ikke stort om hvordan skrive faglitteratur… Måten jeg forholder meg
-til slike ting og når det gjelder hva jeg kan gjøre… essayer som dette er en
-mulighet til å observere rimelig smarte mennesker, men også ganske
+omformer eller bygger videre, må dine bidrag følgelig distribueres med samme
+lisens som den opprinnelige. Lisensdetaljer er
å finne på: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/" target="_top">https://creativecommons.org/licenses/by-sa/4.0/</a>
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Jeg vet ikke stort om hvordan skrive faglitteratur… Måten jeg forholder meg
+til slike ting og når det gjelder hva jeg kan gjøre… essayer som dette er en
+mulighet til å observere rimelig smarte mennesker, men også ganske
alminnelige mennesker, studere mye bedre og grave dypere i de mange ulike
-temaer som omgir oss, enn de fleste av oss i våre daglige liv har sjansen
-til å sette seg inni i.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+temaer som omgir oss, enn de fleste av oss i våre daglige liv har sjansen
+til å sette seg inni i.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Forord</a></span></dt><dt><span class="preface"><a href="#introduction">Introduksjon</a></span></dt><dt><span class="preface"><a href="#notas-esp">Om den norske oversettelsen</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. Det store bildet</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. Den digitale allmennings nye verden</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Hvordan v
ære gjort med Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons-lisensene</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. Referansestudiene</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender-instituttet</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun-prosjektet</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data-instituttet</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia-stiftelsen</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliografi</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Takk til</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figuroversikt</b></p><dl><dt>1.1. <a href="#fig-1">En bedrifts varierende grad av engasjement i allemannseie, staten og
-markedet.</a></dt><dt>1.2. <a href="#fig-2">Fire aspekter ved ressursforvaltning</a></dt><dt>1.3. <a href="#fig-3">Hvordan markedet, allemannseie og staten oppfatter ressurser.</a></dt><dt>1.4. <a href="#fig-4">I det f
ørindustrielle samfunnet.</a></dt><dt>1.5. <a href="#fig-5">Allemannseiet er gradvis erstattet av staten.</a></dt><dt>1.6. <a href="#fig-6">Hvordan markedet, staten og allemannseiet ser ut i dag.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Forord</h1></div></div></div><p>
- For tre år siden, like etter at jeg ble ansatt som daglig leder av Creative
-Commons-stiftelsen, møtte jeg Cory Doctorow i en hotellbar på Gladstone
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Forord</a></span></dt><dt><span class="preface"><a href="#introduction">Introduksjon</a></span></dt><dt><span class="preface"><a href="#notas-esp">Om den norske oversettelsen</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. Det store bildet</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. Den digitale allmennings nye verden</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Hvordan v
ære gjort med Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons-lisensene</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. Referansestudiene</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender-instituttet</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun-prosjektet</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data-instituttet</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia-stiftelsen</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliografi</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Takk til</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figuroversikt</b></p><dl><dt>1.1. <a href="#fig-1">En bedrifts varierende grad av engasjement i allemannseie, staten og
+markedet.</a></dt><dt>1.2. <a href="#fig-2">Fire aspekter ved ressursforvaltning</a></dt><dt>1.3. <a href="#fig-3">Hvordan markedet, allemannseie og staten oppfatter ressurser.</a></dt><dt>1.4. <a href="#fig-4">I det f
ørindustrielle samfunnet.</a></dt><dt>1.5. <a href="#fig-5">Allemannseiet er gradvis erstattet av staten.</a></dt><dt>1.6. <a href="#fig-6">Hvordan markedet, staten og allemannseiet ser ut i dag.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Forord</h1></div></div></div><p>
+ For tre år siden, like etter at jeg ble ansatt som daglig leder av Creative
+Commons-stiftelsen, møtte jeg Cory Doctorow i en hotellbar på Gladstone
hotell i Toronto. Etter som han er en av de mest kjente forkjempere for
Creative Commons (CC) og en vellykket skribent som deler sine verk med CC,
-snakket jeg om hvordan CC kan definere og fremme åpne forretningsmodeller. I
-hyggelige ordelag var han uenig med meg, og sa jakten på levedyktige
+snakket jeg om hvordan CC kan definere og fremme åpne forretningsmodeller. I
+hyggelige ordelag var han uenig med meg, og sa jakten på levedyktige
forretningsmodeller rundt CC var et blindspor.
</p><p>
- Han hadde på mange måter rett, da de som vil endre på ting ved å bruke
+ Han hadde på mange måter rett, da de som vil endre på ting ved å bruke
Creative Commons har underliggende motiver. Som Paul Stacey forklarer senere
-i boken: <span class="quote">«<span class="quote">Uavhengig deres juridiske status har bidragsytere et sosialt
-siktemål. Deres primære grunn til å bidra er å gjøre verden til et bedre
-sted, ikke å jakte på profitt. Penger er et middel til å nå sosiale mål,
-ikke målet i seg selv.</span>»</span>
+i boken: <span class="quote">«<span class="quote">Uavhengig deres juridiske status har bidragsytere et sosialt
+siktemål. Deres primære grunn til å bidra er å gjøre verden til et bedre
+sted, ikke å jakte på profitt. Penger er et middel til å nå sosiale mål,
+ikke målet i seg selv.</span>»</span>
</p><p>
I referansestudien om Cory Doctorow siterer Sarah Hinchliff Pearson hans
-egne ord fra boken <span class="quote">«<span class="quote">Information Doesn’t Want to Be Free</span>»</span>:
-<span class="quote">«<span class="quote">Å velge kunsten fordi du ønsker å bli rik, er som å kjøpe lodd fordi
-du vil bli rik</span>»</span>, skrev han. <span class="quote">«<span class="quote">Det kan fungere, men det vil
-nesten helt sikkert ikke gjøre det. Men jo da, det er alltid noen som vinner
-på lodd.</span>»</span>
+egne ord fra boken <span class="quote">«<span class="quote">Information Doesnâ\80\99t Want to Be Free</span>»</span>:
+<span class="quote">«<span class="quote">Å velge kunsten fordi du ønsker å bli rik, er som å kjøpe lodd fordi
+du vil bli rik</span>»</span>, skrev han. <span class="quote">«<span class="quote">Det kan fungere, men det vil
+nesten helt sikkert ikke gjøre det. Men jo da, det er alltid noen som vinner
+på lodd.</span>»</span>
</p><p>
I dag er opphavsretten, allmenningens tragedie, et lodd i et lotteri der
alle spiller mot hverandre, i vissheten om at nesten ingen vinner. Det
-ingen forteller deg er at hvis du velger å dele verkene dine, så kan det du
-får igjen være svært verdifullt og nesten få evig liv. Denne bokens
-historier er viet dem som risikerer mer enn de få kronene vi betaler for et
-lodd, og har i stedet hatt glede av belønningen som kommer fra å følge sin
-lidenskap og leve i tråd med sine verdier.
+ingen forteller deg er at hvis du velger å dele verkene dine, så kan det du
+får igjen være svært verdifullt og nesten få evig liv. Denne bokens
+historier er viet dem som risikerer mer enn de få kronene vi betaler for et
+lodd, og har i stedet hatt glede av belønningen som kommer fra å følge sin
+lidenskap og leve i tråd med sine verdier.
</p><p>
- Det handler følgelig ikke om penger. For å kunne fortsette å skape og dele
+ Det handler følgelig ikke om penger. For å kunne fortsette å skape og dele
krever det ofte at man har en viss inntekt. Max Temkin i Cards Against
-Humanity sier det best i sin referansestudie: <span class="quote">«<span class="quote">Vi lager ikke vitser og
-leker for å tjene penger - vi tjener penger slik at vi kan lage flere vitser
-og leke.</span>»</span>
+Humanity sier det best i sin referansestudie: <span class="quote">«<span class="quote">Vi lager ikke vitser og
+leker for å tjene penger - vi tjener penger slik at vi kan lage flere vitser
+og leke.</span>»</span>
</p><p>
- Creative Commons fokuserer på å bygge levende, nyttige allmenninger, med
-samarbeid og takknemlighet som drivkraft. Å få på plass samarbeidsfellesskap
-er kjernen i vår strategi. Med dette i mente startet Creative Commons dette
-bokprosjektet. Med Paul og Sarah i ledelsen, gikk prosjektet i gang med å
-definere og fremme de beste åpne forretningsmodellene. Paul og Sarah var
+ Creative Commons fokuserer på å bygge levende, nyttige allmenninger, med
+samarbeid og takknemlighet som drivkraft. Å få på plass samarbeidsfellesskap
+er kjernen i vår strategi. Med dette i mente startet Creative Commons dette
+bokprosjektet. Med Paul og Sarah i ledelsen, gikk prosjektet i gang med å
+definere og fremme de beste åpne forretningsmodellene. Paul og Sarah var
hovedforfatterne til denne boka.
</p><p>
- Paul drømmer om en fremtid der nye modeller for kreativitet og nyskapning
-overgår den ulikhet og knapphet som i dag viser de verste sidene av
+ Paul drømmer om en fremtid der nye modeller for kreativitet og nyskapning
+overgår den ulikhet og knapphet som i dag viser de verste sidene av
kapitalismen. Han drives av kraften i mellommenneskelige forbindelser i
skapende samarbeidsfellesskap. Han er mer fremsynt enn de fleste, og det har
-gjort ham til en bedre pedagog, en innsiktsfull forsker, og også en dyktig
-gartner. Han har en rolig, kjølig stemme som formidler en lidenskap som
+gjort ham til en bedre pedagog, en innsiktsfull forsker, og også en dyktig
+gartner. Han har en rolig, kjølig stemme som formidler en lidenskap som
inspirerer kolleger og fellesskapet.
</p><p>
- Sarah er den beste typen advokat - en sann forkjemper som tror på det gode i
-mennesket, og på kraften i kollektive handlinger for å forandre verden. I
-løpet av det siste året har jeg sett Sarah kjempe med den hjertesorg som
-kommer fra å ha investert så mye i en politisk kampanje som ikke endte som
-hun hadde håpet. I dag er hun mer bestemt enn noen gang på å leve i tråd med
-sine verdier rett fra hjertet. Jeg kan alltid stole på at Sarah er en
-pådriver for at Creative Commons skal påvirke - gjøre det viktigste
-viktigst. Hun er praktisk, detaljorientert og dyktig. Det er ingen på laget
-mitt jeg liker så godt å debattere med.
+ Sarah er den beste typen advokat - en sann forkjemper som tror på det gode i
+mennesket, og på kraften i kollektive handlinger for å forandre verden. I
+løpet av det siste året har jeg sett Sarah kjempe med den hjertesorg som
+kommer fra å ha investert så mye i en politisk kampanje som ikke endte som
+hun hadde håpet. I dag er hun mer bestemt enn noen gang på å leve i tråd med
+sine verdier rett fra hjertet. Jeg kan alltid stole på at Sarah er en
+pådriver for at Creative Commons skal påvirke - gjøre det viktigste
+viktigst. Hun er praktisk, detaljorientert og dyktig. Det er ingen på laget
+mitt jeg liker så godt å debattere med.
</p><p>
Som forfatterpar utfylte Paul og Sarah hverandre perfekt. De forsket,
analyserte, argumenterte og jobbet som et lag, noen ganger sammen og noen
ganger hver for seg. De gravde seg ned i forskningen og skrivingen med
-lidenskap og nysgjerrighet, og med dyp respekt for det som inngår i å lage
-allmenninger og å dele med verden. De var åpne for nye ideer, medregnet
-muligheten for at utgangsteoriene deres måtte foredles videre eller kanskje
+lidenskap og nysgjerrighet, og med dyp respekt for det som inngår i å lage
+allmenninger og å dele med verden. De var åpne for nye ideer, medregnet
+muligheten for at utgangsteoriene deres måtte foredles videre eller kanskje
var helt feil. Det er modig, og det har gitt en bedre bok som er
-innsiktsfull, ærlig og nyttig.
+innsiktsfull, ærlig og nyttig.
</p><p>
- Fra begynnelsen av ønsket CC å utvikle dette prosjektet med prinsipper og
-verdier for åpent samarbeid. Boken ble finansiert, utviklet, foredlet og
-skrevet i åpenhet. Den blir delt åpent med CC BY-SA-lisens, slik at alle kan
+ Fra begynnelsen av ønsket CC å utvikle dette prosjektet med prinsipper og
+verdier for åpent samarbeid. Boken ble finansiert, utviklet, foredlet og
+skrevet i åpenhet. Den blir delt åpent med CC BY-SA-lisens, slik at alle kan
bruke, remikse eller tilpasse, med kreditering. Dette er i seg selv et
-eksempel på en åpen forretningsmodell.
+eksempel på en åpen forretningsmodell.
</p><p>
- I løpet av 31 dager i august 2015 organiserte Sarah en Kickstarter-kampanje
-for å finansiere grunnfondet for boken. Resten ble finansiert av Creative
-Commons sine generøse givere og støttespillere. Til slutt ble den et av de
-mest vellykkede bokprosjektene på Kickstarter, med 1600 engasjerte givere,
-gjennom to delmål, helt frem. De fleste bidragsyterne var nye tilhengere av
+ I løpet av 31 dager i august 2015 organiserte Sarah en Kickstarter-kampanje
+for å finansiere grunnfondet for boken. Resten ble finansiert av Creative
+Commons sine generøse givere og støttespillere. Til slutt ble den et av de
+mest vellykkede bokprosjektene på Kickstarter, med 1600 engasjerte givere,
+gjennom to delmål, helt frem. De fleste bidragsyterne var nye tilhengere av
Creative Commons.
</p><p>
- Paul og Sarah jobbet åpent gjennom hele prosjektet, publiserte planer,
+ Paul og Sarah jobbet åpent gjennom hele prosjektet, publiserte planer,
utkast, referansestudier og analyser, tidlig og ofte, og de engasjerte
-miljøer over hele verden med å bidra til å skrive denne boken. Etter hvert
-som meningsforskjeller gjorde seg gjeldende og deres individuelle interesser
+miljøer over hele verden med å bidra til å skrive denne boken. Etter hvert
+som meningsforskjeller gjorde seg gjeldende og deres individuelle interesser
kom i fokus, delte de seg opp med hver sin individuelle stemme, og besluttet
-å holde sine stemmer atskilt i sluttproduktet. Å arbeide på denne måten
-krever både ydmykhet og selvtillit, og det har uten tvil gjort <span class="quote">«<span class="quote">Gjort
-med Creative Commons</span>»</span> til et bedre prosjekt.
+å holde sine stemmer atskilt i sluttproduktet. Å arbeide på denne måten
+krever både ydmykhet og selvtillit, og det har uten tvil gjort <span class="quote">«<span class="quote">Gjort
+med Creative Commons</span>»</span> til et bedre prosjekt.
</p><p>
De som jobber og deler i allmenningen er ikke typiske skapere. De er del av
-noe større enn seg selv, de gir oss alle en dyptgående gave. Det de får
+noe større enn seg selv, de gir oss alle en dyptgående gave. Det de får
igjen er takknemlighet og et fellesskap.
</p><p>
- Jonathan Mann, som er presentert i denne boken, skriver én sang om dagen. Da
-jeg kontaktet han for å be ham skrive en sang til
+ Jonathan Mann, som er presentert i denne boken, skriver én sang om dagen. Da
+jeg kontaktet han for å be ham skrive en sang til
folkefinansieringskampanjen (og tilby seg selv som en kronerullingspost
deri), stilte han umiddelbart opp. Hvorfor? Fordi allmenningens kjerne er
-samarbeid, og gemenskap dens nøkkelverdi, og fordi CC-lisensene har hjulpet
-så mange å dele med et verdensomspennende publikum på egne premisser.
+samarbeid, og gemenskap dens nøkkelverdi, og fordi CC-lisensene har hjulpet
+så mange å dele med et verdensomspennende publikum på egne premisser.
</p><p>
- Sarah skriver, <span class="quote">«<span class="quote">Innsats gjort med Creative Commons blomstrer opp når
-fellesskap bygges opp rundt det som gjøres. Dette kan innebære et fellesskap
-som samarbeider om å lage noe nytt, eller det kan ganske enkelt være en
+ Sarah skriver, <span class="quote">«<span class="quote">Innsats gjort med Creative Commons blomstrer opp når
+fellesskap bygges opp rundt det som gjøres. Dette kan innebære et fellesskap
+som samarbeider om å lage noe nytt, eller det kan ganske enkelt være en
samling likesinnede som blir kjent med hverandre og samles om en felles
-interesse eller tro. Til en viss grad gir det å gjøre noe med Creative
-Commons automatisk et visst element av fellesskap, ved å bidra til å treffe
+interesse eller tro. Til en viss grad gir det å gjøre noe med Creative
+Commons automatisk et visst element av fellesskap, ved å bidra til å treffe
likesinnede som gjenkjenner og trekkes mot verdiene som bruken av CC
-symboliserer.</span>»</span> Den andre musikeren som profileres i boken, Amanda
+symboliserer.</span>»</span> Den andre musikeren som profileres i boken, Amanda
Palmer, ville sikkert lagt til dette fra referansestudien om henne:
-<span class="quote">«<span class="quote">Det finnes ikke noe mer tilfredsstillende mål enn å oppleve at noen
-forteller deg at det du gjør virkelig er verdifullt for dem.</span>»</span>
+<span class="quote">«<span class="quote">Det finnes ikke noe mer tilfredsstillende mål enn å oppleve at noen
+forteller deg at det du gjør virkelig er verdifullt for dem.</span>»</span>
</p><p>
- Dette er ingen typisk bok om bedriftsøkonomi. De som er på jakt etter en
-oppskrift eller en kjøreplan kan nok bli skuffet. Derimot vil de som ønsker
-å bidra til et sosiale mål, bygge noe stort gjennom samarbeid, eller bli med
-i et kraftig og voksende verdenssamfunn, bli fornøyd. Gjort med Creative
+ Dette er ingen typisk bok om bedriftsøkonomi. De som er på jakt etter en
+oppskrift eller en kjøreplan kan nok bli skuffet. Derimot vil de som ønsker
+å bidra til et sosiale mål, bygge noe stort gjennom samarbeid, eller bli med
+i et kraftig og voksende verdenssamfunn, bli fornøyd. Gjort med Creative
Commons tilbyr et verdensendrende sett tydelig artikulerte verdier og
-prinsipper, noen viktige verktøy til utforskning av egne
+prinsipper, noen viktige verktøy til utforskning av egne
forretningsmuligheter, og to dusin doser ren inspirasjon.
</p><p>
- I en artikkel i Stanford Law Review i 1996, <span class="quote">«<span class="quote">The Zones of
-Cyberspace</span>»</span>, skrev CC-grunnleggeren Lawrence Lessig:
-<span class="quote">«<span class="quote">Kyberrommet er et sted. Folk bor der. De opplever alle mulige ting
-som de også opplever i den virkelige verden, i Kyberrommet. Og noen opplever
+ I en artikkel i Stanford Law Review i 1996, <span class="quote">«<span class="quote">The Zones of
+Cyberspace</span>»</span>, skrev CC-grunnleggeren Lawrence Lessig:
+<span class="quote">«<span class="quote">Kyberrommet er et sted. Folk bor der. De opplever alle mulige ting
+som de også opplever i den virkelige verden, i Kyberrommet. Og noen opplever
enda mer. De opplever ikke dette som isolerte individer, som spillere i et
-høyteknologisk dataspill; De opplever det i grupper, i fellesskap, blant
-fremmede, blant mennesker de lærer å kjenne og noen ganger sette pris
-på.</span>»</span>
+høyteknologisk dataspill; De opplever det i grupper, i fellesskap, blant
+fremmede, blant mennesker de lærer å kjenne og noen ganger sette pris
+på.</span>»</span>
</p><p>
- Jeg er utrolig stolt av at Creative Commons klarer å utgi denne boken om de
-mange fellesskapene som vi har lært å kjenne og like. Jeg er takknemlig
+ Jeg er utrolig stolt av at Creative Commons klarer å utgi denne boken om de
+mange fellesskapene som vi har lært å kjenne og like. Jeg er takknemlig
overfor Paul og Sarah for deres kreativitet og innsikt, og overfor de
-globale fellesskapene som har hjulpet oss med å bringe den til deg. Som
-CC-styremedlem Johnathan Nightingale ofte sier: <span class="quote">«<span class="quote">Alt er laget av
-mennesker.</span>»</span>
+globale fellesskapene som har hjulpet oss med å bringe den til deg. Som
+CC-styremedlem Johnathan Nightingale ofte sier: <span class="quote">«<span class="quote">Alt er laget av
+mennesker.</span>»</span>
</p><p>
Dette er den sanne verdien av det som er gjort med Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduksjon</h1></div></div></div><p>
- Denne boken viser verden hvor godt deling kan tjene i forretningsøyemed, med
+ Denne boken viser verden hvor godt deling kan tjene i forretningsøyemed, med
en ny vri.
</p><p>
- Vi startet prosjektet for å utforske hvordan skapere, organisasjoner og
-firmaer tjener penger på det de gjør når de deler arbeidet sitt med Creative
-Commons-lisenser. Målet var ikke å identifisere en formel for
-forretningsmodeller som gjør bruk av Creative Commons, men i stedet å samle
-friske idéer og dynamiske eksempler som inspirerer nye, innovative modeller
-og som hjelper andre å bygge videre på det som allerede fungerer. I
-begynnelsen formulerte vi våre undersøkelser med kjente
-forretningsbegreper. Vi laget et <span class="quote">«<span class="quote">åpent
-forretningsmodell-rammeverk</span>»</span>, et interaktivt og nettbasert verktøy,
-for å hjelpe folk med å utforme og analysere sine forretningsmodeller.
+ Vi startet prosjektet for å utforske hvordan skapere, organisasjoner og
+firmaer tjener penger på det de gjør når de deler arbeidet sitt med Creative
+Commons-lisenser. Målet var ikke å identifisere en formel for
+forretningsmodeller som gjør bruk av Creative Commons, men i stedet å samle
+friske idéer og dynamiske eksempler som inspirerer nye, innovative modeller
+og som hjelper andre å bygge videre på det som allerede fungerer. I
+begynnelsen formulerte vi våre undersøkelser med kjente
+forretningsbegreper. Vi laget et <span class="quote">«<span class="quote">åpent
+forretningsmodell-rammeverk</span>»</span>, et interaktivt og nettbasert verktøy,
+for å hjelpe folk med å utforme og analysere sine forretningsmodeller.
</p><p>
- Med raus finansiering fra folkefinansens lommer, gikk vi løs på dette
-prosjektet, først ved å identifisere og velge ut en gruppe skapere fra den
-store bredden av organisasjoner og bedrifter som gjør bruk av Creative
-Commons på en gjennomført måte - det vi kaller <span class="quote">«<span class="quote">Gjort på Creative
-Commons-måten</span>»</span>. Gjennom intervjuer fikk vi skrevet ned historiene
-deres, analyserte det vi hørte, og gjorde til sist dypdykk i litteraturen.
+ Med raus finansiering fra folkefinansens lommer, gikk vi løs på dette
+prosjektet, først ved å identifisere og velge ut en gruppe skapere fra den
+store bredden av organisasjoner og bedrifter som gjør bruk av Creative
+Commons på en gjennomført måte - det vi kaller <span class="quote">«<span class="quote">Gjort på Creative
+Commons-måten</span>»</span>. Gjennom intervjuer fikk vi skrevet ned historiene
+deres, analyserte det vi hørte, og gjorde til sist dypdykk i litteraturen.
</p><p>
- Mens vi gjorde våre undersøkelser, skjedde det noe interessant. Rammen av
-vår forståelse for arbeidet passet ikke med historiene vi hørte.
+ Mens vi gjorde våre undersøkelser, skjedde det noe interessant. Rammen av
+vår forståelse for arbeidet passet ikke med historiene vi hørte.
</p><p>
De vi intervjuet var ikke typiske bedrifter som selger til forbrukere i
-søken etter størst mulig overskudd og bedre bunnlinje. I stedet delte de for
-å gjøre verden til et bedre sted, ved å skape relasjoner og fellesskap rundt
-delte verk, samt skapte inntekter ikke for ubegrenset vekst, men for å holde
+søken etter størst mulig overskudd og bedre bunnlinje. I stedet delte de for
+å gjøre verden til et bedre sted, ved å skape relasjoner og fellesskap rundt
+delte verk, samt skapte inntekter ikke for ubegrenset vekst, men for å holde
liv i det de drev med.
</p><p>
- Ofte likte de ikke å høre sitt virke beskrevet som en <span class="quote">«<span class="quote">åpen
-forretningsmodell</span>»</span>. Deres gjøremål var noe mer enn det. Noe
-annet. Noe som ikke bare ga økonomisk verdi, men også sosial og kulturell
-verdi. Noe som involverte mellommenneskelige forbindelser. Å gjøre noe
-med Creative Commons er ikke <span class="quote">«<span class="quote">slik vi vanligvis gjør det</span>»</span>.
+ Ofte likte de ikke å høre sitt virke beskrevet som en <span class="quote">«<span class="quote">åpen
+forretningsmodell</span>»</span>. Deres gjøremål var noe mer enn det. Noe
+annet. Noe som ikke bare ga økonomisk verdi, men også sosial og kulturell
+verdi. Noe som involverte mellommenneskelige forbindelser. Å gjøre noe
+med Creative Commons er ikke <span class="quote">«<span class="quote">slik vi vanligvis gjør det</span>»</span>.
</p><p>
- Vi måtte revurdere måten vi oppfattet dette prosjektet. Og det skjedde ikke
-over natten. Vi dokumenterte våre tanker fra høsten 2015 og hele 2016 i
-bloggposter på Medium og med regelmessige oppdateringer til våre
-folkefinansieringsstøttespillere. Utkast av enkeltstudier, med påfølgende
-analyse ble også delt, og ga opphav til uvurderlige endringsforslag,
-tilbakemeldinger og råd. Vår tenkning endret seg dramatisk i løpet av
-halvannet år.
+ Vi måtte revurdere måten vi oppfattet dette prosjektet. Og det skjedde ikke
+over natten. Vi dokumenterte våre tanker fra høsten 2015 og hele 2016 i
+bloggposter på Medium og med regelmessige oppdateringer til våre
+folkefinansieringsstøttespillere. Utkast av enkeltstudier, med påfølgende
+analyse ble også delt, og ga opphav til uvurderlige endringsforslag,
+tilbakemeldinger og råd. Vår tenkning endret seg dramatisk i løpet av
+halvannet år.
</p><p>
- Til glede for oss som startet den, har våre to ulike tilnærminger ført til
-gjensidig læring gjennom hele prosessen. Sluttresultatet er mye rikere enn
-det ville vært hvis én av oss gjennomførte prosjektet alene. Vi har søkt å
-beholde våre stemmer i skriveprosessen, og du vil kjenne igjen våre ulike og
-utfyllende tilnærminger etter hvert som du leser igjennom delene hver av oss
+ Til glede for oss som startet den, har våre to ulike tilnærminger ført til
+gjensidig læring gjennom hele prosessen. Sluttresultatet er mye rikere enn
+det ville vært hvis én av oss gjennomførte prosjektet alene. Vi har søkt å
+beholde våre stemmer i skriveprosessen, og du vil kjenne igjen våre ulike og
+utfyllende tilnærminger etter hvert som du leser igjennom delene hver av oss
har skrevet.
</p><p>
Bokens to hoveddeler kan leses i sin helhet fra start til slutt, eller
kapittelvis hver for seg.
</p><p>
- I første del fører Paul i pennen en oversikt som begynner med det store
+ I første del fører Paul i pennen en oversikt som begynner med det store
bildet: Historisk bakgrunn for den digitale allmenning, i beskrivelsen av de
-tre måtene samfunnet håndterer ressurser og deler inntekter: Allmenningen,
-markedet og staten. Han tar til orde for tenkning utover næringsvirksomhet
-og markedsbegreper, og formulerer godt sitt syn på deling og utvidelse av
+tre måtene samfunnet håndterer ressurser og deler inntekter: Allmenningen,
+markedet og staten. Han tar til orde for tenkning utover næringsvirksomhet
+og markedsbegreper, og formulerer godt sitt syn på deling og utvidelse av
den digitale allmenning.
</p><p>
- Oversikten utvides i Sarahs kapittel i en vurdering av hva det betyr å
-lykkes når en gjør noe med Creative Commons. Selv om det å tjene penger er
-en del av bildet, så er det de felleskapsrettede verdiene og de menneskelige
-forbindelsene som gjør deling virkelig meningsfylt. Denne delen beskriver
+ Oversikten utvides i Sarahs kapittel i en vurdering av hva det betyr å
+lykkes når en gjør noe med Creative Commons. Selv om det å tjene penger er
+en del av bildet, så er det de felleskapsrettede verdiene og de menneskelige
+forbindelsene som gjør deling virkelig meningsfylt. Denne delen beskriver
hvordan skaperne, organisasjoner og bedriftene vi intervjuet, skaffer
inntekter, hvordan de videre fremmer allmenne interesser og realiserer sine
verdier, og hvordan de knytter forbindelser med folk de deler med.
</p><p>
- Og som avslutning av første del, har vi en kort bit som forklarer de ulike
-Creative Commons-lisensene. Vi snakker om misforståelsen om at de mer
-restriktive lisensene - de som er nærmest <span class="quote">«<span class="quote">alle rettigheter
-reservert</span>»</span>-modellen i tradisjonell opphavsrett - er den eneste måten
-å tjene penger på.
+ Og som avslutning av første del, har vi en kort bit som forklarer de ulike
+Creative Commons-lisensene. Vi snakker om misforståelsen om at de mer
+restriktive lisensene - de som er nærmest <span class="quote">«<span class="quote">alle rettigheter
+reservert</span>»</span>-modellen i tradisjonell opphavsrett - er den eneste måten
+å tjene penger på.
</p><p>
- Bokens intervjupregede andre del er historien om aktører, bedrifter og
-organisasjoner, tjuefire i tallet. Spørsmålene ble stilt av oss begge, og
+ Bokens intervjupregede andre del er historien om aktører, bedrifter og
+organisasjoner, tjuefire i tallet. Spørsmålene ble stilt av oss begge, og
skrivingen av profilene deretter fordelt oss imellom.
</p><p>
- Vi er selvfølgelig glade for å gjøre boken tilgjengelig med Creative Commons
-Navngivelse-Del på samme vilkår (CC-BY-SA). Kopiér, distribuer, oversett,
-tilpass til lokale forhold, og bygg gjerne videre på dette verket.
+ Vi er selvfølgelig glade for å gjøre boken tilgjengelig med Creative Commons
+Navngivelse-Del på samme vilkår (CC-BY-SA). Kopiér, distribuer, oversett,
+tilpass til lokale forhold, og bygg gjerne videre på dette verket.
</p><p>
- Denne boka har forandret og inspirert oss. Måten vi nå betrakter og tenker
-om hva det betyr å <span class="quote">«<span class="quote">gjøre med Creative Commons</span>»</span> er
-ugjenkallelig endret. Vi håper denne boken inspirerer deg og ditt selskap
-til å bruke Creative Commons, og dermed bidra til å endre vårt økonomiske
+ Denne boka har forandret og inspirert oss. Måten vi nå betrakter og tenker
+om hva det betyr å <span class="quote">«<span class="quote">gjøre med Creative Commons</span>»</span> er
+ugjenkallelig endret. Vi håper denne boken inspirerer deg og ditt selskap
+til å bruke Creative Commons, og dermed bidra til å endre vårt økonomiske
system og verden til det bedre.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="notas-esp"></a>Om den norske oversettelsen</h1></div></div></div><p>Internett ble i sin tid utformet for å bringe mennesker sammen
- og gjøre kunnskap fritt tilgjengelig for alle. Den frie delen av
+ \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="notas-esp"></a>Om den norske oversettelsen</h1></div></div></div><p>Internett ble i sin tid utformet for å bringe mennesker sammen
+ og gjøre kunnskap fritt tilgjengelig for alle. Den frie delen av
internett har forandret verden for godt og forbedret livene til
- milliarder av mennesker. Weben ble opprinnelig laget for å være en
- digitale allmenning hvor alle kunne delta på like vilkår. I denne
- digitale allmenningen spiller Creative Commons en helt avgjørende
- rolle for å sikre at alt fra kunstnere, lærerer, elever, bedrifter
- og offentlige virksomheter kan dele sine verk på en trygg og god
- måte.</p><p>Hvis du ønsker å lære mer om digital delingskultur og Creative
- Commons er dette en bok som både vil inspirere og gi grunnleggende
+ milliarder av mennesker. Weben ble opprinnelig laget for å være en
+ digitale allmenning hvor alle kunne delta på like vilkår. I denne
+ digitale allmenningen spiller Creative Commons en helt avgjørende
+ rolle for å sikre at alt fra kunstnere, lærerer, elever, bedrifter
+ og offentlige virksomheter kan dele sine verk på en trygg og god
+ måte.</p><p>Hvis du ønsker å lære mer om digital delingskultur og Creative
+ Commons er dette en bok som både vil inspirere og gi grunnleggende
innsikt.</p><p>Forfatterne Paul Stacey og Sarah Hinchliff Pearson gir gjennom
- boken svært gode eksempler på hvordan skapere, organisasjoner og
- bedrifter tjener penger på det de gjør når de deler arbeidet sitt med
- Creative Commons-lisenser. Et annet veldig viktig budskap som går
- igjen som en rød tråd er at for mange ikke først og fremst handler
- om å tjene penger. Noen ganger handler ganske enkelt om å løse et
- problem, andre ganger om å bidra i en kreativ prosess for å skape
+ boken svært gode eksempler på hvordan skapere, organisasjoner og
+ bedrifter tjener penger på det de gjør når de deler arbeidet sitt med
+ Creative Commons-lisenser. Et annet veldig viktig budskap som går
+ igjen som en rød tråd er at for mange ikke først og fremst handler
+ om å tjene penger. Noen ganger handler ganske enkelt om å løse et
+ problem, andre ganger om å bidra i en kreativ prosess for å skape
noe som andre kan ha glede av. Fellesnevneren er at det alltid
- handler om å være åpen og inkluderende - og det handler alltid om å
+ handler om å være åpen og inkluderende - og det handler alltid om å
dele.</p><p>Oversettelsen av denne boken er i seg selv et produkt av den
- samme drivkraften hos mennesker som ønsker å bidra til å spre
- budskapet om en global delingskultur til lesere i Norge.</p><p>Da Gunnar Wolf annonserte at han trengte hjelp med å oversette
+ samme drivkraften hos mennesker som ønsker å bidra til å spre
+ budskapet om en global delingskultur til lesere i Norge.</p><p>Da Gunnar Wolf annonserte at han trengte hjelp med å oversette
denne boken til spansk, meldte min gode venn Petter Reinholdtsen seg
- som koordinator. Prosjektet resulterte da også i denne oversettelsen
- til norsk som du nå sitter å leser. Petter har over flere tiår vært
+ som koordinator. Prosjektet resulterte da også i denne oversettelsen
+ til norsk som du nå sitter å leser. Petter har over flere tiår vært
en av de mest markante bidragsyterne i det norske fri
- programvare-miljøet og hadde allerede to bokutgivelser (Fri Kultur
+ programvare-miljøet og hadde allerede to bokutgivelser (Fri Kultur
av Lawrence
Lessig<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[1]</sup></a>
- og Håndbok for Debian-administratoren av Raphael Hertzog med
+ og Håndbok for Debian-administratoren av Raphael Hertzog med
flere<a href="#ftn.idm118" class="footnote" name="idm118"><sup class="footnote">[2]</sup></a>)
- på sin merittliste. Denne boken ville aldri sett dagens lys uten
- hans imponerende drivkraft og pågangsmot.</p><p>Petter har på ingen måte vært alene om dette
- prosjektet. Ole-Erik Yrvin, Ingrid Yrvin, Allano Nordhøy, Thomas
+ på sin merittliste. Denne boken ville aldri sett dagens lys uten
+ hans imponerende drivkraft og pågangsmot.</p><p>Petter har på ingen måte vært alene om dette
+ prosjektet. Ole-Erik Yrvin, Ingrid Yrvin, Allano Nordhøy, Thomas
Gramstad og Sylvia Johnsen har alle bidratt med utallige
- dugnadstimer. På vegne av Creative Commons Norge vil jeg takke hver
- enkelt bidragsyter. Dette prosjektet er et inspirerende eksempel på
- at delingskulturen også har godt fotfeste her i Norge.</p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ dugnadstimer. På vegne av Creative Commons Norge vil jeg takke hver
+ enkelt bidragsyter. Dette prosjektet er et inspirerende eksempel på
+ at delingskulturen også har godt fotfeste her i Norge.</p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Christer Solheim Gundersen,
Leder, Creative Commons Norge
}
- \end{flushright}</td></tr></table></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[1] </sup></a><a class="ulink" href="http://free-culture.cc/remixes/" target="_top">http://free-culture.cc/remixes/</a></p></div><div id="ftn.idm118" class="footnote"><p><a href="#idm118" class="para"><sup class="para">[2] </sup></a><a class="ulink" href="https://debian-handbook.info/get/#norwegian" target="_top">https://debian-handbook.info/get/#norwegian</a></p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. Det store bildet</h1></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. Den digitale allmennings nye verden</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Hvordan være gjort med Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons-lisensene</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapittel 1. Den digitale allmennings nye verden</h2></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Allmenningen, markedet, og staten</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">De fire aspektene ved en ressurs</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">En kort historie om allmenningen</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">Den digitale revolusjonen</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Creative Commons blir til</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">Markedet i forandring</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Fordelene med en digital allmenning</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Våre referansestudier</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm115" class="footnote"><p><a href="#idm115" class="para"><sup class="para">[1] </sup></a><a class="ulink" href="http://free-culture.cc/remixes/" target="_top">http://free-culture.cc/remixes/</a></p></div><div id="ftn.idm118" class="footnote"><p><a href="#idm118" class="para"><sup class="para">[2] </sup></a><a class="ulink" href="https://debian-handbook.info/get/#norwegian" target="_top">https://debian-handbook.info/get/#norwegian</a></p></div></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. Det store bildet</h1></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. Den digitale allmennings nye verden</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Hvordan være gjort med Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Creative Commons-lisensene</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapittel 1. Den digitale allmennings nye verden</h2></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Allmenningen, markedet, og staten</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">De fire aspektene ved en ressurs</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">En kort historie om allmenningen</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">Den digitale revolusjonen</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Creative Commons blir til</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">Markedet i forandring</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Fordelene med en digital allmenning</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Våre referansestudier</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe beskriver elegant allmenningen som <span class="quote">«<span class="quote">luften og havet,
+ Jonathan Rowe beskriver elegant allmenningen som <span class="quote">«<span class="quote">luften og havet,
nettverket av arter, villmark og rennende vann - alle er deler av
-allmenningen. Det samme er språk og kunnskap, fortau og torg, historier fra
+allmenningen. Det samme er språk og kunnskap, fortau og torg, historier fra
barndommen og demokratiske prosesser. Noen deler av allmenningen er naturens
gaver, andre er resultat av menneskelig innsats. Noen er nye, som Internett;
-andre like eldgamle som jord og kalligrafi.</span>»</span><a href="#ftn.idm134" class="footnote" name="idm134"><sup class="footnote">[3]</sup></a>
+andre like eldgamle som jord og kalligrafi.</span>
»</span><a href="#ftn.idm134" class="footnote" name="idm134"><sup class="footnote">[3]</sup></a>
</p><p>
- I <span class="quote">«<span class="quote">Gjort med Creative Commons</span>»</span> fokuserer vi på nåværende æras
+ I <span class="quote">«<span class="quote">Gjort med Creative Commons</span>»</span> fokuserer vi på nåværende æras
digitale allmenning, en allmenningen av menneskeskapte arbeider. Denne
-allmenningen går på tvers av en rekke områder, inkludert kulturarv,
+allmenningen går på tvers av en rekke områder, inkludert kulturarv,
utdanning, forskning, teknologi, kunst, design, litteratur, underholdning,
-forretning og data. Menneskeskapte verk innen alle disse områdene er i
-stadig større grad digitale. Internett er en type global, digital
-allmenning. Personer, organisasjoner og bedrifter vi trekker frem i våre
-referansestudier bruker Creative Commons til deling av sine ressurser på
+forretning og data. Menneskeskapte verk innen alle disse områdene er i
+stadig større grad digitale. Internett er en type global, digital
+allmenning. Personer, organisasjoner og bedrifter vi trekker frem i våre
+referansestudier bruker Creative Commons til deling av sine ressurser på
Internett.
</p><p>
- Allmenningen handler ikke bare om delte ressurser, men også om sosial
+ Allmenningen handler ikke bare om delte ressurser, men også om sosial
praksis og verdiene som igjen styrer den. En ressurs er et substantiv, men
-allmenngjøring - å legge ressursen inn i allmenningen - er et
+allmenngjøring - å legge ressursen inn i allmenningen - er et
verb.<a href="#ftn.idm139" class="footnote" name="idm139"><sup class="footnote">[4]</sup></a> Produsentene, organisasjonene og
-bedriftene vi profilerer er alle engasjert i allmenngjøring. Deres bruk av
-Creative Commons gjør dem delaktig i den sosiale gjennomføringen av
-allmenngjøring, administrering av ressurser kollektivt i et
-brukerfellesskap.<a href="#ftn.idm141" class="footnote" name="idm141"><sup class="footnote">[5]</sup></a> Allmenngjøring styres
+bedriftene vi profilerer er alle engasjert i allmenngjøring. Deres bruk av
+Creative Commons gjør dem delaktig i den sosiale gjennomføringen av
+allmenngjøring, administrering av ressurser kollektivt i et
+brukerfellesskap.<a href="#ftn.idm141" class="footnote" name="idm141"><sup class="footnote">[5]</sup></a> Allmenngjøring styres
av et sett verdier og normer som balanserer fordelene og ulempene for
-bedriften med dem for fellesskapet. Særlig vekt er lagt til rettferdig
-tilgang, bruk og bærekraft.
+bedriften med dem for fellesskapet. Særlig vekt er lagt til rettferdig
+tilgang, bruk og bærekraft.
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>Allmenningen, markedet, og staten</h2></div></div></div><p>
- Historisk har det vært tre måter å administrere ressurser og fordele verdier
-på: Allmenningen (håndtert kollektivt), staten (dvs. myndighetene) og
+ Historisk har det vært tre måter å administrere ressurser og fordele verdier
+på: Allmenningen (håndtert kollektivt), staten (dvs. myndighetene) og
markedet - med de siste to som dominerende per 2017.<a href="#ftn.idm146" class="footnote" name="idm146"><sup class="footnote">[6]</sup></a>
</p><p>
- Organisasjonene og bedriftene i våre referansestudier er unike i måten de
+ Organisasjonene og bedriftene i våre referansestudier er unike i måten de
deltar i allmenningen mens de fortsatt er engasjert i markedet og/eller
staten. Omfanget av engasjement mot marked og stat varierer. Noen opererer
-primært som allmenning hvis virke uten eller i liten grad er avhengig av
+primært som allmenning hvis virke uten eller i liten grad er avhengig av
markedet eller staten.<a href="#ftn.idm149" class="footnote" name="idm149"><sup class="footnote">[7]</sup></a> Andre er i
-høyeste grad en del av markedet eller staten, og avhenger av dem for sin
-finansielle bærekraft. Alle fungerer som hybrider, som kombinerer
+høyeste grad en del av markedet eller staten, og avhenger av dem for sin
+finansielle bærekraft. Alle fungerer som hybrider, som kombinerer
allemannseiets normer med dem som gjelder for markedet eller staten.
</p><p>
Figur <a class="xref" href="#fig-1" title="Figur 1.1. En bedrifts varierende grad av engasjement i allemannseie, staten og markedet.">1.1</a> skildrer hvordan en
bedrift kan ha varierende grad av engasjement med allemannseie, staten og
markedet.
</p><p>
- Noen av våre referansestudier er simpelthen allemannseie, og har lite eller
+ Noen av våre referansestudier er simpelthen allemannseie, og har lite eller
intet engasjement med og i offentlig sektor. En fremstilling av disse
-løsningene ville vist tilknytningen til staten i offentlig sektor som
-forbilledlig liten, eller til og med fraværende. Andre referansestudier er
-primært markedsbaserte med kun en liten fot i allemannseiet. I en
-fremstilling av disse løsningene ville engasjementet i markedet være stort
+løsningene ville vist tilknytningen til staten i offentlig sektor som
+forbilledlig liten, eller til og med fraværende. Andre referansestudier er
+primært markedsbaserte med kun en liten fot i allemannseiet. I en
+fremstilling av disse løsningene ville engasjementet i markedet være stort
og allemannseiet lite. I hvilken grad en bedrift ser seg selv som
-hovedsakelig av én type eller en annen, påvirker hvordan normene de styrer
+hovedsakelig av én type eller en annen, påvirker hvordan normene de styrer
etter er fordelt.
</p><p>
- Alle i våre referansestudier tjener nok penger til å holde det gående og å
-være bærekraftig. Penger kommer hovedsakelig fra markedet. Det er
-utfordrende å finne måter å generere inntekter på, når man holder seg til
+ Alle i våre referansestudier tjener nok penger til å holde det gående og å
+være bærekraftig. Penger kommer hovedsakelig fra markedet. Det er
+utfordrende å finne måter å generere inntekter på, når man holder seg til
kjerneverdiene i allemannseie (vanligvis uttrykt i
-formålbeskrivelser). Administrering av samhandling og engasjement mellom
-allemannseiet og markedet krever gode håndgrep, en fingerspissfølelse for
-verdigrunnlaget, og evnen til å kombinere det beste fra begge.
+formålbeskrivelser). Administrering av samhandling og engasjement mellom
+allemannseiet og markedet krever gode håndgrep, en fingerspissfølelse for
+verdigrunnlaget, og evnen til å kombinere det beste fra begge.
</p><p>
- Staten har en viktig rolle å spille i å fremme aksept og bruk av
-allemannseie. Statlige programmer og finansiering kan bevisst bidra til å
+ Staten har en viktig rolle å spille i å fremme aksept og bruk av
+allemannseie. Statlige programmer og finansiering kan bevisst bidra til å
bygge allemannseier. Utover bevilgninger, lovgivning og regler om
-eiendomsrett, kan både opphavsrett, forretningsvirksomhet og finansiering,
-være utformet for å fremme allemannseie.
+eiendomsrett, kan både opphavsrett, forretningsvirksomhet og finansiering,
+være utformet for å fremme allemannseie.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figur 1.1. En bedrifts varierende grad av engasjement i allemannseie, staten og
markedet.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-enterprise-engagement.svg" width="100%" alt="En bedrifts varierende grad av engasjement i allemannseie, staten og markedet."></td></tr></table></div></div></div><br class="figure-break"><p>
- Det er nyttig for alle å forstå hvordan allemannseie, markedet og staten
-håndterer ressurser på ulike måter, og ikke bare for dem som anser seg selv
+ Det er nyttig for alle å forstå hvordan allemannseie, markedet og staten
+håndterer ressurser på ulike måter, og ikke bare for dem som anser seg selv
som hovedsakelig et allemannseie. For bedrifter eller offentlige
-organisasjoner som ønsker å engasjere seg i, og å bruke allemannseie, så vil
-det å vite hvordan allemannseiet fungerer være til hjelp for å finne den
-beste måten for å gjøre dette på. Deltagelse i og bruk av allemannseiet på
-samme måte som med markedet eller med staten, er ikke en vinnende strategi.
+organisasjoner som ønsker å engasjere seg i, og å bruke allemannseie, så vil
+det å vite hvordan allemannseiet fungerer være til hjelp for å finne den
+beste måten for å gjøre dette på. Deltagelse i og bruk av allemannseiet på
+samme måte som med markedet eller med staten, er ikke en vinnende strategi.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>De fire aspektene ved en ressurs</h2></div></div></div><p>
Elinor Ostrom utviklet som en del av sitt Nobelprisvinnende arbeid et
rammeverk for analyse av hvordan naturressurser administreres i en
allmenning.<a href="#ftn.idm167" class="footnote" name="idm167"><sup class="footnote">[8]</sup></a> Hennes rammeverk vurderte
-ting som biofysiske karakteristikker ved fellesressurser, samfunnets aktører
+ting som biofysiske karakteristikker ved fellesressurser, samfunnets aktører
og samhandlingene mellom dem, imellom uformelle regler-i-bruk, og
resultater. Dette rammeverket er forenklet og generalisert i dette kapitlet
for bruk i allemannseie, markedet og staten.
</p><p>
- For å sammenligne og vise kontraster i måter allemannseie, markedet, og det
-offentlige arbeider, la oss se på fire sider ved ressursadministrasjon:
+ For å sammenligne og vise kontraster i måter allemannseie, markedet, og det
+offentlige arbeider, la oss se på fire sider ved ressursadministrasjon:
Ressursens karakteristika, de involverte personene og den prosessen de
-nyttegjør seg, normer og regler de utvikler for å styre bruken, og til slutt
+nyttegjør seg, normer og regler de utvikler for å styre bruken, og til slutt
den faktiske ressursbruken sammen med resultatene av denne bruken (se figur
<a class="xref" href="#fig-2" title="Figur 1.2. Fire aspekter ved ressursforvaltning">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figur 1.2. Fire aspekter ved ressursforvaltning</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-four-ascpects-resource-management.svg" width="100%" alt="Fire aspekter ved ressursforvaltning"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Karakteristika</h3></div></div></div><p>
- Ressurser har spesielle egenskaper eller attributter som påvirker bruken av
+ Ressurser har spesielle egenskaper eller attributter som påvirker bruken av
dem. Noen ressurser er naturlige; andre er menneskeskapt. Og - av betydning
-for dagens felleseie - ressurser kan være fysiske eller digitale, noe som
-påvirker det iboende ressurspotensialet.
+for dagens felleseie - ressurser kan være fysiske eller digitale, noe som
+påvirker det iboende ressurspotensialet.
</p><p>
Fysiske ressurser er begrensede. Hvis jeg har en fysisk ressurs og gir den
-til deg, har jeg den ikke lenger. Når en ressurs er fjernet og brukt, blir
-tilbudet knapt eller utarmet. Knapphet kan føre til konkurranse og
+til deg, har jeg den ikke lenger. Når en ressurs er fjernet og brukt, blir
+tilbudet knapt eller utarmet. Knapphet kan føre til konkurranse og
rivalisering om ressursen. Tiltak gjort med Creative Commons er vanligvis
-digitalt betinget, men noen av våre referansestudier viser også til
-produksjon av ressurser i fysisk form. Kostnadene ved å produsere og
-distribuere et fysisk gode, krever vanligvis at man har med markedet å
-gjøre.
+digitalt betinget, men noen av våre referansestudier viser også til
+produksjon av ressurser i fysisk form. Kostnadene ved å produsere og
+distribuere et fysisk gode, krever vanligvis at man har med markedet å
+gjøre.
</p><p>
Fysiske ressurser utarmes, er eksklusive, og tevles om. Digitale ressurser,
-derimot, er uutømmelige, ikke-eksklusive, og maner ikke til
+derimot, er uutømmelige, ikke-eksklusive, og maner ikke til
rivalisering. Hvis jeg deler en digital ressurs med deg, har vi begge
-ressursen. Å gi den til deg betyr ikke at jeg ikke lenger har den. Digitale
-ressurser kan lages i det uendelige, kopieres og distribueres uten å bli
-uttømt, og til en kostnad nær null. Overflod i stedet for knapphet er en
+ressursen. Å gi den til deg betyr ikke at jeg ikke lenger har den. Digitale
+ressurser kan lages i det uendelige, kopieres og distribueres uten å bli
+uttømt, og til en kostnad nær null. Overflod i stedet for knapphet er en
iboende karakteristikk ved digitale ressurser.
</p><p>
- At de digitale ressursene er uuttømmelige, ikke-eksklusive og
-ikke-rivaliserende, betyr at reglene og normene for å håndtere dem kan (og
-bør) være forskjellige fra hvordan fysiske ressurser håndteres. Det er dog
+ At de digitale ressursene er uuttømmelige, ikke-eksklusive og
+ikke-rivaliserende, betyr at reglene og normene for å håndtere dem kan (og
+bør) være forskjellige fra hvordan fysiske ressurser håndteres. Det er dog
ikke alltid tilfellet. Digitale ressurser har ofte en tillagt kunstig
-knapphet ved seg. Å plassere digitale ressurser i allmenningen gjør dem
+knapphet ved seg. Å plassere digitale ressurser i allmenningen gjør dem
derimot gratis og tilgjengelig i overflod.
</p><p>
- Vi fant at våre referansestudier ofte håndtere hybrid-ressurser, som
-begynner som digitale, med muligheter for å bli omgjort til en fysiske
-ressurs. Den digitale boken kan trykkes på papir og gjøres til en fysisk
-bok. Et data-tegnet møbeldesign kan produseres fysisk i tre. Den fysiske
+ Vi fant at våre referansestudier ofte håndtere hybrid-ressurser, som
+begynner som digitale, med muligheter for å bli omgjort til en fysiske
+ressurs. Den digitale boken kan trykkes på papir og gjøres til en fysisk
+bok. Et data-tegnet møbeldesign kan produseres fysisk i tre. Den fysiske
konverteringen har alltid kostnader ved seg. De digitale ressursene
-administreres ofte på en fri og åpen måte, men det kreves penger for å
+administreres ofte på en fri og åpen måte, men det kreves penger for å
konvertere en digital ressurs til noe fysisk.
</p><p>
- Utover denne idéen med fysisk sett opp mot det digitale, forstår
+ Utover denne idéen med fysisk sett opp mot det digitale, forstår
allmenninger, markedet og staten ressurser forskjellig (se figur <a class="xref" href="#fig-3" title="Figur 1.3. Hvordan markedet, allemannseie og staten oppfatter ressurser.">1.3</a>). Markedet ser ressurser som
private varer, goder for salg - som gir verdi. Staten ser ressurser som
offentlige goder som gir verdi til innbyggere. Allmenninger ser ressurser
-som felles goder, som utgjør en felles rikdom som strekker seg utover
+som felles goder, som utgjør en felles rikdom som strekker seg utover
landets grenser, og videreformidles uforminsket eller i forbedret form til
fremtidige generasjoner.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Folk og prosesser</h3></div></div></div><p>
I allemannseie, markedet og staten brukes ulike mennesker og prosesser til
-administrering av ressurser. Prosessene som brukes definerer både hvem som
-har innflytelse og hvordan en ressurs håndteres.
+administrering av ressurser. Prosessene som brukes definerer både hvem som
+har innflytelse og hvordan en ressurs håndteres.
</p><p>
- I staten utgår en regjering fra folkevalgte ansvarlige for
-ressurshåndteringen på vegne av folket. Innbyggerne som produserer og bruker
+ I staten utgår en regjering fra folkevalgte ansvarlige for
+ressurshåndteringen på vegne av folket. Innbyggerne som produserer og bruker
disse ressursene er ikke direkte involvert; i stedet er ansvaret lagt i
hendene til regjeringen. Statlige departementer og avdelinger bemannet av
-offentlige tjenestemenn setter opp budsjetter, gjennomfører programmer og
-administrerer ressurser basert på regjeringens prioriteringer og prosedyrer.
+offentlige tjenestemenn setter opp budsjetter, gjennomfører programmer og
+administrerer ressurser basert på regjeringens prioriteringer og prosedyrer.
</p><p>
- I markedet er de involverte produsenter, kjøpere, selgere og
+ I markedet er de involverte produsenter, kjøpere, selgere og
forbrukere. Bedrifter fungerer som mellomledd mellom dem som produserer
-ressurser og dem som konsumerer eller bruker dem. Markedets prosesser søker
-å hente ut så mye verdi fra ressurser som mulig. Ressurser håndteres som en
-handelsvare i markedet, ofte masseprodusert, og selges til forbrukere på
+ressurser og dem som konsumerer eller bruker dem. Markedets prosesser søker
+å hente ut så mye verdi fra ressurser som mulig. Ressurser håndteres som en
+handelsvare i markedet, ofte masseprodusert, og selges til forbrukere på
grunnlag av en betalingstransaksjon.
</p><p>
- I motsetning til staten og markedet, håndteres ressurser i en allmenning mer
+ I motsetning til staten og markedet, håndteres ressurser i en allmenning mer
direkte av de involverte.<a href="#ftn.idm194" class="footnote" name="idm194"><sup class="footnote">[9]</sup></a> De som lager
-menneskeproduserte ressurser kan legge dem i felleseiet ut fra på deres eget
-ønske. Det kreves ingen tillatelse fra staten eller markedet. Alle kan ta
-del i allmenningen og selv bestemme seg for hvor mye de ønsker å involvere
+menneskeproduserte ressurser kan legge dem i felleseiet ut fra på deres eget
+ønske. Det kreves ingen tillatelse fra staten eller markedet. Alle kan ta
+del i allmenningen og selv bestemme seg for hvor mye de ønsker å involvere
seg - som bidragsyter, bruker eller administrator. De involverte er ikke
-bare dem som oppretter og bruker ressurser, men også dem som påvirkes av
-resultatet ved bruk. Hvem du er, påvirker hva du har å si, hvilke handlinger
-du kan utføre, og rekkevidden av dine beslutninger. I allmenningen er det
+bare dem som oppretter og bruker ressurser, men også dem som påvirkes av
+resultatet ved bruk. Hvem du er, påvirker hva du har å si, hvilke handlinger
+du kan utføre, og rekkevidden av dine beslutninger. I allmenningen er det
fellesskapet som helhet som administrerer ressursene. Ressurser lagt inn i
felleseiet ved bruk av Creative Commons krever at brukerne navngir den
-opprinnelige skaperen. Å vite hvem personen bak en ressurs er, gjør
+opprinnelige skaperen. Å vite hvem personen bak en ressurs er, gjør
fellesskapseie mindre anonymt og mer personlig.
</p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figur 1.3. Hvordan markedet, allemannseie og staten oppfatter ressurser.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-resource-view.svg" width="100%" alt="Hvordan markedet, allemannseie og staten oppfatter ressurser."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Normer og regler</h3></div></div></div><p>
De sosiale samhandlingene mellom mennesker, og prosessene brukt av staten,
markedet og allemannseie, utvikler sosiale normer og regler. Disse normene
-og reglene definerer tillatelser, tildeler rettigheter og løser disputter.
+og reglene definerer tillatelser, tildeler rettigheter og løser disputter.
</p><p>
Statlig myndighet er underlagt nasjonale regelverk. Normer knyttet til
prioriteringer og beslutningsprosesser defineres av folkevalgte og
-parlamentariske prosedyrer. Statlige føringer uttrykkes gjennom politiske
-vedtak, lover og regler. Staten påvirker normer og regler for markedet og
+parlamentariske prosedyrer. Statlige føringer uttrykkes gjennom politiske
+vedtak, lover og regler. Staten påvirker normer og regler for markedet og
allemannseie gjennom de reglene som lages.
</p><p>
- Markedets normer påvirkes av økonomi og konkurranse om knappe
+ Markedets normer påvirkes av økonomi og konkurranse om knappe
ressurser. Markedsreguleringene omfatter eierforhold, virksomheter og
-økonomiske lover definert av staten.
+økonomiske lover definert av staten.
</p><p>
- Som med markedet, kan en allmenning påvirkes av offentlig praksis,
+ Som med markedet, kan en allmenning påvirkes av offentlig praksis,
forskrifter og lover. Normer og regler for et allemannseie er i det store og
hele definert av det. De veier individuelle kostnader og fordeler - mot
kostnader og fordeler for hele felleseiet. Det tas ikke bare hensyn til
-
økonomisk effektivitet, men også egenkapital og bærekraftighet.<a href="#ftn.idm209" class="footnote" name="idm209"><sup class="footnote">[10]</sup></a>
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>M
ål</h3></div></div></div><p>
- Kombinasjonen av forhold vi har diskutert så langt - de iboende egenskapene,
-folk, prosesser, normer og regler - former bruken av ressursene, som også
-svarer til målene til stat, marked og allmenning.
+
økonomisk effektivitet, men også egenkapital og bærekraftighet.<a href="#ftn.idm209" class="footnote" name="idm209"><sup class="footnote">[10]</sup></a>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>M
ål</h3></div></div></div><p>
+ Kombinasjonen av forhold vi har diskutert så langt - de iboende egenskapene,
+folk, prosesser, normer og regler - former bruken av ressursene, som også
+svarer til målene til stat, marked og allmenning.
</p><p>
- I markedet fokuseres det på å maksimere nytten av en ressurs. Hva vi betaler
-for varene vi forbruker, sees som et objektivt mål på den nytten de
-gir. Målet blir da å maksimere den totale økonomiske
-pengeverdien.<a href="#ftn.idm215" class="footnote" name="idm215"><sup class="footnote">[11]</sup></a> Forbrukte enheter forstås
-som salg, inntekter, fortjeneste og vekst, alle disse måter å måle markedet
-på.
+ I markedet fokuseres det på å maksimere nytten av en ressurs. Hva vi betaler
+for varene vi forbruker, sees som et objektivt mål på den nytten de
+gir. Målet blir da å maksimere den totale økonomiske
+pengeverdien.<a href="#ftn.idm215" class="footnote" name="idm215"><sup class="footnote">[11]</sup></a> Forbrukte enheter forstås
+som salg, inntekter, fortjeneste og vekst, alle disse måter å måle markedet
+på.
</p><p>
- Staten tar sikte på balansering av økonomi opp mot sine innbyggeres sosiale
+ Staten tar sikte på balansering av økonomi opp mot sine innbyggeres sosiale
og kulturelle behov i sin bruk og administrasjon av
-ressurser. Helsetjenester, utdanning, jobb, miljø, transport, sikkerhet, arv
+ressurser. Helsetjenester, utdanning, jobb, miljø, transport, sikkerhet, arv
og rettferdighet er alle fasetter av et sunt samfunn, og staten bruker sine
-ressurser i oppnåelsen av disse. Statlige mål gjenspeiles i mål på
+ressurser i oppnåelsen av disse. Statlige mål gjenspeiles i mål på
livskvalitet.
</p><p>
- I allmenningen er målet å maksimere tilgang, egenkapital, distribusjon,
-deltakelse, nyskaping og bærekraft. Suksess kan måles i hvor mange personer
-som har tilgang til, og bruker en ressurs; kjønnsfordeling, inntekt og hvor
+ I allmenningen er målet å maksimere tilgang, egenkapital, distribusjon,
+deltakelse, nyskaping og bærekraft. Suksess kan måles i hvor mange personer
+som har tilgang til, og bruker en ressurs; kjønnsfordeling, inntekt og hvor
de holder til; om et fellesskap utvider og forbedrer de ressurser som lages;
-og om ressursene brukes på nyskapende måter som gir personlige og sosiale
+og om ressursene brukes på nyskapende måter som gir personlige og sosiale
goder.
</p><p>
Som hybridkombinasjoner av allemannseie og marked eller stat, avhenger
-suksessen og bærekraften i alle våre referansestudier av tiltakenes evne til
-å strategisk bruke og balansere disse ulike aspektene ved
-ressurshåndteringen sin.
+suksessen og bærekraften i alle våre referansestudier av tiltakenes evne til
+å strategisk bruke og balansere disse ulike aspektene ved
+ressurshåndteringen sin.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>En kort historie om allmenningen</h2></div></div></div><p>
- Å bruke allmenning i håndtering av ressurser er en del av et langt historisk
-løp. I det moderne samfunn dominerer markedet og staten diskusjonen om
-hvordan ressurser best håndteres. Sjelden blir allemannseie i det hele tatt
+ Å bruke allmenning i håndtering av ressurser er en del av et langt historisk
+løp. I det moderne samfunn dominerer markedet og staten diskusjonen om
+hvordan ressurser best håndteres. Sjelden blir allemannseie i det hele tatt
vurdert som et alternativ. Allemannseie har i stor grad funnet veien ut av
bevissthet og omtanke. Det finnes ingen nyheter eller taler om allmenningen.
</p><p>
At mer enn 1,1 milliarder ressurser er lisensiert Creative Commons verden
over, indikerer en grasrotbevegelse i retning av allemannseie. Allmenningen
-blomstrer igjen. For å forstå motstandsdyktigheten i slikt eie, og den
-pågående fornyelsen, er det nyttig å vite noe om dens historie.
+blomstrer igjen. For å forstå motstandsdyktigheten i slikt eie, og den
+pågående fornyelsen, er det nyttig å vite noe om dens historie.
</p><p>
- I århundrer håndterte urfolk og førindustrielle samfunn ressurser, inkludert
+ I århundrer håndterte urfolk og førindustrielle samfunn ressurser, inkludert
vann, mat, brensel, vanningsanlegg, fisk, vilt og mange andre ting,
kollektivt i felleseie.<a href="#ftn.idm226" class="footnote" name="idm226"><sup class="footnote">[12]</sup></a> Det var intet
-marked, ingen verdensøkonomi. Staten, i form av herskere, påvirket
+marked, ingen verdensøkonomi. Staten, i form av herskere, påvirket
allmenningene, men kontrollerte dem ikke. Direkte sosial deltakelse i en
-allmenning var primært måten ressurser ble styrt på og behov møtt. (Figur
-<a class="xref" href="#fig-4" title="Figur 1.4. I det førindustrielle samfunnet.">1.4</a> illustrerer allemannseie i
+allmenning var primært måten ressurser ble styrt på og behov møtt. (Figur
+<a class="xref" href="#fig-4" title="Figur 1.4. I det førindustrielle samfunnet.">1.4</a> illustrerer allemannseie i
forhold til stat og marked.)
- </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figur 1.4. I det f
ørindustrielle samfunnet.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-preindustrialized-society.svg" width="100%" alt="I det førindustrielle samfunnet."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figur 1.4. I det f
ørindustrielle samfunnet.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-preindustrialized-society.svg" width="100%" alt="I det førindustrielle samfunnet."></td></tr></table></div></div></div><br class="figure-break"><p>
Fulgt av en lang historie der staten (et monarki eller en makthaver) overtar
-allmenningen til egne formål. Dette kalles innkapsling av
+allmenningen til egne formål. Dette kalles innkapsling av
allemannseie.<a href="#ftn.idm237" class="footnote" name="idm237"><sup class="footnote">[13]</sup></a> I gamle dager ble
-<span class="quote">«<span class="quote">almuen</span>»</span> kastet ut fra eiendommene, gjerder og hekker reist,
-lover vedtatt og sikringstiltak satt opp for
å forby adgang.<a href="#ftn.idm240" class="footnote" name="idm240"><sup class="footnote">[14]</sup></a> Gradvis ble ressursene statens eiendom, og staten
-ble det prim
ære verktøy for styring av disse ressursene. (Se figur <a class="xref" href="#fig-5" title="Figur 1.5. Allemannseiet er gradvis erstattet av staten.">1.5</a>).
+<span class="quote">«<span class="quote">almuen</span>»</span> kastet ut fra eiendommene, gjerder og hekker reist,
+lover vedtatt og sikringstiltak satt opp for
å forby adgang.<a href="#ftn.idm240" class="footnote" name="idm240"><sup class="footnote">[14]</sup></a> Gradvis ble ressursene statens eiendom, og staten
+ble det prim
ære verktøy for styring av disse ressursene. (Se figur <a class="xref" href="#fig-5" title="Figur 1.5. Allemannseiet er gradvis erstattet av staten.">1.5</a>).
</p><p>
Eierskap til land, vann og vilt ble distribuert til den herskende familien
-og politisk utvalgte. Vanlige borgere ble fordrevet fra landområdene og
+og politisk utvalgte. Vanlige borgere ble fordrevet fra landområdene og
flyttet til byer. Med fremveksten av den industrielle revolusjonen ble
-landområder og ressurser solgt til bedrifter for å støtte
+landområder og ressurser solgt til bedrifter for å støtte
produksjon. Folkevalgte forsamlinger tok etter hvert over fra
-monarkier. Vanlige borgere ble arbeidere som tjente penger ved å betjene
+monarkier. Vanlige borgere ble arbeidere som tjente penger ved å betjene
maskiner i industrien. Finans, virksomheter og eiendomsrett ble omdannet av
-regjeringene til å støtte markeder, vekst og produktivitet. Over tid ga
-tilgang til markedsproduserte varer økende levestandard, bedre helse og
+regjeringene til å støtte markeder, vekst og produktivitet. Over tid ga
+tilgang til markedsproduserte varer økende levestandard, bedre helse og
utdanning. Figur <a class="xref" href="#fig-6" title="Figur 1.6. Hvordan markedet, staten og allemannseiet ser ut i dag.">1.6</a> viser
-hvordan markedet i dag er hovedmåten for ressurshåndtering.
+hvordan markedet i dag er hovedmåten for ressurshåndtering.
</p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figur 1.5. Allemannseiet er gradvis erstattet av staten.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-commons-superseded-by-state.svg" width="100%" alt="Allemannseiet er gradvis erstattet av staten."></td></tr></table></div></div></div><br class="figure-break"><p>
- Verden gjennomgår turbulente tider. Fordelene med markedet har blitt
+ Verden gjennomgår turbulente tider. Fordelene med markedet har blitt
motvirket av ulik fordeling og rovdrift.
</p><p>
Overutnyttelse var tema for Garrett Hardins innflytelsesrike essay om
-<span class="quote">«<span class="quote">Allmenningens tragedie</span>»</span>, publisert i Science i 1968. Hardin
-hevder at alle i et allemannseie søker å maksimere personlig vinning, og vil
-fortsette å gjøre det selv når allmenningens grenser er nådd. Felleseiet
-blir så, tragisk nok, utarmet til et punkt der det ikke tjener noen. Hardins
-essay ble allment akseptert som en økonomisk sannhet og en begrunnelse for
+<span class="quote">«<span class="quote">Allmenningens tragedie</span>»</span>, publisert i Science i 1968. Hardin
+hevder at alle i et allemannseie søker å maksimere personlig vinning, og vil
+fortsette å gjøre det selv når allmenningens grenser er nådd. Felleseiet
+blir så, tragisk nok, utarmet til et punkt der det ikke tjener noen. Hardins
+essay ble allment akseptert som en økonomisk sannhet og en begrunnelse for
privat eiendom og frie markeder.
</p><p>
- Det er dog en alvorlig mangel med Hardins <span class="quote">«<span class="quote">Allmenningens
-tragedie</span>»</span> - det er fiksjon. Hardin studerer ikke faktisk hvordan
-virkelige allmenninger fungerer. Elinor Ostrom vant Nobelprisen i økonomi i
+ Det er dog en alvorlig mangel med Hardins <span class="quote">«<span class="quote">Allmenningens
+tragedie</span>»</span> - det er fiksjon. Hardin studerer ikke faktisk hvordan
+virkelige allmenninger fungerer. Elinor Ostrom vant Nobelprisen i økonomi i
2009 for sitt arbeid for sin studie av allemannseier verden over. Ostroms
arbeid viser at naturressurs-allmenninger kan forvaltes med gode resultater
av lokalsamfunn uten regulering fra sentrale myndigheter eller
privatisering. Regjeringen og privatisering er ikke de eneste to
-valgene. Det er en tredje vei: Styring av mennesker, der de som påvirkes
+valgene. Det er en tredje vei: Styring av mennesker, der de som påvirkes
direkte er direkte involvert. Naturressurser har en regional
-tilhørighet. Folk i regionen er mest fortrolig med naturressursene, har den
+tilhørighet. Folk i regionen er mest fortrolig med naturressursene, har den
mest direkte relasjonen, og en historie knyttet til dem, og er derfor best
-plassert for å administrere dem. Ostroms tilnærming til styringen av
-naturressurser brøt med konvensjonen; hun innså betydningen av felleseie som
-et alternativ til markedet, eller staten for løsning av oppgaver med
-probleml
øsning som krever felles innsats.<a href="#ftn.idm257" class="footnote" name="idm257"><sup class="footnote">[15]</sup></a>
+plassert for å administrere dem. Ostroms tilnærming til styringen av
+naturressurser brøt med konvensjonen; hun innså betydningen av felleseie som
+et alternativ til markedet, eller staten for løsning av oppgaver med
+probleml
øsning som krever felles innsats.<a href="#ftn.idm257" class="footnote" name="idm257"><sup class="footnote">[15]</sup></a>
</p><p>
- Hardin mislyktes i å vurdere den faktiske sosiale dynamikken ved
+ Hardin mislyktes i å vurdere den faktiske sosiale dynamikken ved
allmenningen. Hans modell antok at folk i allemannseier handler uavhengig av
hverandre, i ren egeninteresse, uten interaksjon eller hensyn til andre. Som
-Ostrom fant, i virkeligheten, er det å håndtere felles ressurser sammen, noe
+Ostrom fant, i virkeligheten, er det å håndtere felles ressurser sammen, noe
som danner et fellesskap og oppfordrer til meningsutveksling. Dette skaper
-naturligvis normer og regler som hjelper folk å arbeide sammen, og sikre et
-bærekraftig felleseie. Paradoksalt nok, mens Hardins essay kalles
-Allmenningens tragedie, burde det kanskje mer nøyaktig hatt tittelen
+naturligvis normer og regler som hjelper folk å arbeide sammen, og sikre et
+bærekraftig felleseie. Paradoksalt nok, mens Hardins essay kalles
+Allmenningens tragedie, burde det kanskje mer nøyaktig hatt tittelen
Markedets tragedie.
</p><p>
- Hardins historie er basert på forutsetningen om begrensede
-ressurser. Økonomer har fokusert nesten utelukkende på knapphetsbaserte
-markeder. Sv
ært lite er kjent om virkningene av overflod.<a href="#ftn.idm262" class="footnote" name="idm262"><sup class="footnote">[16]</sup></a> Fremveksten av informasjonsteknologi og Internett
-har ført til en eksplosjon av digitale ressurser og nye delingsmåter og
-distribusjon. De digitale ressursene kan aldri bli utarmet. Fravær av en
-teori eller modell for hvordan overflod fungerer, har ledet markedet til å
-innføre kunstig knapphet for digitale ressurser, noe som gjør det mulig å
+ Hardins historie er basert på forutsetningen om begrensede
+ressurser. Økonomer har fokusert nesten utelukkende på knapphetsbaserte
+markeder. Sv
ært lite er kjent om virkningene av overflod.<a href="#ftn.idm262" class="footnote" name="idm262"><sup class="footnote">[16]</sup></a> Fremveksten av informasjonsteknologi og Internett
+har ført til en eksplosjon av digitale ressurser og nye delingsmåter og
+distribusjon. De digitale ressursene kan aldri bli utarmet. Fravær av en
+teori eller modell for hvordan overflod fungerer, har ledet markedet til å
+innføre kunstig knapphet for digitale ressurser, noe som gjør det mulig å
anvende markedets vanlige normer og regler.
</p><p>
- Når det kommer til bruk av statlige bevilgninger til å lage digitale
+ Når det kommer til bruk av statlige bevilgninger til å lage digitale
produkter, er det egentlig ingen begrunnelse for kunstig knapphet. Normen
-for statlig finansierte digitale arbeider skal være at de er fritt og åpent
+for statlig finansierte digitale arbeider skal være at de er fritt og åpent
tilgjengelige for allmennheten som betalte for dem.
</p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figur 1.6. Hvordan markedet, staten og allemannseiet ser ut i dag.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/nb/fig-resource-view-today.svg" width="100%" alt="Hvordan markedet, staten og allemannseiet ser ut i dag."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>Den digitale revolusjonen</h2></div></div></div><p>
- I databehandlingens tidlige dager lærte programmerere og utviklere av
-hverandre ved å dele programvare. På 1980-tallet formulerte fri
+ I databehandlingens tidlige dager lærte programmerere og utviklere av
+hverandre ved å dele programvare. På 1980-tallet formulerte fri
programvare-bevegelsen denne delingspraksisen i et sett prinsipper og
friheter:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- Friheten til å kjøre programmet som du ønsker, uansett hensikt.
+ Friheten til å kjøre programmet som du ønsker, uansett hensikt.
</p></li><li class="listitem"><p>
- Friheten til å studere hvordan programmet virker (fordi en har tilgang og
-innsyn i kildekoden uten begrensninger), og endre det slik at det utfører
-dine beregninger slik du ønsker.
+ Friheten til å studere hvordan programmet virker (fordi en har tilgang og
+innsyn i kildekoden uten begrensninger), og endre det slik at det utfører
+dine beregninger slik du ønsker.
</p></li><li class="listitem"><p>
- Friheten til å videredistribuere kopier.
+ Friheten til å videredistribuere kopier.
</p></li><li class="listitem"><p>
- Friheten til å distribuere kopier av dine endrede versjoner til
+ Friheten til å distribuere kopier av dine endrede versjoner til
andre.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[17]</sup></a>
</p></li></ul></div><p>
- Disse prinsippene og frihetene utgjør et sett normer og regler som
+ Disse prinsippene og frihetene utgjør et sett normer og regler som
karakteriserer et digitalt felleseie.
</p><p>
- Sent på 90-tallet, for å gjøre deling av kildekode og samarbeid mer
-tiltrekkende for bedrifter, omformet åpen-kildekode-initiativet prinsippene
-til lisenser og standarder for å håndtere tilgang til og distribusjon av
-programvare. Fordelene med fri programvare - som pålitelighet, skalerbarhet
+ Sent på 90-tallet, for å gjøre deling av kildekode og samarbeid mer
+tiltrekkende for bedrifter, omformet åpen-kildekode-initiativet prinsippene
+til lisenser og standarder for å håndtere tilgang til og distribusjon av
+programvare. Fordelene med fri programvare - som pålitelighet, skalerbarhet
og kvalitet kontrollert med uavhengig fagfellevurdering, ble anerkjent og
-akseptert. Kundene likte måten fri programvare ga dem kontroll uten å bli
-låst inn i en lukket, proprietær teknologi. Fri programvare førte også til
-en nettverkseffekt der verdien av et produkt eller tjeneste økte med antall
-personer som brukte l
øsningen.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[18]</sup></a> Den
+akseptert. Kundene likte måten fri programvare ga dem kontroll uten å bli
+låst inn i en lukket, proprietær teknologi. Fri programvare førte også til
+en nettverkseffekt der verdien av et produkt eller tjeneste økte med antall
+personer som brukte l
øsningen.<a href="#ftn.idm291" class="footnote" name="idm291"><sup class="footnote">[18]</sup></a> Den
dramatiske veksten i selve Internettet skyldes mye det faktum at ingen har
-en proprietær lås på sentrale Internett-protokoller.
+en proprietær lås på sentrale Internett-protokoller.
</p><p>
Ved at fri programvare fungerer som et felleseie, dukket det opp mange
-bedrifter og markeder rundt det. Forretningsmodeller basert på lisenser og
+bedrifter og markeder rundt det. Forretningsmodeller basert på lisenser og
standarder for fri programvare utviklet seg sammen med organisasjoner som
-håndterte programvarekode basert på prinsipper om overflod i stedet for
-knapphet. Eric Raymonds essay <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span> analyserer
-på en utmerket måte økonomi- og forretningsmodellene forbundet med fri
+håndterte programvarekode basert på prinsipper om overflod i stedet for
+knapphet. Eric Raymonds essay <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span> analyserer
+på en utmerket måte økonomi- og forretningsmodellene forbundet med fri
programvare.<a href="#ftn.idm296" class="footnote" name="idm296"><sup class="footnote">[19]</sup></a> Disse modellene kan bidra
-med eksempler på bærekraftige tilnærminger for det som er gjort med Creative
+med eksempler på bærekraftige tilnærminger for det som er gjort med Creative
Commons.
</p><p>
Det handler ikke bare om en rikelig tilgjengelighet til digitale ressurser,
-men også om en overflod av deltakelse. Framveksten av personlige
+men også om en overflod av deltakelse. Framveksten av personlige
datamaskiner, informasjonsteknologi og Internett gjorde mulig
massedeltakelse i produksjon av kreative arbeider, og distribusjonen av
-dem. Bilder, bøker, musikk og mange andre typer digitalt innhold kan
-følgelig lett skapes og distribueres av nær sagt alle. Til tross for dette
+dem. Bilder, bøker, musikk og mange andre typer digitalt innhold kan
+følgelig lett skapes og distribueres av nær sagt alle. Til tross for dette
overflodspotensialet, er disse digitale verkene som utgangspunkt underlagt
-lovgivning om opphavsrett. Opphavsretten i lovlig forstand stipulerer at så
+lovgivning om opphavsrett. Opphavsretten i lovlig forstand stipulerer at så
snart et digitalt arbeid er skapt, tilfaller det kopirettshaverens eie
-alene, der andre ekskluderes fra å bruke det, uten tillatelse.
+alene, der andre ekskluderes fra å bruke det, uten tillatelse.
</p><p>
- Men folk liker å dele. Én av måtene vi definerer oss selv er ved å dele
-verdifullt og underholdende innhold. Dette nærer fremvekst av relasjoner, i
-søken etter meningers endring, oppmuntring til gjøren, etterlatende
-omverdenen informert om hvem vi er og hva vi bryr oss om. Deling medfører en
-opplevelse av
å være involvert i verden.<a href="#ftn.idm302" class="footnote" name="idm302"><sup class="footnote">[20]</sup></a>
+ Men folk liker å dele. Én av måtene vi definerer oss selv er ved å dele
+verdifullt og underholdende innhold. Dette nærer fremvekst av relasjoner, i
+søken etter meningers endring, oppmuntring til gjøren, etterlatende
+omverdenen informert om hvem vi er og hva vi bryr oss om. Deling medfører en
+opplevelse av
å være involvert i verden.<a href="#ftn.idm302" class="footnote" name="idm302"><sup class="footnote">[20]</sup></a>
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>Creative Commons blir til</h2></div></div></div><p>
- I 2001 ble Creative Commons opprettet som veldedig organisasjon til støtte
-for alle de som ønsket å dele digitalt innhold. En samling med Creative
+ I 2001 ble Creative Commons opprettet som veldedig organisasjon til støtte
+for alle de som ønsket å dele digitalt innhold. En samling med Creative
Commons-lisenser modellert etter de for fri programvare, men til bruk for
digitalt innhold i stedet for programkildekode. Lisensene gir alle, fra
individuelle skapere til store selskaper og institusjoner, en enkel
-standardisert måte å innvilge opphavsrettstillatelser til sitt skapende
+standardisert måte å innvilge opphavsrettstillatelser til sitt skapende
arbeid.
</p><p>
Creative Commons-lisenser har en tredelt utforming. Normer og regler for
-hver lisens uttrykkes først fullt ut i det juridiske språket brukt av
+hver lisens uttrykkes først fullt ut i det juridiske språket brukt av
advokater. Dette kalles den juridiske lisensteksten. Siden de fleste
-bidragsytere og brukere ikke er advokater, har lisensene også en folkelig
-del, som uttrykker tillatelsene på forståelig vis, som folk flest raskt kan
-lese og forstå. Det fungerer som et brukervennlig grensesnitt til den
-underliggende juridiske. Det tredje laget er den maskinlesbare, som gjør det
-enkelt for Internettet å vite om et arbeid har en Creative Commons-lisens
-ved å uttrykke tillatelser på en måte som programvaresystemer, søkemotorer
-og andre typer teknologi kan forst
å.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[21]</sup></a>
+bidragsytere og brukere ikke er advokater, har lisensene også en folkelig
+del, som uttrykker tillatelsene på forståelig vis, som folk flest raskt kan
+lese og forstå. Det fungerer som et brukervennlig grensesnitt til den
+underliggende juridiske. Det tredje laget er den maskinlesbare, som gjør det
+enkelt for Internettet å vite om et arbeid har en Creative Commons-lisens
+ved å uttrykke tillatelser på en måte som programvaresystemer, søkemotorer
+og andre typer teknologi kan forst
å.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[21]</sup></a>
Sett samlet sikrer disse tre delene at skaperne, brukere, og nettet selv
-forstår normer og regler for digitalt innhold i et allemannseie.
+forstår normer og regler for digitalt innhold i et allemannseie.
</p><p>
I 2015 fantes det over en milliard Creative Common-lisensierte verk
-globalt. Disse verkene ble sett på nettet 136 milliarder ganger. Folk bruker
-Creative Commons-lisenser over hele verden, på 34 språk. Disse ressursene
+globalt. Disse verkene ble sett på nettet 136 milliarder ganger. Folk bruker
+Creative Commons-lisenser over hele verden, på 34 språk. Disse ressursene
inkluderer bilder, illustrasjoner, forskningsartikler i tidsskrifter,
pedagogiske ressurser, musikk og andre lydspor, samt videoer.
</p><p>
Individuelle kunstnere, fotografer, musikere og filmskapere bruker Creative
-Commons, men det gjør også museer, regjeringer, kreative næringer,
+Commons, men det gjør også museer, regjeringer, kreative næringer,
produsenter og forleggere. Millioner av nettsteder bruker CC-lisenser,
inkludert store plattformer som Wikipedia og Flickr, og mindre slik som
enkeltblogger.<a href="#ftn.idm315" class="footnote" name="idm315"><sup class="footnote">[22]</sup></a> Brukerne av Creative
-Commons er svært forskjellige, og finnes i mange ulike sektorer. (Våre
-referansestudier ble valgt for å reflektere dette mangfoldet.)
+Commons er svært forskjellige, og finnes i mange ulike sektorer. (Våre
+referansestudier ble valgt for å reflektere dette mangfoldet.)
</p><p>
- Noen ser Creative Commons som en måte å dele en gave med andre, en måte for
-å bli kjent, eller en måte å gi eller dra en sosial fordel på eller
-av. Andre ser det som viktig å følge normene knyttet til et
+ Noen ser Creative Commons som en måte å dele en gave med andre, en måte for
+å bli kjent, eller en måte å gi eller dra en sosial fordel på eller
+av. Andre ser det som viktig å følge normene knyttet til et
allemannseie. For noen er deltakelsen ansporet av fri kultur-bevegelsen, en
-sosial bevegelse som fremmer friheten til å distribuere og endre kreative
+sosial bevegelse som fremmer friheten til å distribuere og endre kreative
verk. Fri kultur-bevegelsen ser at allemannseie gir viktige fordeler
sammenlignet med restriktive lover om opphavsrett. Denne innstillingen om
-bytting uten begrensninger i et allemannseie gjør fri kultur-bevegelsen og
-fri programvare-bevegelsen godt samkjørt.
+bytting uten begrensninger i et allemannseie gjør fri kultur-bevegelsen og
+fri programvare-bevegelsen godt samkjørt.
</p><p>
- Creative Commons har over tid vært opphavet til en hel rekke med bevegelser
-for åpent innhold, inkludert åpne pedagogiske ressurser, åpen tilgang, åpen
-vitenskap og åpne data. Målet har i alle tilfeller vært å demokratisere
+ Creative Commons har over tid vært opphavet til en hel rekke med bevegelser
+for åpent innhold, inkludert åpne pedagogiske ressurser, åpen tilgang, åpen
+vitenskap og åpne data. Målet har i alle tilfeller vært å demokratisere
deltakelse, og dele digitale ressurser kostnadsfritt, med juridiske
-tillatelser for alle til fritt å ha tilgang til, bruke, og endre.
+tillatelser for alle til fritt å ha tilgang til, bruke, og endre.
</p><p>
- Staten er i økende grad involvert i å støtte åpne bevegelser. The Open
-Government Partnership ble lansert i 2011 for å gi myndighetene en
-internasjonal plattform til å bli mer åpne, ansvarlige og mottakelige
-ovenfor sine innbyggere. Siden da har det vokst fra åtte deltakerland til
+ Staten er i økende grad involvert i å støtte åpne bevegelser. The Open
+Government Partnership ble lansert i 2011 for å gi myndighetene en
+internasjonal plattform til å bli mer åpne, ansvarlige og mottakelige
+ovenfor sine innbyggere. Siden da har det vokst fra åtte deltakerland til
sytti.<a href="#ftn.idm321" class="footnote" name="idm321"><sup class="footnote">[23]</sup></a> I alle disse landene arbeider
-myndighetene og det sivile samfunn sammen om å utvikle og implementere
-ambisiøse reformer for en mer åpen offentlig sektor. Myndigheter bruker i
-økende grad Creative Commons for å sikre at verk finansiert av
-skattebetalerne er åpent tilgjengelig uten begrensninger for folket som
+myndighetene og det sivile samfunn sammen om å utvikle og implementere
+ambisiøse reformer for en mer åpen offentlig sektor. Myndigheter bruker i
+økende grad Creative Commons for å sikre at verk finansiert av
+skattebetalerne er åpent tilgjengelig uten begrensninger for folket som
betalte for dem.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>Markedet i forandring</h2></div></div></div><p>
Dagens marked er i stor grad drevet av global kapitalisme. Lov og
-finanssystemer er strukturert til støtte i inntjening, privatisering og
+finanssystemer er strukturert til støtte i inntjening, privatisering og
bedrifters vekst. En oppfatning om at markedet er mer effektivt enn det
-offentlige, har ført til en kontinuerlig privatisering av mange offentlige
-ressurser, hjelpemidler, tjenester og infrastruktur.<a href="#ftn.idm328" class="footnote" name="idm328"><sup class="footnote">[24]</sup></a> Mens dette systemet har vært svært effektivt til
+offentlige, har ført til en kontinuerlig privatisering av mange offentlige
+ressurser, hjelpemidler, tjenester og infrastruktur.<a href="#ftn.idm328" class="footnote" name="idm328"><sup class="footnote">[24]</sup></a> Mens dette systemet har vært svært effektivt til
generering av forbruk og vekst i bruttonasjonalproduktet, har innvirkningen
-på menneskets trivsel vært blandet. Motstykket til økende levestandard og
-forbedringer i helse og utdanning er stadig økende ulikheter i rikdom,
-sosial ulikhet, fattigdom, forverring av vårt naturlige miljø, og
+på menneskets trivsel vært blandet. Motstykket til økende levestandard og
+forbedringer i helse og utdanning er stadig økende ulikheter i rikdom,
+sosial ulikhet, fattigdom, forverring av vårt naturlige miljø, og
demokratiske sammenbrudd.<a href="#ftn.idm330" class="footnote" name="idm330"><sup class="footnote">[25]</sup></a>
</p><p>
I lys av disse utfordringene er det en voksende anerkjennelse av at
-BNP-vekst ikke bør være et mål i seg selv, at utvikling trenger å være
-sosialt og økonomisk inkluderende, at miljømessig bærekraft er en
-forutsetning og ikke et alternativ, og at vi trenger å balansere marked,
+BNP-vekst ikke bør være et mål i seg selv, at utvikling trenger å være
+sosialt og økonomisk inkluderende, at miljømessig bærekraft er en
+forutsetning og ikke et alternativ, og at vi trenger å balansere marked,
stat og samfunn bedre.<a href="#ftn.idm333" class="footnote" name="idm333"><sup class="footnote">[26]</sup></a>
</p><p>
- Disse erkjennelser har ført til fornyet interesse i allemannseiets
-muliggjøring av en slik balanse. Byregjeringer, som italienske Bologna,
+ Disse erkjennelser har ført til fornyet interesse i allemannseiets
+muliggjøring av en slik balanse. Byregjeringer, som italienske Bologna,
samarbeider med sine innbyggere om forskrift for omsorg og modernisering av
-allmenninger i byomr
åder.<a href="#ftn.idm338" class="footnote" name="idm338"><sup class="footnote">[27]</sup></a> Seoul og
-Amsterdam kaller seg <span class="quote">«<span class="quote">delingsbyer</span>»</span>, når de søker å få til
-bærekraftig og mer effektiv bruk av knappe ressurser. De ser deling som en
-måte å forbedre bruken av det offentlige rom, mobilitet, sosialt samhold og
+allmenninger i byomr
åder.<a href="#ftn.idm338" class="footnote" name="idm338"><sup class="footnote">[27]</sup></a> Seoul og
+Amsterdam kaller seg <span class="quote">«<span class="quote">delingsbyer</span>»</span>, når de søker å få til
+bærekraftig og mer effektiv bruk av knappe ressurser. De ser deling som en
+måte å forbedre bruken av det offentlige rom, mobilitet, sosialt samhold og
sikkerhet.<a href="#ftn.idm342" class="footnote" name="idm342"><sup class="footnote">[28]</sup></a>
</p><p>
- Markedet selv har vært interessert i delingsøkonomi, der bedrifter som
+ Markedet selv har vært interessert i delingsøkonomi, der bedrifter som
Airbnb har bygget en markedsplass for direktekontakt mellom utleier og
leietaker for kortvarig overnatting, og Uber, en plattform for deling av
bilturer. Airbnb og Uber opererer imidlertid fortsatt i stor grad innenfor
-vanlige normer og regler i et marked, noe som gjør dem mindre felleseier, og
-er mer å forstå som tradisjonell virksomhet på jakt etter inntjening. Mye av
-delingsøkonomien handler ikke om allemannseier, eller det å bygge et
-alternativ til bedriftsdrevet markedsøkonomi: Det handler om å utvide det
-deregulerte frie markedet til nye områder i livene våre.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[29]</sup></a> Mens ingen av de vi intervjuet for våre
-referansestudier ville beskrive seg selv som en del av delingsøkonomien, er
-det faktisk noen viktige paralleller. Både delingsøkonomi og allemannseie
-gjør bedre bruk av eiendelens kapasitet. Delingsøkonomien ser private
+vanlige normer og regler i et marked, noe som gjør dem mindre felleseier, og
+er mer å forstå som tradisjonell virksomhet på jakt etter inntjening. Mye av
+delingsøkonomien handler ikke om allemannseier, eller det å bygge et
+alternativ til bedriftsdrevet markedsøkonomi: Det handler om å utvide det
+deregulerte frie markedet til nye områder i livene våre.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[29]</sup></a> Mens ingen av de vi intervjuet for våre
+referansestudier ville beskrive seg selv som en del av delingsøkonomien, er
+det faktisk noen viktige paralleller. Både delingsøkonomi og allemannseie
+gjør bedre bruk av eiendelens kapasitet. Delingsøkonomien ser private
boliger og biler som potensielt ledig kapasitet med utleieverdi. Den
-rettferdige tilgangen til felleseier gjør at et større antall og en større
+rettferdige tilgangen til felleseier gjør at et større antall og en større
variasjon av personer kan bruke og hente ut verdier fra en eiendel.
</p><p>
- Én måte referansestudiene i <span class="quote">«<span class="quote">Gjort med Creative Commons</span>»</span>
-skiller seg fra delingsøkonomien, er fokuset på digitale ressurser. Digitale
-ressurser er underlagt andre økonomiske regler enn de fysiske. I en verden
-hvor prisene alltid synes å gå opp, er informasjonsteknologi et
-avvik. Datakraft, lagringsplass og båndbredde er alle raskt økende, men i
-stedet for at kostnadene går opp, går kostnadene ned. Digital teknologi blir
-raskere, bedre og billigere. Kostnaden for noe som bygger på disse
-teknologiene vil alltid reduseres inntil de n
ærmer seg null.<a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[30]</sup></a>
+ Ã\89n mÃ¥te referansestudiene i <span class="quote">«<span class="quote">Gjort med Creative Commons</span>»</span>
+skiller seg fra delingsøkonomien, er fokuset på digitale ressurser. Digitale
+ressurser er underlagt andre økonomiske regler enn de fysiske. I en verden
+hvor prisene alltid synes å gå opp, er informasjonsteknologi et
+avvik. Datakraft, lagringsplass og båndbredde er alle raskt økende, men i
+stedet for at kostnadene går opp, går kostnadene ned. Digital teknologi blir
+raskere, bedre og billigere. Kostnaden for noe som bygger på disse
+teknologiene vil alltid reduseres inntil de n
ærmer seg null.<a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[30]</sup></a>
</p><p>
- De som gjør ting med Creative Commons søker å utnytte digitale ressursers
-unike iboende egenskaper, inkludert det å senke kostnadene. Bruken av
-digitale restriksjonsmekanisme-teknologier i form av låser, passord og
-kontroller for å hindre at digitale produkter blir tilgjengelige, endret,
+ De som gjør ting med Creative Commons søker å utnytte digitale ressursers
+unike iboende egenskaper, inkludert det å senke kostnadene. Bruken av
+digitale restriksjonsmekanisme-teknologier i form av låser, passord og
+kontroller for å hindre at digitale produkter blir tilgjengelige, endret,
kopiert og distribuert, er minimal eller ikke-eksisterende. I stedet brukes
-Creative Commons-lisenser til å legge digitalt innhold ut i et felleseie
-mens en benytter seg av fordelene til den unike økonomien knyttet til det å
-være digitalt. Målet er å oppnå at digitale ressurser brukes i størst mulig
-utstrekning. Maksimert tilgang og deltakelse er et felles mål. Målet deres
+Creative Commons-lisenser til å legge digitalt innhold ut i et felleseie
+mens en benytter seg av fordelene til den unike økonomien knyttet til det å
+være digitalt. Målet er å oppnå at digitale ressurser brukes i størst mulig
+utstrekning. Maksimert tilgang og deltakelse er et felles mål. Målet deres
er overflod fremfor knapphet.
</p><p>
Den inkrementelle kostnaden ved lagring, kopiering og distribusjon av
-digitale produkter er nesten null, og gjør overflod mulig. Å forestille seg
-et marked mer basert på overflod enn knapphet, er i økonomisk teori og
+digitale produkter er nesten null, og gjør overflod mulig. Å forestille seg
+et marked mer basert på overflod enn knapphet, er i økonomisk teori og
praksis fremmed.<a href="#ftn.idm355" class="footnote" name="idm355"><sup class="footnote">[31]</sup></a> Det som er gjort med
Creative Commons er banebrytende i dette nye landskapet, og former sine egne
-økonomiske modeller og praksiser.
+økonomiske modeller og praksiser.
</p><p>
- Noen ønsker å minimere sin samhandling med markedet og operere så
+ Noen ønsker å minimere sin samhandling med markedet og operere så
selvstendig som mulig. Andre opererer hovedsakelig som en virksomhet
-innenfor eksisterende regler og normer for markedet. Og andre igjen, søker
-muligheten til å endre de normer og regler markedet fungerer etter.
+innenfor eksisterende regler og normer for markedet. Og andre igjen, søker
+muligheten til å endre de normer og regler markedet fungerer etter.
</p><p>
- For et vanlig aksjeselskap er det vanskelig å fremme sosiale fordeler som
-del av sin virksomhet, siden det er lovpålagt å ta avgjørelser til økonomisk
-fordel for ens aksjonærer. Nye selskapsformer vokser frem. Det er veldedige
-sammenslutninger og sosiale foretak som utvider sine forretningsmål fra
-fortjeneste til å ha en positiv virkning på samfunnet, arbeidere,
-lokalsamfunnet og milj
øet.<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[32]</sup></a>
+ For et vanlig aksjeselskap er det vanskelig å fremme sosiale fordeler som
+del av sin virksomhet, siden det er lovpålagt å ta avgjørelser til økonomisk
+fordel for ens aksjonærer. Nye selskapsformer vokser frem. Det er veldedige
+sammenslutninger og sosiale foretak som utvider sine forretningsmål fra
+fortjeneste til å ha en positiv virkning på samfunnet, arbeidere,
+lokalsamfunnet og milj
øet.<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[32]</sup></a>
Fellesskapseide og arbeidstakereide bedrifter, kooperativer, laug og andre
organisasjonsformer er alternativer til tradisjonelle bedrifter. Samlet
-endrer disse alternative markedsaktørene markedets regler og
+endrer disse alternative markedsaktørene markedets regler og
normer.<a href="#ftn.idm361" class="footnote" name="idm361"><sup class="footnote">[33]</sup></a>
- </p><p><span class="quote">«<span class="quote">En bok om åpne forretningsmodeller</span>»</span> var beskrivelsen av boken
-i kronerullingskampanjen dens. Vi brukte en håndbok kalt <span class="quote">«<span class="quote">Business
-Model Generation</span>»</span> som kilde til å definere hva en forretningsmodell
-er. Utviklet over ni år med en <span class="quote">«<span class="quote">åpen prosess</span>»</span> med 470
+ </p><p><span class="quote">«<span class="quote">En bok om åpne forretningsmodeller</span>»</span> var beskrivelsen av boken
+i kronerullingskampanjen dens. Vi brukte en håndbok kalt <span class="quote">«<span class="quote">Business
+Model Generation</span>»</span> som kilde til å definere hva en forretningsmodell
+er. Utviklet over ni år med en <span class="quote">«<span class="quote">åpen prosess</span>»</span> med 470
medforfattere fra 45 land, er den nyttig som rammeverk i sin omtale av
forretningsmodeller.<a href="#ftn.idm367" class="footnote" name="idm367"><sup class="footnote">[34]</sup></a>
</p><p>
- Den inneholder et <span class="quote">«<span class="quote">forretningsmodellrammeverk</span>»</span>, som tar
-utgangspunkt i at en forretningsmodell består av ni
+ Den inneholder et <span class="quote">«<span class="quote">forretningsmodellrammeverk</span>»</span>, som tar
+utgangspunkt i at en forretningsmodell består av ni
byggesteiner.<a href="#ftn.idm372" class="footnote" name="idm372"><sup class="footnote">[35]</sup></a> Dette rammeverket kan
-tjene som et verktøy for alle som vil lage sin egen forretningsmodell. Vi
-remikset det til et rammeverk for en åpen virksomhetsmodell, og la til tre
+tjene som et verktøy for alle som vil lage sin egen forretningsmodell. Vi
+remikset det til et rammeverk for en åpen virksomhetsmodell, og la til tre
byggeklosser til, som alle passer for fellesskapsbedrifter i et
-hybridmarked: Sosial nytte, Creative Commons-lisens, og <span class="quote">«<span class="quote">type åpent
-milj
ø virksomheten passer i</span>»</span>.<a href="#ftn.idm376" class="footnote" name="idm376"><sup class="footnote">[36]</sup></a>
+hybridmarked: Sosial nytte, Creative Commons-lisens, og <span class="quote">«<span class="quote">type åpent
+milj
ø virksomheten passer i</span>»</span>.<a href="#ftn.idm376" class="footnote" name="idm376"><sup class="footnote">[36]</sup></a>
Dette forbedrede rammeverket viste seg nyttig i analysen av bedrifter, og
-hjalp gründere å planlegge sin økonomiske modell.
+hjalp gründere å planlegge sin økonomiske modell.
</p><p>
- I løpet av intervjuene til våre referansestudier, uttrykte mange ubehag over
-å bruke begrepet åpen forretningsmodell om seg selv – begrepet
-forretningsmodell foreslår at en primært er plassert i et marked. Hvor du
-plasserer deg i spekteret, fra felleseie – til marked, påvirker i hvor stor
+ I løpet av intervjuene til våre referansestudier, uttrykte mange ubehag over
+å bruke begrepet åpen forretningsmodell om seg selv – begrepet
+forretningsmodell foreslår at en primært er plassert i et marked. Hvor du
+plasserer deg i spekteret, fra felleseie – til marked, påvirker i hvor stor
grad du ser deg selv som markedsbedrift. Jo mer sentralt delte ressurs- og
allemannseieverdier er for det du driver med, jo mindre komfortabelt er det
-å beskrive seg, eller vise til hva du gjør, som en forretning. Ikke alle som
-gjør ting med Creative Commons bruker forretningsspråk; for noen har
-prosessen heller vært eksperimentell, vokst frem mer organisk enn nøye
-planlagt ved hjelp av forhåndsdefinert modell.
+å beskrive seg, eller vise til hva du gjør, som en forretning. Ikke alle som
+gjør ting med Creative Commons bruker forretningsspråk; for noen har
+prosessen heller vært eksperimentell, vokst frem mer organisk enn nøye
+planlagt ved hjelp av forhåndsdefinert modell.
</p><p>
Skaperne, bedriftene og organisasjonene vi profilerer er alle engasjerte i
-markedet for å skape omsetning på en eller annen måte. Hvordan dette gjøres
-på varierer mye. Donasjoner, betal det du kan, medlemskap, <span class="quote">«<span class="quote">Gratis
-digitalt, men fysisk for betaling</span>»</span>, folkefinansiering, koble folk
-sammen, verdiøkende tjenester, beskyttere ... listen fortsetter og
-fortsetter. (Første beskrivelse av hvordan skaffe inntekt fremgår av
-referansemerknad. For de siste tankene rundt dette, se <span class="quote">«<span class="quote">Hvordan
-bringe inn penger</span>»</span> i neste del.)<a href="#ftn.idm386" class="footnote" name="idm386"><sup class="footnote">[37]</sup></a>
-Det er ingen enkel, magisk formel, og hver bestrebelse har utviklet måter
-som passer for dem. De fleste gjør bruk av mer enn én metode. Å ha mange
-inntektsstrømmer reduserer risikoen, og gir flere måter å bli bærekraftig
-på.
+markedet for å skape omsetning på en eller annen måte. Hvordan dette gjøres
+på varierer mye. Donasjoner, betal det du kan, medlemskap, <span class="quote">«<span class="quote">Gratis
+digitalt, men fysisk for betaling</span>»</span>, folkefinansiering, koble folk
+sammen, verdiøkende tjenester, beskyttere ... listen fortsetter og
+fortsetter. (Første beskrivelse av hvordan skaffe inntekt fremgår av
+referansemerknad. For de siste tankene rundt dette, se <span class="quote">«<span class="quote">Hvordan
+bringe inn penger</span>
»</span> i neste del.)<a href="#ftn.idm386" class="footnote" name="idm386"><sup class="footnote">[37]</sup></a>
+Det er ingen enkel, magisk formel, og hver bestrebelse har utviklet måter
+som passer for dem. De fleste gjør bruk av mer enn én metode. Å ha mange
+inntektsstrømmer reduserer risikoen, og gir flere måter å bli bærekraftig
+på.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Fordelene med en digital allmenning</h2></div></div></div><p>
- Mens det kan være klart hvorfor allemannseiebaserte organisasjoner ønsker å
-samhandle og engasjere seg med markedet (fordi de trenger penger for å
-overleve), kan det være mindre opplagt hvorfor markedet vil engasjere seg i
+ Mens det kan være klart hvorfor allemannseiebaserte organisasjoner ønsker å
+samhandle og engasjere seg med markedet (fordi de trenger penger for å
+overleve), kan det være mindre opplagt hvorfor markedet vil engasjere seg i
allemannseier. Den digitale allmenningen gir mange fordeler.
</p><p>
- Allemannseiet setter fart på formidlingen. Fri flyt av ressurser i
+ Allemannseiet setter fart på formidlingen. Fri flyt av ressurser i
allemannseier tilbyr enorme stordriftsfordeler. Distribusjon er
-desentralisert, når alle de i allemannseiet har myndighet til å dele
+desentralisert, når alle de i allemannseiet har myndighet til å dele
ressursene de har tilgang til. Det som er gjort med Creative Commons har
-redusert behov for salg eller markedsføring. Desentralisert distribusjon
+redusert behov for salg eller markedsføring. Desentralisert distribusjon
forsterker leveranse og ekspertise.
</p><p>
- Allemannseiet sikrer alle tilgang. Markedets tradisjon har vært å låse inn
-ressurser bak betalingsmurer med betaling før tilgang. Allemannseie åpner
+ Allemannseiet sikrer alle tilgang. Markedets tradisjon har vært å låse inn
+ressurser bak betalingsmurer med betaling før tilgang. Allemannseie åpner
ressurstilgangen, umiddelbar tilgang uten betaling. Det som er gjort med
Creative Commons bruker sjelden eller aldri digitale restriksjonsmekanismer
-(DRM – digital rights management) til ressursstyring. Ved ikke å bruke DRM
-frigjøres kostnadene ved å anskaffe DRM-teknologi og personellressursene som
-trengs for å utnytte straffepraksisen koblet til å begrense tilgang. Måten
-allemannseiet gir tilgang til alle, gir samme vilkår for alle og fremmer
+(DRM – digital rights management) til ressursstyring. Ved ikke å bruke DRM
+frigjøres kostnadene ved å anskaffe DRM-teknologi og personellressursene som
+trengs for å utnytte straffepraksisen koblet til å begrense tilgang. Måten
+allemannseiet gir tilgang til alle, gir samme vilkår for alle og fremmer
inkludering, rettferdighet og redelighet.
</p><p>
Felleseie gir maksimal deltagelse. Ressurser i felleseie kan brukes, og er
-åpne for medvirkning av og med alle. Å bruke andres ressurser, bidra med
-eget, og blande med andres for å skape nye arbeider, er alle dynamiske
-former for deltakelse muliggjort av allmenningen. Å gjøre ting med Creative
-Commons betyr å engasjere så mange brukere som mulig med ressursene du har
+åpne for medvirkning av og med alle. Å bruke andres ressurser, bidra med
+eget, og blande med andres for å skape nye arbeider, er alle dynamiske
+former for deltakelse muliggjort av allmenningen. Å gjøre ting med Creative
+Commons betyr å engasjere så mange brukere som mulig med ressursene du har
tilgjengelig. Brukerne godkjenner, redigerer, remikser, retter, tilpasser
-til lokale forhold, oversetter og distribuerer. Felleseie gjør det mulig for
-folk å delta direkte i kulturer, kunnskapsbygging, til og med demokrati, og
+til lokale forhold, oversetter og distribuerer. Felleseie gjør det mulig for
+folk å delta direkte i kulturer, kunnskapsbygging, til og med demokrati, og
mange andre former for samfunnsnyttig praksis.
</p><p>
- Allemannseiet fremmer nyskapning. Ressurser som når frem til flere, som
-evner å utnytte dem, bidrar i sin tur til nye idéer. Måten allemannseide
+ Allemannseiet fremmer nyskapning. Ressurser som når frem til flere, som
+evner å utnytte dem, bidrar i sin tur til nye idéer. Måten allemannseide
ressurser kan bli endret, tilpasset og forbedret, resulterer i avledede verk
som opphavsmannen aldri hadde forestilt seg. Noen bestrebelser gjort med
Creative Commons oppfordrer bevisst brukere til skape nye ting med
-ressursene som deles. Dermed flyttes forskning og utvikling fra å
-utelukkende være internt i en organisasjon og ut til
+ressursene som deles. Dermed flyttes forskning og utvikling fra å
+utelukkende være internt i en organisasjon og ut til
fellesskapet.<a href="#ftn.idm397" class="footnote" name="idm397"><sup class="footnote">[38]</sup></a> Fellesskapsbasert
-nyskapning bidrar til å skjerpe en organisasjon eller virksomhet. Den må
-fortsette å bidra med nye idéer, absorbere og bygge videre på andres
+nyskapning bidrar til å skjerpe en organisasjon eller virksomhet. Den må
+fortsette å bidra med nye idéer, absorbere og bygge videre på andres
innovasjoner, forvalte ressursene og forholdet til fellesskapet.
</p><p>
- Allemannseie øker rekkevidde og slagkraft. Den digitale allmenningen er
-verdensomspennende. Ressurser kan lages for å fylle lokale eller regionale
+ Allemannseie øker rekkevidde og slagkraft. Den digitale allmenningen er
+verdensomspennende. Ressurser kan lages for å fylle lokale eller regionale
behov, men favne vidt og bredt, og generere en global effekt. I den digitale
-verden er det ingen grenser landene imellom. Nå du har gjort ting med
-Creative Commons, er du ofte både lokal og global: Digital design
-distribuert globalt, men laget og produsert lokalt. Digitale bøker eller
-musikk distribuert globalt, men opplest og fremført lokalt. Digitale
-felleseier øker virkningen ved å koble bidragsyterne allesteds hen, til dem
-som bruker og bygger videre på deres arbeide.
+verden er det ingen grenser landene imellom. Nå du har gjort ting med
+Creative Commons, er du ofte både lokal og global: Digital design
+distribuert globalt, men laget og produsert lokalt. Digitale bøker eller
+musikk distribuert globalt, men opplest og fremført lokalt. Digitale
+felleseier øker virkningen ved å koble bidragsyterne allesteds hen, til dem
+som bruker og bygger videre på deres arbeide.
</p><p>
- Allemannseie er generativt. I stedet for å hente ut verdi, tilfører
+ Allemannseie er generativt. I stedet for å hente ut verdi, tilfører
allemannseie verdi. Digitaliserte ressurser blir ikke oppbrukt, men er der
-fortsatt – og blir forbedret, gjort personlig og tilpasset lokale forhold
-ved bruk. Hver type bruk tilfører verdi. Markedet har fokus på å generere
+fortsatt – og blir forbedret, gjort personlig og tilpasset lokale forhold
+ved bruk. Hver type bruk tilfører verdi. Markedet har fokus på å generere
verdi for virksomheten og kunden. Allemannseie genererer verdi for et
bredere spekter av mottakere inkludert virksomheten, forbrukeren,
-innholdsleverandøren, publikum og allemannseiet selv. Allemannseiets
-generative natur betyr at det er mer kostnadseffektivt, og gir en høyere
-avkastning på investeringen. Verdi er ikke bare målt finansielt. Hver ny
+innholdsleverandøren, publikum og allemannseiet selv. Allemannseiets
+generative natur betyr at det er mer kostnadseffektivt, og gir en høyere
+avkastning på investeringen. Verdi er ikke bare målt finansielt. Hver ny
ressurs som legges til allmenningen gir verdi til publikum, og bidrar til
den samlede verdien av allemannseiet.
</p><p>
- Allemannseier fører folk sammen for en felles sak. Allmannseier binder folk
-sammen om ansvaret for å administrere ressursene som et felles
+ Allemannseier fører folk sammen for en felles sak. Allmannseier binder folk
+sammen om ansvaret for å administrere ressursene som et felles
gode. Kostnader og fordeler for den enkelte balanseres med kostnader og
fordeler for samfunnet og for fremtidige generasjoner. Ressursene er ikke
anonyme eller masseproduserte. Opprinnelse er kjent og anerkjent gjennom
henvisninger og andre virkemidler. De som har gjort ting med Creative
-Commons genererer oppmerksomhet og omdømme basert på deres bidrag til
-fellesskapet. Innflytelsen og bærekraften til disse bidragene hviler i stor
-grad på deres evne til å etablere relasjoner og forbindelser med dem som
-bruker og forbedrer dem. Allemannseie forener folk ved å virke ut fra sitt
+Commons genererer oppmerksomhet og omdømme basert på deres bidrag til
+fellesskapet. Innflytelsen og bærekraften til disse bidragene hviler i stor
+grad på deres evne til å etablere relasjoner og forbindelser med dem som
+bruker og forbedrer dem. Allemannseie forener folk ved å virke ut fra sitt
sosiale engasjement, ikke ved utveksling av penger.
</p><p>
- Allmenningsfordelene er mange. Når disse knyttes sammen med enkeltpersoners
-mål, samfunn, bedrifter i markedet, eller statlige virksomheter, burde det å
-administrere ressurser som i felleseie være det klare alternativet.
- </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>V
åre referansestudier</h2></div></div></div><p>
- I våre referanseløsninger opererer innholdsleverandører, organisasjoner og
-bedrifter både som ideelle eller inntektsgivende organisasjoner, og som
+ Allmenningsfordelene er mange. Når disse knyttes sammen med enkeltpersoners
+mål, samfunn, bedrifter i markedet, eller statlige virksomheter, burde det å
+administrere ressurser som i felleseie være det klare alternativet.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>V
åre referansestudier</h2></div></div></div><p>
+ I våre referanseløsninger opererer innholdsleverandører, organisasjoner og
+bedrifter både som ideelle eller inntektsgivende organisasjoner, og som
sosiale foretak. Uansett rettslig status har de alle sosiale oppdrag. Deres
-viktigste grunn til å være til, er å gjøre verden til et bedre sted, ikke
-for fortjenesten. Penger er et middel til å nå sosiale mål, og er ikke selv
-sluttmålet. De produserer en offentlig interesse for beslutninger, atferd og
-praksis. Transparens (åpenhet) og tillit er svært viktig. Virkning og
-suksess måles mot sosiale mål uttrykt i idégrunnlaget, og gjelder ikke bare
+viktigste grunn til å være til, er å gjøre verden til et bedre sted, ikke
+for fortjenesten. Penger er et middel til å nå sosiale mål, og er ikke selv
+sluttmålet. De produserer en offentlig interesse for beslutninger, atferd og
+praksis. Transparens (åpenhet) og tillit er svært viktig. Virkning og
+suksess måles mot sosiale mål uttrykt i idégrunnlaget, og gjelder ikke bare
den finansielle bunnlinjen.
</p><p>
- Referansestudiene er basert på fortellingene vi ble fortalt av grunnleggere
-og nøkkelpersoner. I stedet for utelukkende å ha økonomi som mål på suksess
-og bærekraft, understreket de sin oppgave, praksis og metodene som de måler
-suksess etter. Beregninger av suksess er en blanding av hvordan sosiale mål
-er nådd, og hvor bærekraftig organisasjonen er.
+ Referansestudiene er basert på fortellingene vi ble fortalt av grunnleggere
+og nøkkelpersoner. I stedet for utelukkende å ha økonomi som mål på suksess
+og bærekraft, understreket de sin oppgave, praksis og metodene som de måler
+suksess etter. Beregninger av suksess er en blanding av hvordan sosiale mål
+er nådd, og hvor bærekraftig organisasjonen er.
</p><p>
- Våre referansestudier er mangfoldige, og spenner fra publisering – til
+ Våre referansestudier er mangfoldige, og spenner fra publisering – til
utdanning og produksjon. Alle organisasjoner, bedrifter, og
-innholdsleverandører i studiene produserer digitale ressurser. Disse
-ressursene finnes i mange former, inkludert bøker, design, sanger,
+innholdsleverandører i studiene produserer digitale ressurser. Disse
+ressursene finnes i mange former, inkludert bøker, design, sanger,
forskning, data, kulturelle uttrykk, undervisningsmateriell, grafiske ikoner
og video. Noen er digitale representasjoner av fysiske ressurser. Andre er
-opprinnelig digitale, men kan gjøres til fysiske ressurser.
+opprinnelig digitale, men kan gjøres til fysiske ressurser.
</p><p>
De skaper nye ressurser, eller bruker andres ressurser, eller kombinerer
-eksisterende ressurser for å lage noe nytt. De, og deres publikum, har alle
-en direkte, deltakende rolle i å håndtere disse ressursene, inkludert å ta
-vare på, bevare, distribuere og forbedre. Tilgang og deltakelse er åpen for
-alle uavhengig av økonomiske midler.
+eksisterende ressurser for å lage noe nytt. De, og deres publikum, har alle
+en direkte, deltakende rolle i å håndtere disse ressursene, inkludert å ta
+vare på, bevare, distribuere og forbedre. Tilgang og deltakelse er åpen for
+alle uavhengig av økonomiske midler.
</p><p>
Som brukere av Creative Commons-lisenser, er de automatisk en del av et
-globalt samfunn. De nye digitale allmenneiene er globale. De vi har løftet
-frem, kommer fra nesten alle verdens kontinenter. Å bygge og samhandle i
+globalt samfunn. De nye digitale allmenneiene er globale. De vi har løftet
+frem, kommer fra nesten alle verdens kontinenter. Å bygge og samhandle i
dette globale samfunnet leder til suksess.
</p><p>
Creative Commons-lisenser kan uttrykke juridiske regler rundt bruken av
-ressurser i en allmenning, men suksess i felleseier krever mer enn å følge
-lovens bokstav og skaffe økonomiske midler. Igjen og igjen hørte vi i våre
-intervjuer hvordan suksess og bærekraft er knyttet til et sett av tro,
+ressurser i en allmenning, men suksess i felleseier krever mer enn å følge
+lovens bokstav og skaffe økonomiske midler. Igjen og igjen hørte vi i våre
+intervjuer hvordan suksess og bærekraft er knyttet til et sett av tro,
verdier og prinsipper som ligger til grunn for deres handlinger: Gi mer enn
-du tar. Være åpen og inkluderende. Legge til verdi. Gjør synlig hva du
+du tar. Være åpen og inkluderende. Legge til verdi. Gjør synlig hva du
bruker fra felleseier, og hva du legger til, og hva som er
-økonomisk. Maksimere overfloden. Henvis. Vis takknemlighet. Utvikle tillit;
-ikke utnytt. Bygg relasjoner og samfunn. Være transparent (åpen). Forsvar
+økonomisk. Maksimere overfloden. Henvis. Vis takknemlighet. Utvikle tillit;
+ikke utnytt. Bygg relasjoner og samfunn. Være transparent (åpen). Forsvar
allmenneier.
</p><p>
- Nye digitale felleseier er her for å bli. Referansestudiene i Gjort med
-Creative Commons viser hvordan det er mulig å være del av dette felleseiet
+ Nye digitale felleseier er her for å bli. Referansestudiene i Gjort med
+Creative Commons viser hvordan det er mulig å være del av dette felleseiet
mens en fortsatt er i markedet og i statlige systemer. Allmenneie genererer
-fordeler verken markedet eller staten kan oppnå på egen hånd. Heller enn at
-markedet eller staten dominerer som primærinstans for ressursforvaltning, så
+fordeler verken markedet eller staten kan oppnå på egen hånd. Heller enn at
+markedet eller staten dominerer som primærinstans for ressursforvaltning, så
er et mer balansert alternativ mulig.
</p><p>
- Bedriftenes bruk av Creative Commons har bare såvidt begynt. Case-studiene i
+ Bedriftenes bruk av Creative Commons har bare såvidt begynt. Case-studiene i
denne boken er bare startpunktet. De er i endring, og utvikles over
-tid. Mange kommer med, og finner nye modeller. Denne oversikten har som mål
-å gi rammeverk og språk for å tenke og snakke om nye digitale felleseier. De
-påfølgende kapitlene går dypere inn, og gir ytterligere veiledning og
+tid. Mange kommer med, og finner nye modeller. Denne oversikten har som mål
+å gi rammeverk og språk for å tenke og snakke om nye digitale felleseier. De
+påfølgende kapitlene går dypere inn, og gir ytterligere veiledning og
innsikt i hvordan dette virker.
</p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm134" class="footnote"><p><a href="#idm134" class="para"><sup class="para">[3] </sup></a>
Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14.
</p></div><div id="ftn.idm149" class="footnote"><p><a href="#idm149" class="para"><sup class="para">[7] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm167" class="footnote"><p><a href="#idm167" class="para"><sup class="para">[8] </sup></a>
- Daniel H. Cole, <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons</span>»</span>, i Governing Knowledge
+ Daniel H. Cole, <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons</span>»</span>, i Governing Knowledge
Commons, red. Brett M. Frischmann, Michael J. Madison, og Katherine
J. Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm194" class="footnote"><p><a href="#idm194" class="para"><sup class="para">[9] </sup></a>
Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity
-and the Commons (New York: Zed-bøker, 2014), 93.
+and the Commons (New York: Zed-bøker, 2014), 93.
</p></div><div id="ftn.idm209" class="footnote"><p><a href="#idm209" class="para"><sup class="para">[10] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm215" class="footnote"><p><a href="#idm215" class="para"><sup class="para">[11] </sup></a>
- Joshua Farley og Ida Kubiszewski, <span class="quote">«<span class="quote">The Economics of Information in a
-Post-Carbon Economy</span>»</span>, i Free Knowledge: Confronting the
+ Joshua Farley og Ida Kubiszewski, <span class="quote">«<span class="quote">The Economics of Information in a
+Post-Carbon Economy</span>»</span>, i Free Knowledge: Confronting the
Commodification of Human Discovery, red. Patricia W. Elliott og Daryl
-H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm226" class="footnote"><p><a href="#idm226" class="para"><sup class="para">[12] </sup></a>
Rowe, Our Common Wealth, 19; og Heather Menzies, Reclaiming the Commons for
the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society,
-2014), 42–43.
+2014), 42–43.
</p></div><div id="ftn.idm237" class="footnote"><p><a href="#idm237" class="para"><sup class="para">[13] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm240" class="footnote"><p><a href="#idm240" class="para"><sup class="para">[14] </sup></a>
Fritjof Capra og Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
og Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm257" class="footnote"><p><a href="#idm257" class="para"><sup class="para">[15] </sup></a>
Brett M. Frischmann, Michael J. Madison, og Katherine J. Strandburg,
-<span class="quote">«<span class="quote">Governing Knowledge Commons</span>»</span>, i Frischmann, Madison, og
+<span class="quote">«<span class="quote">Governing Knowledge Commons</span>»</span>, i Frischmann, Madison, og
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm262" class="footnote"><p><a href="#idm262" class="para"><sup class="para">[16] </sup></a>
- Farley og Kubiszewski, <span class="quote">«<span class="quote">Economics of Information</span>»</span>, i Elliott og
+ Farley og Kubiszewski, <span class="quote">«<span class="quote">Economics of Information</span>»</span>, i Elliott og
Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[17] </sup></a><span class="quote">«<span class="quote">What Is Free Software?</span>»</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, besøkt 30. desember
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[17] </sup></a><span class="quote">«<span class="quote">What Is Free Software?</span>»</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, besøkt 30. desember
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[18] </sup></a>
- Wikipedia, s.v. <span class="quote">«<span class="quote">Open-source software</span>»</span>, sist endret
+ Wikipedia, s.v. <span class="quote">«<span class="quote">Open-source software</span>»</span>, sist endret
22. november 2016.
</p></div><div id="ftn.idm296" class="footnote"><p><a href="#idm296" class="para"><sup class="para">[19] </sup></a>
- Eric S. Raymond, <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span>, i The Cathedral and the
+ Eric S. Raymond, <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span>, i The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-revidert utgave (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+revidert utgave (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm302" class="footnote"><p><a href="#idm302" class="para"><sup class="para">[20] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[21] </sup></a><span class="quote">«<span class="quote">Licensing Considerations</span>»</span>, Creative Commons, besøkt
+ </p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[21] </sup></a><span class="quote">«<span class="quote">Licensing Considerations</span>»</span>, Creative Commons, besøkt
30. desember, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm315" class="footnote"><p><a href="#idm315" class="para"><sup class="para">[22] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm321" class="footnote"><p><a href="#idm321" class="para"><sup class="para">[23] </sup></a>
- Wikipedia, s.v. <span class="quote">«<span class="quote">Open Government Partnership</span>»</span>, sist endret
+ Wikipedia, s.v. <span class="quote">«<span class="quote">Open Government Partnership</span>»</span>, sist endret
24. september 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm328" class="footnote"><p><a href="#idm328" class="para"><sup class="para">[24] </sup></a>
Capra og Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[25] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm333" class="footnote"><p><a href="#idm333" class="para"><sup class="para">[26] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">«<span class="quote">Stockholm
-Statement</span>
»</span> besøkt 15. februar, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">«<span class="quote">Stockholm
+Statement</span>
»</span> besøkt 15. februar, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm338" class="footnote"><p><a href="#idm338" class="para"><sup class="para">[27] </sup></a>
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, Italia: City of Bologna, 2014),
<a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
</p></div><div id="ftn.idm342" class="footnote"><p><a href="#idm342" class="para"><sup class="para">[28] </sup></a>
- Nettsidene til Seoul Sharing Citys ligger på <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; for Amsterdam Sharing City, gå til
+ Nettsidene til Seoul Sharing Citys ligger på <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; for Amsterdam Sharing City, gå til
<a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm347" class="footnote"><p><a href="#idm347" class="para"><sup class="para">[29] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm351" class="footnote"><p><a href="#idm351" class="para"><sup class="para">[30] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm355" class="footnote"><p><a href="#idm355" class="para"><sup class="para">[31] </sup></a>
</p></div><div id="ftn.idm361" class="footnote"><p><a href="#idm361" class="para"><sup class="para">[33] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm367" class="footnote"><p><a href="#idm367" class="para"><sup class="para">[34] </sup></a>
Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ:
-John Wiley and Sons, 2010), En forhåndsvisning av boken er tilgjengelig på
+John Wiley and Sons, 2010), En forhåndsvisning av boken er tilgjengelig på
<a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm372" class="footnote"><p><a href="#idm372" class="para"><sup class="para">[35] </sup></a>
Dette forretningsmodell-rammeverket er tilgjengelig for nedlasting fra
<a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm376" class="footnote"><p><a href="#idm376" class="para"><sup class="para">[36] </sup></a>
- Vi har laget et <span class="quote">«<span class="quote">Åpent forretningsmodellrammeverk</span>»</span>, utformet av
-medforfatter Paul Stacey, tilgjengelig p
å nettet fra <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
-Du kan også finne det medfølgende <span class="quote">«<span class="quote">Spørsmål om åpen
-forretningsmodellrammeverk</span>»</span> fra <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
+ Vi har laget et <span class="quote">«<span class="quote">Ã\85pent forretningsmodellrammeverk</span>»</span>, utformet av
+medforfatter Paul Stacey, tilgjengelig p
å nettet fra <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
+Du kan også finne det medfølgende <span class="quote">«<span class="quote">Spørsmål om åpen
+forretningsmodellrammeverk</span>
»</span> fra <a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm386" class="footnote"><p><a href="#idm386" class="para"><sup class="para">[37] </sup></a>
- En mer omfattende liste over inntektsstrømmer er tilgjengelig i innlegget
-jeg skrev på Medium 6. mars 2016. <span class="quote">«<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>»</span> (Hva er en åpen forretningsmodell, og
-hvordan kan du skape omsetning), tilgjengelig p
å <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+ En mer omfattende liste over inntektsstrømmer er tilgjengelig i innlegget
+jeg skrev på Medium 6. mars 2016. <span class="quote">«<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>»</span> (Hva er en åpen forretningsmodell, og
+hvordan kan du skape omsetning), tilgjengelig p
å <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm397" class="footnote"><p><a href="#idm397" class="para"><sup class="para">[38] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapittel 2. Hvordan være gjort med Creative Commons</h2></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Null: Å bli oppdaget</a></span></dt><dt><span class="sect1"><a href="#making-money">Å tjene penger</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Å bygge menneskelige forbindelser</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapittel 2. Hvordan være gjort med Creative Commons</h2></div></div></div><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Null: Ã\85 bli oppdaget</a></span></dt><dt><span class="sect1"><a href="#making-money">Ã\85 tjene penger</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Ã\85 bygge menneskelige forbindelser</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
- Da vi startet dette prosjektet i August 2015, startet vi for å skrive en bok
+ Da vi startet dette prosjektet i August 2015, startet vi for å skrive en bok
om forretningsmodeller som i noe omfang involverer Creative Commons-lisenser
-– det vi kaller gjort med Creative Commons. Ved hjelp av våre
-Kickstarter-støttespillere valgte vi tjuefire arbeidsopplegg fra hele verden
+– det vi kaller gjort med Creative Commons. Ved hjelp av våre
+Kickstarter-støttespillere valgte vi tjuefire arbeidsopplegg fra hele verden
gjort med Creative Commons. Blandingen er variert, fra en enkelt musiker til
-en utgiver av lærebøker for universitetet, over til en
+en utgiver av lærebøker for universitetet, over til en
elektronikkprodusent. Noen lager sitt eget innhold og deler under Creative
Commons-lisensiering. Andre er plattformer for CC-lisensierte kreative
-arbeider gjort av andre. Mange sitter et sted imellom både som bruker og som
+arbeider gjort av andre. Mange sitter et sted imellom både som bruker og som
bidragsyter til skapende arbeid som er delt med offentligheten. Som for alle
-som bruker lisensene, er disse oppleggene for å dele sitt arbeid – enten det
-er åpne dataprogrammer eller møbeldesign – på en måte som gjør at
-offentligheten ikke bare får tilgang til dem, men også kan bruke dem.
+som bruker lisensene, er disse oppleggene for å dele sitt arbeid – enten det
+er åpne dataprogrammer eller møbeldesign – på en måte som gjør at
+offentligheten ikke bare får tilgang til dem, men også kan bruke dem.
</p><p>
Vi analyserte inntektsmodeller, kundesegmenter og forslag til verdier for
-hver oppgave. Vi søkte etter måter som, ved å sette innholdet under Creative
-Commons-lisenser, hjalp til å øke salget eller øke utbredelsen. Ved å bruke
-tradisjonelle tiltak for økonomisk suksess, prøvde vi å kartlegge disse
-forretningsmodellene på en måte slik at de meningsfullt inneholdt en
-hensiktsmessig innvirkning av Creative Commons. I våre intervjuer gikk vi
+hver oppgave. Vi søkte etter måter som, ved å sette innholdet under Creative
+Commons-lisenser, hjalp til å øke salget eller øke utbredelsen. Ved å bruke
+tradisjonelle tiltak for økonomisk suksess, prøvde vi å kartlegge disse
+forretningsmodellene på en måte slik at de meningsfullt inneholdt en
+hensiktsmessig innvirkning av Creative Commons. I våre intervjuer gikk vi
inn i motivasjonen, rollen CC til lisenser, ulike former for inntekter, og
definisjoner av suksess.
</p><p>
- På relativt kort tid skjønte vi at boken vi satte oss fore å skrive, var
-ganske forskjellig fra den som dukket frem i våre intervjuer og forskning.
+ På relativt kort tid skjønte vi at boken vi satte oss fore å skrive, var
+ganske forskjellig fra den som dukket frem i våre intervjuer og forskning.
</p><p>
- Det var ikke fordi vi tok feil i å tro at du kan tjene penger når du bruker
-Creative Commons-lisenser. I mange tilfeller bidrar CC til å tjene mer
+ Det var ikke fordi vi tok feil i å tro at du kan tjene penger når du bruker
+Creative Commons-lisenser. I mange tilfeller bidrar CC til å tjene mer
penger. Vi tok heller ikke feil i at det er forretningsmodeller der ute som
-andre, som ønsker å bruke CC-lisenser som en del av sitt levebrød eller sin
-bedrift, kan benytte. Det vi ikke skjønte var hvor misforstått det ville
-være å skrive en bok om å gjøre ting med Creative Commons, og bare fokusere
-på forretningsvirksomhet.
- </p><p>
- Ifølge den banebrytende håndboken Business Model Generation, en
-forretningsmodell som <span class="quote">«<span class="quote">beskriver begrunnelsen for hvordan en
-organisasjon skaper, leverer og får tak i verdi</span>»</span>.<a href="#ftn.idm424" class="footnote" name="idm424"><sup class="footnote">[39]</sup></a> Tenking om deling i betydningen å skape og få tak i
-verdier, føltes alltid uriktig transaksjonsbasert og malplassert, noe vi
-hørte gang på gang i våre intervjuer. Og som Cory Doctorow fortalte oss i
-vårt intervju med ham, <span class="quote">«<span class="quote">forretningsmodell kan bety alt noen mener det
-skal bety</span>»</span>.
- </p><p>
- Til slutt forsto vi det. Å gjøre ting med Creative Commons-lisens er mer enn
+andre, som ønsker å bruke CC-lisenser som en del av sitt levebrød eller sin
+bedrift, kan benytte. Det vi ikke skjønte var hvor misforstått det ville
+være å skrive en bok om å gjøre ting med Creative Commons, og bare fokusere
+på forretningsvirksomhet.
+ </p><p>
+ Ifølge den banebrytende håndboken Business Model Generation, en
+forretningsmodell som <span class="quote">«<span class="quote">beskriver begrunnelsen for hvordan en
+organisasjon skaper, leverer og får tak i verdi</span>»</span>.<a href="#ftn.idm424" class="footnote" name="idm424"><sup class="footnote">[39]</sup></a> Tenking om deling i betydningen å skape og få tak i
+verdier, føltes alltid uriktig transaksjonsbasert og malplassert, noe vi
+hørte gang på gang i våre intervjuer. Og som Cory Doctorow fortalte oss i
+vårt intervju med ham, <span class="quote">«<span class="quote">forretningsmodell kan bety alt noen mener det
+skal bety</span>»</span>.
+ </p><p>
+ Til slutt forsto vi det. Å gjøre ting med Creative Commons-lisens er mer enn
en forretningsmodell. Mens vi vil snakke om bestemte inntektsmodeller som en
-del av vår analyse (og mer detaljert i referansestudiene), skrotet vi det
-som vår styrende overskrift for boken.
+del av vår analyse (og mer detaljert i referansestudiene), skrotet vi det
+som vår styrende overskrift for boken.
</p><p>
- Riktignok tok det lang tid for meg å komme dit. Når Paul og jeg delte opp
-vår skriving etter avsluttet forskning, var mitt ansvar å løfte frem alt vi
-lærte fra referansestudiene, og skrive opp praktiske leksjoner og
-snarveier. Jeg tilbrakte måneder med å prøve å få frem det vi lærte i boksen
+ Riktignok tok det lang tid for meg å komme dit. Når Paul og jeg delte opp
+vår skriving etter avsluttet forskning, var mitt ansvar å løfte frem alt vi
+lærte fra referansestudiene, og skrive opp praktiske leksjoner og
+snarveier. Jeg tilbrakte måneder med å prøve å få frem det vi lærte i boksen
for forretningsmodell, overbevist om det var en formel for hvordan ting hang
-sammen. Men det var ingen formel. Du vil sannsynligvis måtte forkaste den
-måten å tenke på før du leser videre.
+sammen. Men det var ingen formel. Du vil sannsynligvis måtte forkaste den
+måten å tenke på før du leser videre.
</p><p>
- I hvert intervju startet vi med de samme enkle spørsmålene. Blant alle
+ I hvert intervju startet vi med de samme enkle spørsmålene. Blant alle
variasjonene hos bidragsytere, organisasjoner og bedrifter vi gjennomgikk,
-var det en konstant. Å gjøre bruk av Creative Commons kan være bra for
-forretningen, men det er ikke derfor de gjør det. Å dele arbeidet ved hjelp
+var det en konstant. Å gjøre bruk av Creative Commons kan være bra for
+forretningen, men det er ikke derfor de gjør det. Å dele arbeidet ved hjelp
av Creative Commons, er i bunn og grunn en moralsk beslutning. Kommersielle
-og andre fordeler i egeninteresse er sekundære. De fleste besluttet å bruke
-CC-lisenser først, og fant en inntektsmodell senere. Dette var vårt første
-hint, at å skrive en bok bare om virkningen av deling i ett
-forretningsperspektiv, kan være litt utenfor sporet.
- </p><p>
- Men vi har også begynt å innse noe om hva det betyr å gjøre bruk av Creative
-Commons. Når folk snakket med oss om hvordan og hvorfor de brukte CC, ble
-det klart at det betydde noe mer enn å bruke en lisens for åndsverk. Det
-representerte også et verdisett. Det er symbolikk bak å bruke CC, og den
+og andre fordeler i egeninteresse er sekundære. De fleste besluttet å bruke
+CC-lisenser først, og fant en inntektsmodell senere. Dette var vårt første
+hint, at å skrive en bok bare om virkningen av deling i ett
+forretningsperspektiv, kan være litt utenfor sporet.
+ </p><p>
+ Men vi har også begynt å innse noe om hva det betyr å gjøre bruk av Creative
+Commons. Når folk snakket med oss om hvordan og hvorfor de brukte CC, ble
+det klart at det betydde noe mer enn å bruke en lisens for åndsverk. Det
+representerte også et verdisett. Det er symbolikk bak å bruke CC, og den
symbolikken har mange lag.
</p><p>
- På ett nivå uttrykker det å være gjort med Creative Commons en tilknytning
+ På ett nivå uttrykker det å være gjort med Creative Commons en tilknytning
for verdien av Creative Commons. Mens det er mange forskjellige variasjoner
-av CC-lisenser, og nesten uendelige måter for å være gjort med Creative
+av CC-lisenser, og nesten uendelige måter for å være gjort med Creative
Commons, er det grunnleggende verdisystemet forankret i en grunnleggende tro
-på at kunnskap og kreativitet er byggesteinene i vår kultur, heller enn bare
+på at kunnskap og kreativitet er byggesteinene i vår kultur, heller enn bare
varer som har en markedsverdi som gir inntekt. Disse verdiene gjenspeiler
-troen på at fellesgodet alltid bør være en del av sammenhengen når vi
-bestemmer hvordan vi regulerer vår kulturelle produksjon. De gjenspeiler en
-tro på at alle har noe å bidra med, og at ingen kan eie vår felles
-kultur. De gjenspeiler en tro på løftet om å dele.
- </p><p>
- Uansett om offentligheten gjør bruk av muligheten til å kopiere og tilpasse
-dine verk, er det å dele med en Creative Commons-lisens et symbol på hvordan
-du ønsker å kommunisere med personer som bruker dine verker. Når du lager
-noe, er <span class="quote">«<span class="quote">alle rettigheter reservert</span>»</span> automatisk, (i tråd med
-åndsverksloven,) noe som betyr at opphavsrettssymbolet (©) på verk ikke
-nødvendigvis oppfattes som en markør på mistro eller overdreven
-proteksjonisme. Bruk av CC-lisens kan dog være et symbol på det motsatte –
-at en ønsker ektefølt menneskelig relasjon, i stedet for en upersonlig
-markedstransaksjon. Det muliggjør kontakt.
- </p><p>
- Å gjøre ting med Creative Commons viser ikke bare verdiene med CC og å
-dele. Det viser også at noe annet enn at profitt driver hva man gjør. I våre
+troen på at fellesgodet alltid bør være en del av sammenhengen når vi
+bestemmer hvordan vi regulerer vår kulturelle produksjon. De gjenspeiler en
+tro på at alle har noe å bidra med, og at ingen kan eie vår felles
+kultur. De gjenspeiler en tro på løftet om å dele.
+ </p><p>
+ Uansett om offentligheten gjør bruk av muligheten til å kopiere og tilpasse
+dine verk, er det å dele med en Creative Commons-lisens et symbol på hvordan
+du ønsker å kommunisere med personer som bruker dine verker. Når du lager
+noe, er <span class="quote">«<span class="quote">alle rettigheter reservert</span>»</span> automatisk, (i tråd med
+åndsverksloven,) noe som betyr at opphavsrettssymbolet (©) på verk ikke
+nødvendigvis oppfattes som en markør på mistro eller overdreven
+proteksjonisme. Bruk av CC-lisens kan dog være et symbol på det motsatte –
+at en ønsker ektefølt menneskelig relasjon, i stedet for en upersonlig
+markedstransaksjon. Det muliggjør kontakt.
+ </p><p>
+ Å gjøre ting med Creative Commons viser ikke bare verdiene med CC og å
+dele. Det viser også at noe annet enn at profitt driver hva man gjør. I våre
intervjuer spurte vi alltid hva suksess var for dem. Det var overraskende
hvor sjelden penger ble nevnt. De fleste har en dypere hensikt, og et annet
-syn på suksess.
+syn på suksess.
</p><p>
- Motivasjonen varierer avhengig av hva en skal oppnå. For individuelle
-innholdsleverandører handler det oftest om personlig inspirasjon. På noen
-måter er dette ikke noe nytt. Som Doctorow har skrevet, <span class="quote">«<span class="quote">skapere
-starter vanligvis å gjøre det de gjør av kjærlighet</span>»</span>.<a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[40]</sup></a> Men når du deler ditt skapende arbeid under en
+ Motivasjonen varierer avhengig av hva en skal oppnå. For individuelle
+innholdsleverandører handler det oftest om personlig inspirasjon. På noen
+måter er dette ikke noe nytt. Som Doctorow har skrevet, <span class="quote">«<span class="quote">skapere
+starter vanligvis å gjøre det de gjør av kjærlighet</span>»</span>.<a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[40]</sup></a> Men når du deler ditt skapende arbeid under en
CC-lisens, er denne dynamikken enda mer uttalt. Tilsvarende for
-teknologiske innovatører gjelder det ofte mindre å skape en bestemt ny ting
-som vil gjøre deg rik, men mer om å løse et bestemt problem du har. De som
-lagde Arduino fortalte oss at det viktigste spørsmålet når du oppretter noe
-er <span class="quote">«<span class="quote">vil du som lager det, bruke det selv? Det må ha en personlig bruk
-og betydning</span>»</span>.
- </p><p>
- Mange som gjør bruk av Creative Commons har et uttrykt sosialt formål som
-underbygger alt de gjør. I mange tilfeller gir å dele med Creative Commons
-klare fremskritt for dette sosiale formålet, og å bruke lisensene kan være
+teknologiske innovatører gjelder det ofte mindre å skape en bestemt ny ting
+som vil gjøre deg rik, men mer om å løse et bestemt problem du har. De som
+lagde Arduino fortalte oss at det viktigste spørsmålet når du oppretter noe
+er <span class="quote">«<span class="quote">vil du som lager det, bruke det selv? Det må ha en personlig bruk
+og betydning</span>»</span>.
+ </p><p>
+ Mange som gjør bruk av Creative Commons har et uttrykt sosialt formål som
+underbygger alt de gjør. I mange tilfeller gir å dele med Creative Commons
+klare fremskritt for dette sosiale formålet, og å bruke lisensene kan være
forskjellen mellom legitimitet og hykleri. Medgrunnlegger Edward Boatman i
Noun-prosjektet fortalte at de ikke i fullt alvor kunne ha formulert sitt
-samfunnsoppdrag med å dele, hvis de ikke var villig til å vise verden at det
-var OK å dele innholdet med en Creative Commons-lisens.
+samfunnsoppdrag med å dele, hvis de ikke var villig til å vise verden at det
+var OK å dele innholdet med en Creative Commons-lisens.
</p><p>
- Denne dynamikken er nok en grunn til hvorfor det er så mange
+ Denne dynamikken er nok en grunn til hvorfor det er så mange
ikke-kommersielle eksempler som er gjort med Creative Commons. Innholdet er
-resultatet av en innsats en føler mye for, eller et verktøy for å oppnå
-sosial endring, og penger er som gassen i bilen, noe som du må holde i gang,
-men som ikke er et mål i seg selv. Gjort med Creative Commons utgjør et
-annet syn på en bedrift eller et levebrød, der profitt ikke er avgjørende,
-men å produsere et sosialt gode og menneskelig tilknytning er en integrert
-del for å oppnå suksess.
- </p><p>
- Selv om profitt ikke er siktemålet, må det bringes penger inn for å lykkes
-med å gjøre ting med Creative Commons. Som et absolutt minimum må du tjene
-nok til å holde ting gående.
- </p><p>
- Kostnadene for å drive forretninger varierer mye for de som bruker CC, men
-det er vanligvis en mye lavere terskel for lønnsomhet enn det pleide å være
+resultatet av en innsats en føler mye for, eller et verktøy for å oppnå
+sosial endring, og penger er som gassen i bilen, noe som du må holde i gang,
+men som ikke er et mål i seg selv. Gjort med Creative Commons utgjør et
+annet syn på en bedrift eller et levebrød, der profitt ikke er avgjørende,
+men å produsere et sosialt gode og menneskelig tilknytning er en integrert
+del for å oppnå suksess.
+ </p><p>
+ Selv om profitt ikke er siktemålet, må det bringes penger inn for å lykkes
+med å gjøre ting med Creative Commons. Som et absolutt minimum må du tjene
+nok til å holde ting gående.
+ </p><p>
+ Kostnadene for å drive forretninger varierer mye for de som bruker CC, men
+det er vanligvis en mye lavere terskel for lønnsomhet enn det pleide å være
for kreative geskjefter. Digital teknologi har gjort det enklere enn
-noensinne å lage og distribuere. Som Doctorow skrev i sin bok
-<span class="quote">«<span class="quote">Information Doesn’t Want to Be Free</span>»</span>: <span class="quote">«<span class="quote">Hvis analoge
-kroner har snudd til digitale ører (som kritikere av annonsestøttede media
-vil ha det til), er det et faktum at muligheten til å drive forretning med
-like mye reklame som sine forgjengere til en brøkdel av prisen er
-der</span>»</span>.
- </p><p>
- Noen oppstartskostnader er de samme som de alltid har vært. Det koster like
-mye tid og penger å skrive en fagfellevurdert tidsskriftsartikkel, eller
-male et maleri. Teknologi endrer ikke på det. Andre kostnader har
-teknologien redusert dramatisk, særlig i produksjonstunge områder som
+noensinne å lage og distribuere. Som Doctorow skrev i sin bok
+<span class="quote">«<span class="quote">Information Doesnâ\80\99t Want to Be Free</span>»</span>: <span class="quote">«<span class="quote">Hvis analoge
+kroner har snudd til digitale ører (som kritikere av annonsestøttede media
+vil ha det til), er det et faktum at muligheten til å drive forretning med
+like mye reklame som sine forgjengere til en brøkdel av prisen er
+der</span>»</span>.
+ </p><p>
+ Noen oppstartskostnader er de samme som de alltid har vært. Det koster like
+mye tid og penger å skrive en fagfellevurdert tidsskriftsartikkel, eller
+male et maleri. Teknologi endrer ikke på det. Andre kostnader har
+teknologien redusert dramatisk, særlig i produksjonstunge områder som
filmskaping.<a href="#ftn.idm448" class="footnote" name="idm448"><sup class="footnote">[41]</sup></a> CC-lisensiert innhold og
-innhold i den offentlige sfære, samt frivillige samarbeidspartneres arbeid,
-kan også redusere kostnader dramatisk hvis de brukes som ressurser til å
-lage noe nytt. Og, selvfølgelig, realiteten er at noe innhold lages enten
-den som lager det får betalt eller ei, fordi det har sitt utspring i egen
+innhold i den offentlige sfære, samt frivillige samarbeidspartneres arbeid,
+kan også redusere kostnader dramatisk hvis de brukes som ressurser til å
+lage noe nytt. Og, selvfølgelig, realiteten er at noe innhold lages enten
+den som lager det får betalt eller ei, fordi det har sitt utspring i egen
overbevisning.
</p><p>
- Å distribuere innhold er nesten universelt billigere enn noensinne. Når
-innhold først er laget, er kostnadene ved å distribuere kopier digitalt
-tilnærmelsesvis null.<a href="#ftn.idm451" class="footnote" name="idm451"><sup class="footnote">[42]</sup></a> Kostnadene ved å
+ Å distribuere innhold er nesten universelt billigere enn noensinne. Når
+innhold først er laget, er kostnadene ved å distribuere kopier digitalt
+tilnærmelsesvis null.<a href="#ftn.idm451" class="footnote" name="idm451"><sup class="footnote">[42]</sup></a> Kostnadene ved å
distribuere fysiske kopier er fortsatt betydelige, men lavere enn de har
-vært historisk sett. Det er nå mye enklere å skrive ut og distribuere
-fysiske kopier på forespørsel, noe som også reduserer kostnadene. Avhengig
-av oppgaven kan det tilkomme en hel rekke andre utgifter, som markedsføring
+vært historisk sett. Det er nå mye enklere å skrive ut og distribuere
+fysiske kopier på forespørsel, noe som også reduserer kostnadene. Avhengig
+av oppgaven kan det tilkomme en hel rekke andre utgifter, som markedsføring
og promotering, og selv utgifter tilknyttet ulike inntektskilders iboende
-ervervelse, som turneer eller tilpasset opplæring.
+ervervelse, som turneer eller tilpasset opplæring.
</p><p>
- Det er viktig å innse at den største effekten teknologi har hatt på kreative
-aktiviteter, er at skaperne kan nå stå for egen distribusjon og kostnadene
-tilknyttet den. Folk har nå ofte en direkte rute til sitt potensielle
-publikum uten nødvendigvis å belage seg på mellomledd som plateselskaper og
-forleggere. Doctorow skrev: <span class="quote">«<span class="quote">Hvis du er en innholdsleverandør som
+ Det er viktig å innse at den største effekten teknologi har hatt på kreative
+aktiviteter, er at skaperne kan nå stå for egen distribusjon og kostnadene
+tilknyttet den. Folk har nå ofte en direkte rute til sitt potensielle
+publikum uten nødvendigvis å belage seg på mellomledd som plateselskaper og
+forleggere. Doctorow skrev: <span class="quote">«<span class="quote">Hvis du er en innholdsleverandør som
aldri fikk imperialistiske makters miskunn, er dette din tid. Der du en gang
-sto uten mulighet til å nå ut til et publikum uten hjelp av
-industridominerende megaselskaper, har du nå hundrevis av måter å omgå
-dem</span>»</span>.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[43]</sup></a> Tidligere krevde
-distribusjon av skapende arbeid kostnadene som trengs for å opprettholde en
-monolittisk enhet. Nå kan skaperne gjøre jobben selv. Dette betyr at de
-finansielle kravene til kreative aktiviteter kan være mye mer beskjedne.
- </p><p>
- Å gå i null kan vanskelig gjøres levebrød av, det være seg som individuell
-skaper eller i videre omfang. Bidraget til generell drift må tas med i
+sto uten mulighet til å nå ut til et publikum uten hjelp av
+industridominerende megaselskaper, har du nå hundrevis av måter å omgå
+dem</span>
»</span>.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[43]</sup></a> Tidligere krevde
+distribusjon av skapende arbeid kostnadene som trengs for å opprettholde en
+monolittisk enhet. Nå kan skaperne gjøre jobben selv. Dette betyr at de
+finansielle kravene til kreative aktiviteter kan være mye mer beskjedne.
+ </p><p>
+ Å gå i null kan vanskelig gjøres levebrød av, det være seg som individuell
+skaper eller i videre omfang. Bidraget til generell drift må tas med i
beregningen. Denne ekstra delen er forskjellig for alle, men viktigere, i
nesten alle tilfeller som er gjort med Creative Commons fortoner
-definisjonen av <span class="quote">«<span class="quote">nok penger</span>»</span> seg annerledes enn i en verden av
-risikovillig kapital og aksjeopsjoner. Det handler mer om bærekraft og
+definisjonen av <span class="quote">«<span class="quote">nok penger</span>»</span> seg annerledes enn i en verden av
+risikovillig kapital og aksjeopsjoner. Det handler mer om bærekraft og
mindre om ubegrenset vekst og fortjeneste. SparkFuns grunnlegger Nathan
-Seidle sa det slik: <span class="quote">«<span class="quote">Forretningsmodell er et virkelig grandiost ord
-for det. Egentlig gjelder det bare å holde ting gående fra dag til
-dag</span>»</span>.
- </p><p>
- Denne boken er et vitnesbyrd til idéen om at det er mulig å tjene penger i
-bruken av CC-lisenser og -innhold, men vi befinner oss i høy grad på
-eksperimentstadiet. Innholdsleverandører, organisasjoner, og bedrifter
-profilert i denne boken, viser veien videre i sin søken etter denne nye
-måten å operere på.
- </p><p>
- Det er imidlertid mange måter CC-lisenser kan tjene forretningene på ganske
-forutsigbare måter. Den første er hvordan det bidrar til å løse <span class="quote">«<span class="quote">det
-første problemet</span>»</span>.
- </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Null:
Å bli oppdaget</h2></div></div></div><p>
- Når du lager eller samler ditt innhold, så er neste steg å finne brukere;
-kunder, tilhengere – med andre ord, folkene dine. Som Amanda Palmer skrev,
-<span class="quote">«<span class="quote">Det må starte med kunsten. Sangene måtte røre ved folks bevissthet
-først, og bety noe, om noe overhodet skal fungere</span>»</span>.<a href="#ftn.idm467" class="footnote" name="idm467"><sup class="footnote">[44]</sup></a> Det er ikke noe magi involvert for å finne folkene
-dine, det er i hvert fall ingen formel å følge. Verkene dine må treffe folk,
-og tilby dem enten kunstnerisk eller annen nytteverdi. På noen måter er det
-enklere enn noensinne. På nettet begrenses vi ikke av hylleplass, og det er
-plass for alle tenkelige særinteresser, smak og behov. Dette er det Chris
-Anderson kalte <span class="quote">«<span class="quote">den lange halen</span>»</span>, der forbruk handler mindre om
-bredspektrede <span class="quote">«<span class="quote">treff</span>»</span>, og mer om mikromarkeder for hver enkelt
-nisje. Som Anderson skrev, <span class="quote">«<span class="quote">Vi er alle forskjellige, med forskjellige
-ønsker og behov, og Internett har plass til alle disse, på en måte som
-fysiske markeder ikke makter</span>»</span>.<a href="#ftn.idm472" class="footnote" name="idm472"><sup class="footnote">[45]</sup></a>
+Seidle sa det slik: <span class="quote">«<span class="quote">Forretningsmodell er et virkelig grandiost ord
+for det. Egentlig gjelder det bare å holde ting gående fra dag til
+dag</span>»</span>.
+ </p><p>
+ Denne boken er et vitnesbyrd til idéen om at det er mulig å tjene penger i
+bruken av CC-lisenser og -innhold, men vi befinner oss i høy grad på
+eksperimentstadiet. Innholdsleverandører, organisasjoner, og bedrifter
+profilert i denne boken, viser veien videre i sin søken etter denne nye
+måten å operere på.
+ </p><p>
+ Det er imidlertid mange måter CC-lisenser kan tjene forretningene på ganske
+forutsigbare måter. Den første er hvordan det bidrar til å løse <span class="quote">«<span class="quote">det
+første problemet</span>»</span>.
+ </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Null:
Å bli oppdaget</h2></div></div></div><p>
+ Når du lager eller samler ditt innhold, så er neste steg å finne brukere;
+kunder, tilhengere – med andre ord, folkene dine. Som Amanda Palmer skrev,
+<span class="quote">«<span class="quote">Det må starte med kunsten. Sangene måtte røre ved folks bevissthet
+først, og bety noe, om noe overhodet skal fungere</span>»</span>.<a href="#ftn.idm467" class="footnote" name="idm467"><sup class="footnote">[44]</sup></a> Det er ikke noe magi involvert for å finne folkene
+dine, det er i hvert fall ingen formel å følge. Verkene dine må treffe folk,
+og tilby dem enten kunstnerisk eller annen nytteverdi. På noen måter er det
+enklere enn noensinne. På nettet begrenses vi ikke av hylleplass, og det er
+plass for alle tenkelige særinteresser, smak og behov. Dette er det Chris
+Anderson kalte <span class="quote">«<span class="quote">den lange halen</span>»</span>, der forbruk handler mindre om
+bredspektrede <span class="quote">«<span class="quote">treff</span>»</span>, og mer om mikromarkeder for hver enkelt
+nisje. Som Anderson skrev, <span class="quote">«<span class="quote">Vi er alle forskjellige, med forskjellige
+ønsker og behov, og Internett har plass til alle disse, på en måte som
+fysiske markeder ikke makter</span>
»</span>.<a href="#ftn.idm472" class="footnote" name="idm472"><sup class="footnote">[45]</sup></a>
Vi begrenses ikke lenger av det som appellerer til massene.
</p><p>
- Samtidig som det å finne <span class="quote">«<span class="quote">dine folk</span>»</span> på nettet teoretisk sett
-er enklere enn i den analoge verden, kan det rent praktisk fortsatt være
-vanskelig å faktisk bli lagt merke til. Internettets innholdsflod vokser
-minutt for minutt. Som innholdsleverandør konkurrerer du også mot
+ Samtidig som det å finne <span class="quote">«<span class="quote">dine folk</span>»</span> på nettet teoretisk sett
+er enklere enn i den analoge verden, kan det rent praktisk fortsatt være
+vanskelig å faktisk bli lagt merke til. Internettets innholdsflod vokser
+minutt for minutt. Som innholdsleverandør konkurrerer du også mot
kreativitet generert utenfor markedet.<a href="#ftn.idm476" class="footnote" name="idm476"><sup class="footnote">[46]</sup></a>
-Som Anderson skrev, <span class="quote">«<span class="quote">Den største endringen det siste tiåret har vært
-et skifte i tiden folk bruker på amatørinnhold, snarere enn profesjonelt
-innhold</span>»</span>.<a href="#ftn.idm479" class="footnote" name="idm479"><sup class="footnote">[47]</sup></a> For å toppe det hele
-må du konkurrere med resten av livene deres, – <span class="quote">«<span class="quote">venner, familie,
-musikkspillelister, fotballkamper, og kvelder på byen</span>»</span>.<a href="#ftn.idm482" class="footnote" name="idm482"><sup class="footnote">[48]</sup></a> På én eller annen måte må du bli lagt merke til av
+Som Anderson skrev, <span class="quote">«<span class="quote">Den største endringen det siste tiåret har vært
+et skifte i tiden folk bruker på amatørinnhold, snarere enn profesjonelt
+innhold</span>»</span>.<a href="#ftn.idm479" class="footnote" name="idm479"><sup class="footnote">[47]</sup></a> For å toppe det hele
+mÃ¥ du konkurrere med resten av livene deres, â\80\93 <span class="quote">«<span class="quote">venner, familie,
+musikkspillelister, fotballkamper, og kvelder på byen</span>»</span>.<a href="#ftn.idm482" class="footnote" name="idm482"><sup class="footnote">[48]</sup></a> På én eller annen måte må du bli lagt merke til av
de rette folkene.
</p><p>
- Når du kommer til Internett med en alle-rettigheter-reservert -mentalitet,
-begrenser du ofte tilgangen til innholdet ditt før det er gjenstand for noen
-etterspørsel. I mange tilfeller er det å kreve betalt for verkene dine en
-del av det tradisjonelle opphavsrettssystemet. Selv og især en liten
-prislapp kuer etterspørselen. Det kalles <span class="quote">«<span class="quote">øregapet</span>»</span>: Den store
-etterspørselsforskjellen mellom noe som er tilgjengelig til prisen av ett
-
øre, mot en pris lik null.<a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[49]</sup></a> Det er ikke
-galt å ta betalt for innhold. Det betyr bare at du må forstå hvilken effekt
-det har på etterspørselen. Samme prinsipp gjelder ved begrensing av adgang
-til kopiering av verket. Hvis problemet ditt er å bli oppdaget og finne
-<span class="quote">«<span class="quote">dine folk</span>»</span>, så gjør det å nekte folk å kopiere og dele dine
+ Når du kommer til Internett med en alle-rettigheter-reservert -mentalitet,
+begrenser du ofte tilgangen til innholdet ditt før det er gjenstand for noen
+etterspørsel. I mange tilfeller er det å kreve betalt for verkene dine en
+del av det tradisjonelle opphavsrettssystemet. Selv og især en liten
+prislapp kuer etterspørselen. Det kalles <span class="quote">«<span class="quote">øregapet</span>»</span>: Den store
+etterspørselsforskjellen mellom noe som er tilgjengelig til prisen av ett
+
øre, mot en pris lik null.<a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[49]</sup></a> Det er ikke
+galt å ta betalt for innhold. Det betyr bare at du må forstå hvilken effekt
+det har på etterspørselen. Samme prinsipp gjelder ved begrensing av adgang
+til kopiering av verket. Hvis problemet ditt er å bli oppdaget og finne
+<span class="quote">«<span class="quote">dine folk</span>»</span>, så gjør det å nekte folk å kopiere og dele dine
verk med andre problemet verre.
</p><p>
- Selvfølgelig, å bli oppdaget av folk som liker arbeidet gjør deg ikke
-bemidlet - så langt derifra. Som Cory Doctorow dog sier,
-<span class="quote">«<span class="quote">anerkjennelse er en av mange nødvendige forutsetninger for
-kunstnerisk suksess</span>»</span>.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[50]</sup></a>
+ Selvfølgelig, å bli oppdaget av folk som liker arbeidet gjør deg ikke
+bemidlet - så langt derifra. Som Cory Doctorow dog sier,
+<span class="quote">«<span class="quote">anerkjennelse er en av mange nødvendige forutsetninger for
+kunstnerisk suksess</span>
»</span>.<a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[50]</sup></a>
</p><p>
- Å ikke bruke energi på å begrense tilgangen til ditt arbeid, samt
-forfølgelse av overtredelser, bygger også velvilje. Lumen Learning, et
-selskap til egen inntekts ervervelse (profittselskap), som utgir læremidler
-på nett, tok en tidlig avgjørelse om ikke å forhindre studentenes adgang til
+ Å ikke bruke energi på å begrense tilgangen til ditt arbeid, samt
+forfølgelse av overtredelser, bygger også velvilje. Lumen Learning, et
+selskap til egen inntekts ervervelse (profittselskap), som utgir læremidler
+på nett, tok en tidlig avgjørelse om ikke å forhindre studentenes adgang til
innholdet, selv i form av en liten betalingsmur, fordi det negativt ville
-påvirke studentens suksess på en måte som ville undergrave samfunnsoppdraget
-bak det de gjør. De tror denne beslutningen har generert en betydelig mengde
+påvirke studentens suksess på en måte som ville undergrave samfunnsoppdraget
+bak det de gjør. De tror denne beslutningen har generert en betydelig mengde
velvilje i samfunnet.
</p><p>
- Det er ikke bare det at å begrense tilgangen til verkene dine kan hemme ditt
-sosiale oppdrag. Det kan også fremmedgjøre folk som setter mest pris på din
-kreative innsats. Hvis folk liker verkene dine, så er det et naturlig
-instinkt å ønske å dele det med andre. Som David Bollier endog skrev,
-<span class="quote">«<span class="quote">våre naturlige menneskelige impulser er å imitere og å dele –
-kulturens essens
– har blitt kriminalisert</span>»</span>.<a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[51]</sup></a>
+ Det er ikke bare det at å begrense tilgangen til verkene dine kan hemme ditt
+sosiale oppdrag. Det kan også fremmedgjøre folk som setter mest pris på din
+kreative innsats. Hvis folk liker verkene dine, så er det et naturlig
+instinkt å ønske å dele det med andre. Som David Bollier endog skrev,
+<span class="quote">«<span class="quote">våre naturlige menneskelige impulser er å imitere og å dele –
+kulturens essens
â\80\93 har blitt kriminalisert</span>»</span>.<a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[51]</sup></a>
</p><p>
- Det faktum at kopiering kan innebære straffeansvar, er utvilsomt
-avskrekkende, men å kopiere med et klikk på en knapp er for enkelt og
-praktisk til å stoppe det helt. Selv som opphavsrettsindustrien forsøker med
-formaninger om det motsatte, føles ikke kopiering av åndsverk som tyveri av
-livets brød. Og det er selvfølgelig fordi det ikke er det. Å dele et
-kreativt arbeid har ingen innvirkning på andres evne til å benytte seg av
+ Det faktum at kopiering kan innebære straffeansvar, er utvilsomt
+avskrekkende, men å kopiere med et klikk på en knapp er for enkelt og
+praktisk til å stoppe det helt. Selv som opphavsrettsindustrien forsøker med
+formaninger om det motsatte, føles ikke kopiering av åndsverk som tyveri av
+livets brød. Og det er selvfølgelig fordi det ikke er det. Å dele et
+kreativt arbeid har ingen innvirkning på andres evne til å benytte seg av
det.
</p><p>
Tar du for gitt en del kopiering og deling av verkene dine, kan du investere
-tid og ressurser andre steder enn å leke katt-og-mus med folk som vil
-kopiere og dele innholdet ditt. Lizzy Jongma fra Rijksmuseum sa, <span class="quote">«<span class="quote">vi
-kan bruke mye penger på å prøve å beskytte verkene, men folk kommer til å
-gjøre det likevel. Og de vil bruke gjengivelser med dårlig
-kvalitet</span>»</span>. I stedet startet de å utgi høyoppløselige digitale kopier
+tid og ressurser andre steder enn å leke katt-og-mus med folk som vil
+kopiere og dele innholdet ditt. Lizzy Jongma fra Rijksmuseum sa, <span class="quote">«<span class="quote">vi
+kan bruke mye penger på å prøve å beskytte verkene, men folk kommer til å
+gjøre det likevel. Og de vil bruke gjengivelser med dårlig
+kvalitet</span>»</span>. I stedet startet de å utgi høyoppløselige digitale kopier
fra sine samlinger i det offentlige rom, gratis, fra sin hjemmeside. For dem
-var deling en form for kvalitetskontroll av kopiene som ville blitt delt på
-nettet uansett. Å gjøre dette betød å gi avkall på inntektene fra tidligere
-tiders salg av digitale bilder. Lizzy sier det var en liten pris å betale
+var deling en form for kvalitetskontroll av kopiene som ville blitt delt på
+nettet uansett. Å gjøre dette betød å gi avkall på inntektene fra tidligere
+tiders salg av digitale bilder. Lizzy sier det var en liten pris å betale
for alle mulighetene deling brakte dem.
</p><p>
- Å gjøre ting med Creative Commons betyr at du slutter å tenke ut måter å
-kunstig gjøre innholdet til et knapphetsgode, og i stedet utnytte det som
-den potensielt rikelige ressursen det er.<a href="#ftn.idm502" class="footnote" name="idm502"><sup class="footnote">[52]</sup></a> Når du ser informasjonsoverflod som en fordel, ikke en ulempe,
-begynner du å tenke på måter å bruke denne ledige kapasiteten til din
-fordel. Som min venn og kollega Eric Steuer engang sa, <span class="quote">«<span class="quote">å bruke
-CC-lisenser viser at du har forstått Internett</span>»</span>.
+ Å gjøre ting med Creative Commons betyr at du slutter å tenke ut måter å
+kunstig gjøre innholdet til et knapphetsgode, og i stedet utnytte det som
+den potensielt rikelige ressursen det er.<a href="#ftn.idm502" class="footnote" name="idm502"><sup class="footnote">[52]</sup></a> Når du ser informasjonsoverflod som en fordel, ikke en ulempe,
+begynner du å tenke på måter å bruke denne ledige kapasiteten til din
+fordel. Som min venn og kollega Eric Steuer engang sa, <span class="quote">«<span class="quote">å bruke
+CC-lisenser viser at du har forstått Internett</span>»</span>.
</p><p>
- Cory Doctorow sier det ikke er på hans bekostning at andre mennesker lager
-kopier av hans arbeid, når det åpner muligheten for at han kan få noe
-tilbake.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[53]</sup></a> På samme måte, skaperne av
-Arduino Boards visste det var umulig å stoppe folk fra å kopiere maskinvaren
-deres, så de besluttet selv ikke inngå i forsøket, for i stedet å se
-fordelene med åpenhet. For dem er resultatet ett av de mest utbredte
+ Cory Doctorow sier det ikke er på hans bekostning at andre mennesker lager
+kopier av hans arbeid, når det åpner muligheten for at han kan få noe
+tilbake.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[53]</sup></a> På samme måte, skaperne av
+Arduino Boards visste det var umulig å stoppe folk fra å kopiere maskinvaren
+deres, så de besluttet selv ikke inngå i forsøket, for i stedet å se
+fordelene med åpenhet. For dem er resultatet ett av de mest utbredte
maskinvarekort i verden, med et blomstrende nettverkssamfunn av tenkere og
-innovatører, som har bidratt med ting de selv aldri kunne ha gjort på noen
-annen måte.
+innovatører, som har bidratt med ting de selv aldri kunne ha gjort på noen
+annen måte.
</p><p>
- Det er alle slags måter å utnytte kraften i å dele og remikse til din
+ Det er alle slags måter å utnytte kraften i å dele og remikse til din
fordel. Her er noen:
- </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Bruk CC for
å finne et større publikum</h3></div></div></div><p>
- Å gi innholdet ditt Creative Commons-lisens, vil ikke automatisk gjøre det
-til en landeplage, men å fjerne juridiske kopihindre svekker ikke sjansene
-for at arbeidet deles. CC-lisens symboliserer at deling ønskes
-velkommen. Den kan fungere som et lite klapp på skulderen til de som kommer
-over arbeidet – et lite dytt til å kopiere verket hvis de har litt lyst til
-å gjøre det. Forutsatt at alt annet er likt, hvis ett stykke innhold har et
-skilt som sier <span class="quote">«<span class="quote">del</span>»</span> og det andre sier <span class="quote">«<span class="quote">Ikke del</span>»</span>
-(som er det <span class="quote">«<span class="quote">©</span>»</span> betyr), hvilket tror du det er mer sannsynlig
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Bruk CC for
å finne et større publikum</h3></div></div></div><p>
+ Å gi innholdet ditt Creative Commons-lisens, vil ikke automatisk gjøre det
+til en landeplage, men å fjerne juridiske kopihindre svekker ikke sjansene
+for at arbeidet deles. CC-lisens symboliserer at deling ønskes
+velkommen. Den kan fungere som et lite klapp på skulderen til de som kommer
+over arbeidet – et lite dytt til å kopiere verket hvis de har litt lyst til
+å gjøre det. Forutsatt at alt annet er likt, hvis ett stykke innhold har et
+skilt som sier <span class="quote">«<span class="quote">del</span>»</span> og det andre sier <span class="quote">«<span class="quote">Ikke del</span>»</span>
+(som er det <span class="quote">«<span class="quote">©</span>»</span> betyr), hvilket tror du det er mer sannsynlig
at folk deler?
</p><p>
- The Conversation er et nyhetsnettsted med dyptgående artikler skrevet av
-akademikere som er eksperter på spesifikke emner. Alle artiklene er
+ The Conversation er et nyhetsnettsted med dyptgående artikler skrevet av
+akademikere som er eksperter på spesifikke emner. Alle artiklene er
CC-lisensierte, og de kopieres og deles videre til andre ved design. Denne
voksende effekten, som spores, er en sentral del av verdien for de
-akademiske forfattere som ønsker å nå så mange lesere som mulig.
+akademiske forfattere som ønsker å nå så mange lesere som mulig.
</p><p>
- Idéen om at flere øyne som ser på gir større suksess, er en form for
-maksimumsstrategi, adoptert av Google og andre teknologiselskaper. Ifølge
-Eric Schmidt hos Google er idéen enkel: <span class="quote">«<span class="quote">Uansett hva du gjør, gjør det
-med maksimal distribusjon. Den andre måten å si dette på er at når de
+ Idéen om at flere øyne som ser på gir større suksess, er en form for
+maksimumsstrategi, adoptert av Google og andre teknologiselskaper. Ifølge
+Eric Schmidt hos Google er idéen enkel: <span class="quote">«<span class="quote">Uansett hva du gjør, gjør det
+med maksimal distribusjon. Den andre måten å si dette på er at når de
marginale distribusjonskostnadene er borte, kan du like greit legge ut ting
-overalt</span>»</span>.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[54]</sup></a> Denne strategien
-motiverer ofte selskaper til å gjøre sine produkter og tjenester gratis
-(dvs. til ingen kostnad), men den samme logikken gjelder for å dele innhold
+overalt</span>
»</span>.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[54]</sup></a> Denne strategien
+motiverer ofte selskaper til å gjøre sine produkter og tjenester gratis
+(dvs. til ingen kostnad), men den samme logikken gjelder for å dele innhold
fritt. Det at CC-lisensiert innhold er gratis og kan kopieres uten
-begrensinger, gjør CC-lisensiering innholdet enda mer tilgjengelig, og gjør
+begrensinger, gjør CC-lisensiering innholdet enda mer tilgjengelig, og gjør
det mer sannsynlig at det blir spredt.
</p><p>
- Hvis du lykkes i å nå flere brukere, lesere, lyttere eller andre brukere av
-arbeidet, kan du starte med å benytte deg av <span class="quote">«<span class="quote">kaste seg på
-lasset</span>»</span>-effekten. Det enkle faktum er at andre folk som bruker eller
-f
ølger ditt arbeid, ansporer andre til å gjøre det samme.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[55]</sup></a> Dette er delvis fordi vi ganske enkelt har en
-tendens til å engasjere oss i flokkatferd, men det er også fordi en stor
-f
ølgeskare delvis er indikator på kvalitet eller nytteverdi.<a href="#ftn.idm524" class="footnote" name="idm524"><sup class="footnote">[56]</sup></a>
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Bruk av CC for
å få henvisninger og anerkjennelse</h3></div></div></div><p>
+ Hvis du lykkes i å nå flere brukere, lesere, lyttere eller andre brukere av
+arbeidet, kan du starte med å benytte deg av <span class="quote">«<span class="quote">kaste seg på
+lasset</span>»</span>-effekten. Det enkle faktum er at andre folk som bruker eller
+f
ølger ditt arbeid, ansporer andre til å gjøre det samme.<a href="#ftn.idm522" class="footnote" name="idm522"><sup class="footnote">[55]</sup></a> Dette er delvis fordi vi ganske enkelt har en
+tendens til å engasjere oss i flokkatferd, men det er også fordi en stor
+f
ølgeskare delvis er indikator på kvalitet eller nytteverdi.<a href="#ftn.idm524" class="footnote" name="idm524"><sup class="footnote">[56]</sup></a>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Bruk av CC for
å få henvisninger og anerkjennelse</h3></div></div></div><p>
Hver Creative Commons-lisens krever at forfatteren gis referanse, og at
gjenbrukere lenker tilbake til den opprinnelige kilden for materialet. CC0,
-ikke en lisens, men et verktøy som brukes til å legge arbeider ut i den
-offentlige sfæren, krever juridisk sett ikke henvisning, men mange
-fellesskap gir fortsatt henvisninger i tråd med beste praksis og sosiale
+ikke en lisens, men et verktøy som brukes til å legge arbeider ut i den
+offentlige sfæren, krever juridisk sett ikke henvisning, men mange
+fellesskap gir fortsatt henvisninger i tråd med beste praksis og sosiale
normer. Faktisk er det sosiale normer, heller enn trusselen om juridiske
-håndhevelse, som oftest uansett motiverer folk til å henvise, og ellers
-overholde lisensvilkårene i CC. Dette er kjennetegnet på et velfungerende
-fellesskap, både i markedet og samfunnet som sådan.<a href="#ftn.idm529" class="footnote" name="idm529"><sup class="footnote">[57]</sup></a> CC-lisenser gjenspeiler et sett ønsker fra
+håndhevelse, som oftest uansett motiverer folk til å henvise, og ellers
+overholde lisensvilkårene i CC. Dette er kjennetegnet på et velfungerende
+fellesskap, både i markedet og samfunnet som sådan.<a href="#ftn.idm529" class="footnote" name="idm529"><sup class="footnote">[57]</sup></a> CC-lisenser gjenspeiler et sett ønsker fra
bidragsyterne, og i de aller fleste tilfeller er folk naturligvis
-tilbøyelige til å følge disse ønskene. Dette er spesielt tilfellet for noe
-så enkelt, og i samsvar med grunnleggende forestillinger om rimelighet, som
-å gi henvisning.
+tilbøyelige til å følge disse ønskene. Dette er spesielt tilfellet for noe
+så enkelt, og i samsvar med grunnleggende forestillinger om rimelighet, som
+å gi henvisning.
</p><p>
- Det faktum at navnet på innholdsleverandøren følger med i et CC-lisensiert
-arbeid, gjør lisensene til et viktig middel for etablering av omdømme, eller
-på bedriftsspråk, en merkevare. Drivkraften bak å knytte ditt navn til ditt
+ Det faktum at navnet på innholdsleverandøren følger med i et CC-lisensiert
+arbeid, gjør lisensene til et viktig middel for etablering av omdømme, eller
+på bedriftsspråk, en merkevare. Drivkraften bak å knytte ditt navn til ditt
arbeid er ikke bare kommersielt motivert, det er grunnleggende i
-forfatterskapet. Åpenhet - Knowledge Unlatched (KU) - er en ideell egenskap
-som bidrar til å subsidiere produksjonen av CC-lisensierte akademiske
+forfatterskapet. Åpenhet - Knowledge Unlatched (KU) - er en ideell egenskap
+som bidrar til å subsidiere produksjonen av CC-lisensierte akademiske
tekster ved samling og deling av bidrag fra biblioteker rundt i
-USA. Direktøren, Frances Pinter, sier at Creative Commons-lisensiering av
-verker har en stor verdi for forfattere, siden omdømme er den viktigste
-valutaen for akademikere. Deling med CC er en måte å få flest mulig til å se
+USA. Direktøren, Frances Pinter, sier at Creative Commons-lisensiering av
+verker har en stor verdi for forfattere, siden omdømme er den viktigste
+valutaen for akademikere. Deling med CC er en måte å få flest mulig til å se
og sitere arbeidet ditt.
</p><p>
- Å bli navngitt kan handle om mer enn bare å gjøre ære på skaper. Det kan
-også handle om å etablere kilden. Naturligvis ønsker folk å vite hvor
-innholdet kom fra – kilden til et arbeid er noen ganger like interessant som
-selve arbeidet. Opendesk er en plattform der møbeldesignere kan dele sine
+ Å bli navngitt kan handle om mer enn bare å gjøre ære på skaper. Det kan
+også handle om å etablere kilden. Naturligvis ønsker folk å vite hvor
+innholdet kom fra – kilden til et arbeid er noen ganger like interessant som
+selve arbeidet. Opendesk er en plattform der møbeldesignere kan dele sine
design. Forbrukere som liker disse kan deretter kobles til lokale
-produsenter som igjen omsetter tegninger til virkelige møbler. Det faktum at
+produsenter som igjen omsetter tegninger til virkelige møbler. Det faktum at
jeg sitter i USA, kan plukke ut et design laget av en designer i Tokyo, og
-deretter bruke en produsent i mitt eget lokalsamfunn til å forvandle
-designet til noe håndfast, er en del av plattformens kraft. Opphavet til
+deretter bruke en produsent i mitt eget lokalsamfunn til å forvandle
+designet til noe håndfast, er en del av plattformens kraft. Opphavet til
designet blir en spesiell del av produktet.
</p><p>
- Å vite hvor arbeidet kommer fra er også avgjørende for
-troverdigheten. Akkurat som et varemerke er utformet for å gi forbrukerne
-mulighet til å identifisere kilden og kvaliteten til et bestemt gode og en
-tjeneste, gir det publikum å kjenne forfatteren en mulighet til å vurdering
+ Å vite hvor arbeidet kommer fra er også avgjørende for
+troverdigheten. Akkurat som et varemerke er utformet for å gi forbrukerne
+mulighet til å identifisere kilden og kvaliteten til et bestemt gode og en
+tjeneste, gir det publikum å kjenne forfatteren en mulighet til å vurdering
av arbeidets troverdighet. I en tid der nettdiskusjon er plaget av
-feilinformasjon, er det å være en pålitelig informasjonskilde mer verdifullt
+feilinformasjon, er det å være en pålitelig informasjonskilde mer verdifullt
enn noensinne.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>
Å bruke CC-lisensiert innhold som markedsføringsverktøy</h3></div></div></div><p>
- Som vi vil dekke i nærmere detalj senere; mange aktiviteter som gjøres med
-Creative Commons tjener penger ved å tilby et annet produkt eller en
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>
Å bruke CC-lisensiert innhold som markedsføringsverktøy</h3></div></div></div><p>
+ Som vi vil dekke i nærmere detalj senere; mange aktiviteter som gjøres med
+Creative Commons tjener penger ved å tilby et annet produkt eller en
tjeneste enn det CC-lisensierte arbeidet. Noen ganger er det andre produktet
eller tjenesten ikke relatert til CC-innholdet. Andre ganger er det en
fysisk utgave eller forestillinger med innholdet. I alle tilfeller kan
CC-innholdet trekke folk til dine andre produkter eller tjenester.
</p><p>
Pinter fra Knowlegde Unlatched fortalte oss at hun igjen og igjen har sett
-hvordan det å tilby CC-lisensiert innhold – som er digitalt gratis – faktisk
-øker salget av de trykte varene, fordi det fungerer som et
-markedsføringsverktøy. Vi ser dette fenomenet regelmessig med kjente
-kunstverk. Mona Lisa er trolig det mest gjenkjennelige maleriet på
-planeten. Denne allestedsnærværelsen utløser interessen for å selv ville se
+hvordan det å tilby CC-lisensiert innhold – som er digitalt gratis – faktisk
+øker salget av de trykte varene, fordi det fungerer som et
+markedsføringsverktøy. Vi ser dette fenomenet regelmessig med kjente
+kunstverk. Mona Lisa er trolig det mest gjenkjennelige maleriet på
+planeten. Denne allestedsnærværelsen utløser interessen for å selv ville se
maleriet, og eie fysiske avbildede goder. Rikelig med kopier av innholdet
-lokker ofte mer etterspørsel med seg, ikke mindre. Et annet eksempel var da
-radioen kom. Selv om musikkbransjen ikke så det komme (og kjempet mot den!),
-fungerte gratis musikk på radio som reklame for den betalte versjonen folk
-kj
øpte i musikkforretninger.<a href="#ftn.idm539" class="footnote" name="idm539"><sup class="footnote">[58]</sup></a> Gratis kan
-være en form for markedsføring.
+lokker ofte mer etterspørsel med seg, ikke mindre. Et annet eksempel var da
+radioen kom. Selv om musikkbransjen ikke så det komme (og kjempet mot den!),
+fungerte gratis musikk på radio som reklame for den betalte versjonen folk
+kj
øpte i musikkforretninger.<a href="#ftn.idm539" class="footnote" name="idm539"><sup class="footnote">[58]</sup></a> Gratis kan
+være en form for markedsføring.
</p><p>
I noen tilfeller trenger arbeid gjort med Creative Commons ikke engang egne
-markedsføringsteam eller -budsjetter. Cards Against Humanity er et
-CC-lisensiert kortspill tilgjengelig per gratis nedlasting. På grunn av
-dette, (takket være spillets CC-lisens,) sier de som laget det at det er en
-av de best markedsførte spillene i verden, og at de ikke har brukt én krone
-på markedsføring. Lærebokutgiveren OpenStax har også sluppet å ansette en
-egen markedsføringsavdeling. Deres produkter er gratis, eller billigere å
-kjøpe som fysiske kopier, noe som gjør dem mye mer attraktive for studenter,
-som deretter krever dem fra sine universiteter. De samarbeider også med
-tjenesteleverandører som bygger videre oppå det CC-lisensierte innholdet og,
-igjen, bruker penger og ressurser på å markedsføre disse tjenestene (og
-dermed OpenStax-lærebøker).
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Bruk av CC til å aktivere egenhendig engasjement, altså aktiv deltakelse i
+markedsføringsteam eller -budsjetter. Cards Against Humanity er et
+CC-lisensiert kortspill tilgjengelig per gratis nedlasting. På grunn av
+dette, (takket være spillets CC-lisens,) sier de som laget det at det er en
+av de best markedsførte spillene i verden, og at de ikke har brukt én krone
+på markedsføring. Lærebokutgiveren OpenStax har også sluppet å ansette en
+egen markedsføringsavdeling. Deres produkter er gratis, eller billigere å
+kjøpe som fysiske kopier, noe som gjør dem mye mer attraktive for studenter,
+som deretter krever dem fra sine universiteter. De samarbeider også med
+tjenesteleverandører som bygger videre oppå det CC-lisensierte innholdet og,
+igjen, bruker penger og ressurser på å markedsføre disse tjenestene (og
+dermed OpenStax-lærebøker).
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Bruk av CC til å aktivere egenhendig engasjement, altså aktiv deltakelse i
og med arbeidet ditt</h3></div></div></div><p>
Den store lovnaden med Creative Commons-lisensiering er at den omfavner en
-remiksingskultur. Dette er faktisk det store løftet ved digital
-teknologi. Internett åpnet opp en helt ny verden av muligheter for offentlig
+remiksingskultur. Dette er faktisk det store løftet ved digital
+teknologi. Internett åpnet opp en helt ny verden av muligheter for offentlig
deltakelse i skapende arbeid.
</p><p>
- Fire av de seks CC-lisensene åpner for å bygge på gjenbruk, eller på andre
-måter tilpasse arbeidet. Avhengig av sammenhengen, kan tilpasning bety vidt
-forskjellige ting – oversettelse, oppdatering, lokalisering, forbedring,
-transformering. De gjør det mulig å tilpasse et arbeid for spesielle behov,
-bruk, mennesker og samfunn, som er en annen distinkt verdi å tilby til
+ Fire av de seks CC-lisensene åpner for å bygge på gjenbruk, eller på andre
+måter tilpasse arbeidet. Avhengig av sammenhengen, kan tilpasning bety vidt
+forskjellige ting – oversettelse, oppdatering, lokalisering, forbedring,
+transformering. De gjør det mulig å tilpasse et arbeid for spesielle behov,
+bruk, mennesker og samfunn, som er en annen distinkt verdi å tilby til
offentligheten.<a href="#ftn.idm546" class="footnote" name="idm546"><sup class="footnote">[59]</sup></a> Tilpasning endrer
-spillereglene mer i noen sammenhenger enn i andre. Med læremidler er
-muligheten til å tilpasse og oppdatere innholdet kritisk viktig for
-nytteverdien. For fotografi er muligheten til å tilpasse et bilde mindre
+spillereglene mer i noen sammenhenger enn i andre. Med læremidler er
+muligheten til å tilpasse og oppdatere innholdet kritisk viktig for
+nytteverdien. For fotografi er muligheten til å tilpasse et bilde mindre
viktig.
</p><p>
- Dette finnes en måte å motvirke mulige ulemper i overfloden av gratis og
-åpent innhold beskrevet ovenfor. Som Anderson skrev i Free, <span class="quote">«<span class="quote">Folk bryr
-seg ofte ikke så mye om ting de ikke betaler for, og som resultat tenker de
-ikke så mye på hvordan de bruker dem</span>»</span>.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[60]</sup></a> Hvis selv den lille iboende viljen til å betale ett øre for noe,
-endrer vår oppfatning derav, vil med sikkerhet det å remikse forbedre vår
+ Dette finnes en måte å motvirke mulige ulemper i overfloden av gratis og
+åpent innhold beskrevet ovenfor. Som Anderson skrev i Free, <span class="quote">«<span class="quote">Folk bryr
+seg ofte ikke så mye om ting de ikke betaler for, og som resultat tenker de
+ikke så mye på hvordan de bruker dem</span>»</span>.<a href="#ftn.idm550" class="footnote" name="idm550"><sup class="footnote">[60]</sup></a> Hvis selv den lille iboende viljen til å betale ett øre for noe,
+endrer vår oppfatning derav, vil med sikkerhet det å remikse forbedre vår
oppfatning eksponentielt.<a href="#ftn.idm552" class="footnote" name="idm552"><sup class="footnote">[61]</sup></a> Vi vet at
-folk betaler mer for produkter de har hatt en rolle i å lage.<a href="#ftn.idm554" class="footnote" name="idm554"><sup class="footnote">[62]</sup></a> Vi vet også at å skape noe, uansett i hvilken
+folk betaler mer for produkter de har hatt en rolle i å lage.<a href="#ftn.idm554" class="footnote" name="idm554"><sup class="footnote">[62]</sup></a> Vi vet også at å skape noe, uansett i hvilken
kapasitet, bringer med seg en slags kreativ tilfredshet som ikke lar seg
-erstatte av
å bruke noe laget av andre.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[63]</sup></a>
+erstatte av
å bruke noe laget av andre.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[63]</sup></a>
</p><p>
- Aktivt engasjement med innholdet hjelper oss å unngå det formålsløse
-konsumet som enhver som fraværende har bladd en time gjennom sine sosiale
-mediastrømmer kjenner så alt for godt. I sin bok, Cognitive Surplus, sier
-Clay Shirky, <span class="quote">«<span class="quote">Å delta er å agere i den tro at din tilstedeværelse
-betyr noe, som at når du ser noe eller hører noe, er ditt svar en del av det
-som skjer</span>»</span>.<a href="#ftn.idm560" class="footnote" name="idm560"><sup class="footnote">[64]</sup></a> Når du åpner døra
-inn til innholdet ditt, så kan folk få en dypere tilknytning til arbeidet
+ Aktivt engasjement med innholdet hjelper oss å unngå det formålsløse
+konsumet som enhver som fraværende har bladd en time gjennom sine sosiale
+mediastrømmer kjenner så alt for godt. I sin bok, Cognitive Surplus, sier
+Clay Shirky, <span class="quote">«<span class="quote">Å delta er å agere i den tro at din tilstedeværelse
+betyr noe, som at når du ser noe eller hører noe, er ditt svar en del av det
+som skjer</span>»</span>.<a href="#ftn.idm560" class="footnote" name="idm560"><sup class="footnote">[64]</sup></a> Når du åpner døra
+inn til innholdet ditt, så kan folk få en dypere tilknytning til arbeidet
ditt.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Bruk av CC for
å skille seg ut</h3></div></div></div><p>
- Å operere under et tradisjonelt åndsverksregime betyr vanligvis å følge
-reglene til etablerte medieaktører. Forretningsstrategier innebygd i det
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Bruk av CC for
å skille seg ut</h3></div></div></div><p>
+ Å operere under et tradisjonelt åndsverksregime betyr vanligvis å følge
+reglene til etablerte medieaktører. Forretningsstrategier innebygd i det
tradisjonelle opphavsrettssystemet, i bruk av digitale
restriksjonsmekanismer (DRM) og signering av eksklusivitetskontrakter, kan
binde hendene til de som skaper innhold, ofte i strid med skapernes
-egeninteresse.<a href="#ftn.idm565" class="footnote" name="idm565"><sup class="footnote">[65]</sup></a> Å gjøre noe med Creative
+egeninteresse.<a href="#ftn.idm565" class="footnote" name="idm565"><sup class="footnote">[65]</sup></a> Å gjøre noe med Creative
Commons betyr at du kan operere uten disse barrierene, og i mange tilfeller
-bruke økt åpenhet som konkurransefortrinn. David Harris fra OpenStax sa at
+bruke økt åpenhet som konkurransefortrinn. David Harris fra OpenStax sa at
de spesielt gikk etter strategier de vet tradisjonelle utgivere ikke kan
-bruke. <span class="quote">«<span class="quote">Ikke gå inn i et marked og følg de etablerte reglene</span>»</span>,
-sa David. <span class="quote">«<span class="quote">Lag dine egne regler.</span>»</span>
- </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>
Å tjene penger</h2></div></div></div><p>
- Som ethvert foretagende som tjener penger, må det som gjøres med Creative
+bruke. <span class="quote">«<span class="quote">Ikke gå inn i et marked og følg de etablerte reglene</span>»</span>,
+sa David. <span class="quote">«<span class="quote">Lag dine egne regler.</span>»</span>
+ </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>
Å tjene penger</h2></div></div></div><p>
+ Som ethvert foretagende som tjener penger, må det som gjøres med Creative
Commons bringe sitt publikum eller forbrukere nytteverdi. Noen ganger
subsidieres verdien av bidragsytere som ikke nyter godt av den
direkte. Bidragsytere, enten veldedige institusjoner, myndigheter, eller
folk som bryr seg, gir penger til organisasjonen av egen vilje. Dette er
-måten vanlig veldedig finansiering virker på.<a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[66]</sup></a> I mange tilfeller er pengestrømmene som genereres av arbeid gjort
+måten vanlig veldedig finansiering virker på.<a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[66]</sup></a> I mange tilfeller er pengestrømmene som genereres av arbeid gjort
med Creative Commons direkte knyttet til verdien de genererer, der mottakere
betaler for verdien de mottar, som i enhver annen standard
markedstransaksjon. I mange andre tilfeller, snarere enn i en
-noe-for-noe-utveksling av penger for verdi (<span class="quote">«<span class="quote">en tjeneste er en annen
-verdt</span>»</span>), som typisk for markedstransaksjoner, gir mottakeren penger i
-forståelse av gjensidighet.
+noe-for-noe-utveksling av penger for verdi (<span class="quote">«<span class="quote">en tjeneste er en annen
+verdt</span>»</span>), som typisk for markedstransaksjoner, gir mottakeren penger i
+forståelse av gjensidighet.
</p><p>
Det meste som er gjort med Creative Commons bruker en rekke ulike metoder
-for å skaffe omsetning, noen markedsbaserte og andre ikke. En vanlig
-strategi er å bruke eksterne prosjektmidler for å lage innhold når
-forsknings- og utviklingskostnader er spesielt høye, og deretter finne en
-annen inntektsstrøm (eller strømmer) til påløpende utgifter. Som Shirky
-skrev, er <span class="quote">«<span class="quote">trikset å vite når markedene er en optimal måte å
-organisere interaksjoner p
å og når de ikke er det</span>»</span>.<a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[67]</sup></a>
+for å skaffe omsetning, noen markedsbaserte og andre ikke. En vanlig
+strategi er å bruke eksterne prosjektmidler for å lage innhold når
+forsknings- og utviklingskostnader er spesielt høye, og deretter finne en
+annen inntektsstrøm (eller strømmer) til påløpende utgifter. Som Shirky
+skrev, er <span class="quote">«<span class="quote">trikset å vite når markedene er en optimal måte å
+organisere interaksjoner p
å og når de ikke er det</span>»</span>.<a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[67]</sup></a>
</p><p>
- Våre referansestudier gjennomgår nærmere de ulike veiene til å skaffe
-inntekter til innholdsleverandører, organisasjoner og bedrifter vi
-intervjuet. Det er nyanser skjult i de spesifikke måtene hver og en av dem
-tjener penger på, så det er litt farlig å generalisere for mye fra hva vi
-fant. Likevel, å ta et skritt tilbake og vise ting fra et høyere
-abstraksjonsnivå, kan være lærerikt.
- </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Markedsbaserte inntektsstr
ømmer</h3></div></div></div><p>
- I markedet er det sentrale spørsmålet når vi bestemmer hvordan vi skal få
-inntekter, hvor mye folk er villige til å betale.<a href="#ftn.idm585" class="footnote" name="idm585"><sup class="footnote">[68]</sup></a> Per definisjon, hvis du gjør ting med Creative
+ Våre referansestudier gjennomgår nærmere de ulike veiene til å skaffe
+inntekter til innholdsleverandører, organisasjoner og bedrifter vi
+intervjuet. Det er nyanser skjult i de spesifikke måtene hver og en av dem
+tjener penger på, så det er litt farlig å generalisere for mye fra hva vi
+fant. Likevel, å ta et skritt tilbake og vise ting fra et høyere
+abstraksjonsnivå, kan være lærerikt.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Markedsbaserte inntektsstr
ømmer</h3></div></div></div><p>
+ I markedet er det sentrale spørsmålet når vi bestemmer hvordan vi skal få
+inntekter, hvor mye folk er villige til å betale.<a href="#ftn.idm585" class="footnote" name="idm585"><sup class="footnote">[68]</sup></a> Per definisjon, hvis du gjør ting med Creative
Commons, er innholdet du gir tilgjengelig gratis og ikke en markedsvare. I
-den allestedsnærværende freemium-modellen (som kombinerer
-<span class="quote">«<span class="quote">free</span>»</span> og <span class="quote">«<span class="quote">premium</span>»</span>-utgaver av et produkt eller en
-tjeneste, der inntjeningen ligger i premium-utgaven), må enhver
-markedstransaksjon med en forbruker av innholdet være basert på en
-verdi
økning du tilbyr.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[69]</sup></a>
+den allestedsnærværende freemium-modellen (som kombinerer
+<span class="quote">«<span class="quote">free</span>»</span> og <span class="quote">«<span class="quote">premium</span>»</span>-utgaver av et produkt eller en
+tjeneste, der inntjeningen ligger i premium-utgaven), må enhver
+markedstransaksjon med en forbruker av innholdet være basert på en
+verdi
økning du tilbyr.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[69]</sup></a>
</p><p>
- På mange måter er dette slik det vil være i fremtiden for alle
+ På mange måter er dette slik det vil være i fremtiden for alle
innholdsdrevne bestrebelser. I markedet er verdien i ting det er mangel
-på. Når Internett gjør et univers av innhold gratis tilgjengelig for oss,
-blir det vanskelig å få folk til å betale for innhold på
+på. Når Internett gjør et univers av innhold gratis tilgjengelig for oss,
+blir det vanskelig å få folk til å betale for innhold på
nettet. Avisbransjens utfordringer er et uttrykk for dette faktum. Dette er
-forverret av det faktum at en del kopiering trolig er uunngåelig. Det betyr
-at du kan ende opp med å konkurrere med gratisutgaver av ditt eget innhold,
+forverret av det faktum at en del kopiering trolig er uunngåelig. Det betyr
+at du kan ende opp med å konkurrere med gratisutgaver av ditt eget innhold,
enten du ser gjennom fingrene med det eller ikke.<a href="#ftn.idm592" class="footnote" name="idm592"><sup class="footnote">[70]</sup></a> Hvis folk lett kan finne innholdet gratis, vil det
-være vanskelig å få folk til å kjøpe det, spesielt i en sammenheng der
-tilgang til innhold er viktigere enn å eie den. I Free skrev Anderson:
-<span class="quote">«<span class="quote">Opphavsrettigheter, enten regelfestet i lov eller i programvaren, er
-i enkelhet å holde en pris opp imot tyngdekraften</span>»</span>.
+være vanskelig å få folk til å kjøpe det, spesielt i en sammenheng der
+tilgang til innhold er viktigere enn å eie den. I Free skrev Anderson:
+<span class="quote">«<span class="quote">Opphavsrettigheter, enten regelfestet i lov eller i programvaren, er
+i enkelhet å holde en pris opp imot tyngdekraften</span>»</span>.
</p><p>
- Dette betyr selvfølgelig ikke at innholdsdrevne bestrebelser ikke har noen
-fremtid på det tradisjonelle markedet. I Free forklarer Anderson at når et
+ Dette betyr selvfølgelig ikke at innholdsdrevne bestrebelser ikke har noen
+fremtid på det tradisjonelle markedet. I Free forklarer Anderson at når et
produkt eller en tjeneste blir gratis, som informasjon og innhold i stor
grad blir i den digitale tidsalderen, blir andre ting mer verdifulle.
-<span class="quote">«<span class="quote">Hver overflod skaper en ny knapphet</span>»</span>, skrev han. Du må bare
-finne en måte noe annet enn innholdet kan gi verdi til ditt publikum eller
-dine kunder. Som Anderson sier, <span class="quote">«<span class="quote">det er lett å konkurrere med gratis:
+<span class="quote">«<span class="quote">Hver overflod skaper en ny knapphet</span>»</span>, skrev han. Du må bare
+finne en måte noe annet enn innholdet kan gi verdi til ditt publikum eller
+dine kunder. Som Anderson sier, <span class="quote">«<span class="quote">det er lett å konkurrere med gratis:
Bare tilby noe bedre, eller i det minste forskjellig fra
-gratisversjonen</span>»</span>.<a href="#ftn.idm598" class="footnote" name="idm598"><sup class="footnote">[71]</sup></a>
+gratisversjonen</span>
»</span>.<a href="#ftn.idm598" class="footnote" name="idm598"><sup class="footnote">[71]</sup></a>
</p><p>
- I lys av dette faktum er det på noen måter slik innhold som er gjort med
-Creative Commons stiller på like vilkår med alle innholdsbaserte
+ I lys av dette faktum er det på noen måter slik innhold som er gjort med
+Creative Commons stiller på like vilkår med alle innholdsbaserte
bestrebelser i den digitale tidsalderen. De kan faktisk selv ha en fordel
-fordi de kan bruke innholdsoverfloden til å få inntekter fra noen det er
-knapphet på. De kan også nyttiggjøre seg velviljen som stammer fra
-verdisettet til det å være gjort med Creative Commons.
+fordi de kan bruke innholdsoverfloden til å få inntekter fra noen det er
+knapphet på. De kan også nyttiggjøre seg velviljen som stammer fra
+verdisettet til det å være gjort med Creative Commons.
</p><p>
- For innholdskapere og distributører er det nesten uendelige måter å gi verdi
+ For innholdskapere og distributører er det nesten uendelige måter å gi verdi
til forbrukerne av ditt arbeid, over og utover verdien av det som er
innenfor ditt gratis digitale innhold. Ofte fungerer det CC-lisensierte
-innholdet som et markedsføringsverktøy for de betalte produkter eller
+innholdet som et markedsføringsverktøy for de betalte produkter eller
tjenester.
</p><p>
- Her er de vanligste høynivå kategoriene.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Å tilby en tilpasset tjeneste til brukere av ditt arbeid
+ Her er de vanligste høynivå kategoriene.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Å tilby en tilpasset tjeneste til brukere av ditt arbeid
<span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
- I denne informasjonsalderens overflod mangler vi ikke innhold. Trikset er å
-finne innhold som treffer våre behov og ønsker, så tilpassede tjenester er
-spesielt verdifulle. Som Anderson skrev, <span class="quote">«<span class="quote">Informasjon for alle (alle
-får den samme versjonen) ønsker å være fri. Tilpasset informasjon (du får
-noe unikt og meningsfullt for deg) ønsker å være
-kostbar</span>»</span>.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[72]</sup></a> Dette kan være alt fra
-kunstneriske og kulturelle rådgivingstjenester som tilbys av Ártica til det
-skreddersydde sangtilbudet fra Jonathan <span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>
+ I denne informasjonsalderens overflod mangler vi ikke innhold. Trikset er å
+finne innhold som treffer våre behov og ønsker, så tilpassede tjenester er
+spesielt verdifulle. Som Anderson skrev, <span class="quote">«<span class="quote">Informasjon for alle (alle
+får den samme versjonen) ønsker å være fri. Tilpasset informasjon (du får
+noe unikt og meningsfullt for deg) ønsker å være
+kostbar</span>»</span>.<a href="#ftn.idm608" class="footnote" name="idm608"><sup class="footnote">[72]</sup></a> Dette kan være alt fra
+kunstneriske og kulturelle rådgivingstjenester som tilbys av Ártica til det
+skreddersydde sangtilbudet fra Jonathan <span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>
Mann.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>
Å ta betalt for den fysiske kopien <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>
Å ta betalt for den fysiske kopien <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
I sin bok om skaperkulturen karakteriserer Anderson denne modellen ved at
den gir bort biter og selger atomene (der biter refererer til digitalt
-innhold og atomer refererer til et fysisk objekt).<a href="#ftn.idm615" class="footnote" name="idm615"><sup class="footnote">[73]</sup></a> Dette er særlig vellykket i domener der den
-digitale versjonen av innholdet ikke er så verdifull som den analoge
+innhold og atomer refererer til et fysisk objekt).<a href="#ftn.idm615" class="footnote" name="idm615"><sup class="footnote">[73]</sup></a> Dette er særlig vellykket i domener der den
+digitale versjonen av innholdet ikke er så verdifull som den analoge
versjonen, som i bokpublisering der en stor undergruppe fortsatt foretrekker
-å lese noe de kan holde i hendene, eller i domener der innholdet ikke er
-nyttig før det er i fysisk form, som møbeldesign. I slike situasjoner vil en
-betydelig del av forbrukerne betale for nytten av å ha noen andre til å
+å lese noe de kan holde i hendene, eller i domener der innholdet ikke er
+nyttig før det er i fysisk form, som møbeldesign. I slike situasjoner vil en
+betydelig del av forbrukerne betale for nytten av å ha noen andre til å
sette sammen den fysiske versjonen for dem. Noen bidragsytere klemmer enda
-mer ut av denne inntektsstrømmen ved hjelp av en Creative Commons-lisens som
+mer ut av denne inntektsstrømmen ved hjelp av en Creative Commons-lisens som
bare tillater ikke-kommersiell bruk, noe som betyr at ingen andre kan selge
-fysiske kopier av arbeidet i konkurranse med dem. Denne strategien for å
-reservere kommersielle rettigheter kan være spesielt viktig for varer som
-bøker, der hver utskrift av det samme arbeidet sannsynligvis har samme
-kvalitet, så det er vanskeligere å skille en publiseringstjeneste fra en
-annen. På den annen side, for varer som møbler eller elektronikk, kan
-leverandøren av de fysiske varene konkurrere med andre leverandører av de
-samme varene basert på kvalitet, tjeneste eller andre tradisjonelle
+fysiske kopier av arbeidet i konkurranse med dem. Denne strategien for å
+reservere kommersielle rettigheter kan være spesielt viktig for varer som
+bøker, der hver utskrift av det samme arbeidet sannsynligvis har samme
+kvalitet, så det er vanskeligere å skille en publiseringstjeneste fra en
+annen. På den annen side, for varer som møbler eller elektronikk, kan
+leverandøren av de fysiske varene konkurrere med andre leverandører av de
+samme varene basert på kvalitet, tjeneste eller andre tradisjonelle
forretningsprinsipper.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>
Å ta betalt for en personlig versjon <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
- Som alle som noensinne har gått på en konsert vil fortelle deg, å oppleve
-kreativitet personlig er en helt annen opplevelse i forhold til å oppleve en
-digital kopi på egenhånd. Langt fra å være en erstatning for å samhandle
-ansikt til ansikt, kan CC-lisensiert innhold faktisk skape etterspørsel
-etter å oppleve dette som en personlig erfaring. Du kan se denne effekten
-når folk går for å se original kunst personlig, eller betaler for å delta på
-et tale- eller opplæringskurs.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>
Å selge handelsvarer <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>
Å ta betalt for en personlig versjon <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
+ Som alle som noensinne har gått på en konsert vil fortelle deg, å oppleve
+kreativitet personlig er en helt annen opplevelse i forhold til å oppleve en
+digital kopi på egenhånd. Langt fra å være en erstatning for å samhandle
+ansikt til ansikt, kan CC-lisensiert innhold faktisk skape etterspørsel
+etter å oppleve dette som en personlig erfaring. Du kan se denne effekten
+når folk går for å se original kunst personlig, eller betaler for å delta på
+et tale- eller opplæringskurs.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>
Å selge handelsvarer <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
I mange tilfeller vil folk som liker ditt arbeid betale for produkter som
viser en forbindelse til ditt arbeid. Som barn i 1980, kan jeg personlig
-bekrefte kraften i en T-skjorte fra en god konsert. Dette kan også være en
+bekrefte kraften i en T-skjorte fra en god konsert. Dette kan også være en
viktig inntektskilde for museer og gallerier.
</p><p>
- Noen ganger kan en finne en markedsbasert inntektsstrøm ved å gi verdi til
+ Noen ganger kan en finne en markedsbasert inntektsstrøm ved å gi verdi til
andre enn dem som bruker ditt CC-lisensierte innhold. I disse
-inntektsstrømmene blir gratis innhold subsidiert av en helt annen kategori
+inntektsstrømmene blir gratis innhold subsidiert av en helt annen kategori
personer eller bedrifter. Ofte betaler disse personene eller bedriftene for
-tilgang til din viktigste målgruppe. Det faktum at innholdet er gratis, øker
-størrelsen på publikumet, som igjen gjør tilbudet mer verdifullt for de
+tilgang til din viktigste målgruppe. Det faktum at innholdet er gratis, øker
+størrelsen på publikumet, som igjen gjør tilbudet mer verdifullt for de
betalende kundene. Dette er en variant av en tradisjonell forretningsmodell
-bygget på frie såkalte flersidige-plattformer.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[74]</sup></a> Tilgang til ditt publikum er ikke det eneste folk er villige til å
-betale for, du kan også levere andre tjenester.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Ta betalt fra annons
ører og sponsorer <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
- Den tradisjonelle modellen for å subsidiere gratis innhold er reklame. I
-denne versjonen av flersidige plattformer, betaler annonsørene for
-muligheten til kontakt til rekken av <span class="quote">«<span class="quote">antall øyne som ser</span>»</span> i
-innholdsleverand
ørenes publikum.<a href="#ftn.idm633" class="footnote" name="idm633"><sup class="footnote">[75]</sup></a>
+bygget på frie såkalte flersidige-plattformer.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[74]</sup></a> Tilgang til ditt publikum er ikke det eneste folk er villige til å
+betale for, du kan også levere andre tjenester.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Ta betalt fra annons
ører og sponsorer <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
+ Den tradisjonelle modellen for å subsidiere gratis innhold er reklame. I
+denne versjonen av flersidige plattformer, betaler annonsørene for
+muligheten til kontakt til rekken av <span class="quote">«<span class="quote">antall øyne som ser</span>»</span> i
+innholdsleverand
ørenes publikum.<a href="#ftn.idm633" class="footnote" name="idm633"><sup class="footnote">[75]</sup></a>
Internett har gjort denne modellen vanskeligere fordi antallet
-tilgjengelige, mulige kanaler for å nå det aktuelle antallet er i bunn og
+tilgjengelige, mulige kanaler for å nå det aktuelle antallet er i bunn og
grunn blitt uendelig.<a href="#ftn.idm635" class="footnote" name="idm635"><sup class="footnote">[76]</sup></a> Likevel, det er
fortsatt en livskraftig inntektskilde for mange innholdsskapere, inkludert
-dem som gjør ting med Creative Commons. Ofte, i stedet for betaling for å
-vise reklame, betaler annonsøren for å være en offisiell sponsor av et
-bestemt innhold, prosjekter eller oppgaven som sådan.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Betaling fra dine innholdsleverand
ører <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
+dem som gjør ting med Creative Commons. Ofte, i stedet for betaling for å
+vise reklame, betaler annonsøren for å være en offisiell sponsor av et
+bestemt innhold, prosjekter eller oppgaven som sådan.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Betaling fra dine innholdsleverand
ører <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
En annen type flerfasettet plattform er der de som lager innholdet selv
-betaler for å bli fremhevet på plattformen. Selvfølgelig er denne
-inntektsstrømmen bare tilgjengelig for dem som baserer seg på verk som er
+betaler for å bli fremhevet på plattformen. Selvfølgelig er denne
+inntektsstrømmen bare tilgjengelig for dem som baserer seg på verk som er
laget, i all fall delvis, av andre. Den mest kjente versjonen av denne
-modellen er <span class="quote">«<span class="quote">forfatteravgift,</span>»</span> i tidsskrifter med åpen tilgang,
-a la de som er publisert av Public Library of Science, men det finnes også
-andre varianter. The Conversation er primært finansiert med en
+modellen er <span class="quote">«<span class="quote">forfatteravgift,</span>»</span> i tidsskrifter med åpen tilgang,
+a la de som er publisert av Public Library of Science, men det finnes også
+andre varianter. The Conversation er primært finansiert med en
universitetets medlemskapsmodell, der universiteter betaler for at
forskerne der bidrar som forfattere som leverer innhold til Conversations
nettside.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Transaksjonsgebyr <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
- Dette er en versjon av en tradisjonell modell basert på
+ Dette er en versjon av en tradisjonell modell basert på
meglingstransaksjoner mellom deltakere.<a href="#ftn.idm646" class="footnote" name="idm646"><sup class="footnote">[77]</sup></a>
Utvalg og organisering er et viktig element i denne modellen. Plattformer
-som Noun-prosjektet tilfører verdi ved å gå igjennom CC-lisensiert innhold
-for å velge ut biter med høy kvalitet, og så utlede inntekt når
-innholdsleverandørene gjør transaksjoner med kunder. Andre plattformer
-tjener penger når tjenesteleverandører gjør transaksjoner med kundene deres;
-for eksempel tjener Opendesk penger hver gang noen på deres nettsted betaler
-en håndverker for å lage møbler basert på ett av designene på plattformen.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Levere en tjeneste til dine innholdsleverandører
+som Noun-prosjektet tilfører verdi ved å gå igjennom CC-lisensiert innhold
+for å velge ut biter med høy kvalitet, og så utlede inntekt når
+innholdsleverandørene gjør transaksjoner med kunder. Andre plattformer
+tjener penger når tjenesteleverandører gjør transaksjoner med kundene deres;
+for eksempel tjener Opendesk penger hver gang noen på deres nettsted betaler
+en håndverker for å lage møbler basert på ett av designene på plattformen.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Levere en tjeneste til dine innholdsleverandører
<span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
Som nevnt ovenfor, kan et innhold gi fortjeneste ved at det leveres
tilpassede tjenester til brukerne. Plattformer kan gi en variant av denne
-tjenestemodellen rettet mot innholdsleverandører som legger inn et innhold
-de får omtalt. Dataplattformene Figure.NZ og Figshare utnytter denne
-modellen ved å tilby betalte verktøy for å hjelpe sine brukere å gjøre
+tjenestemodellen rettet mot innholdsleverandører som legger inn et innhold
+de får omtalt. Dataplattformene Figure.NZ og Figshare utnytter denne
+modellen ved å tilby betalte verktøy for å hjelpe sine brukere å gjøre
dataene de bidrar med til plattformen mer synlige og gjenbrukbare.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Lisensiere et varemerke <span class="emphasis"><em>[MARKEDSBASERT]</em></span></h3></div></div></div><p>
- Endelig tjener noen som gjør ting med Creative Commons penger på å selge
+ Endelig tjener noen som gjør ting med Creative Commons penger på å selge
bruk av varemerker. Kjente merker som forbrukerne forbinder med kvalitet,
troverdighet, eller selv en holdning (etos) kan lisensiere varemerket til
-selskaper som ønsker å dra nytte av dets goodwill. Per definisjon er
+selskaper som ønsker å dra nytte av dets goodwill. Per definisjon er
varemerker knappe fordi de representerer et bestemt opphav for et gode eller
-en tjeneste. Å ta betalt for muligheten til å bruke det varemerket er en
-måte å skaffe inntekt fra noe det er knapphet på, og samtidig utnytte
+en tjeneste. Å ta betalt for muligheten til å bruke det varemerket er en
+måte å skaffe inntekt fra noe det er knapphet på, og samtidig utnytte
fordelen av overfloden av CC-innhold.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Gjensidighetsbaserte inntektsstr
ømmer</h3></div></div></div><p>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Gjensidighetsbaserte inntektsstr
ømmer</h3></div></div></div><p>
Selv om vi ser bort fra ekstern prosjektfinansiering, fant vi at
-tradisjonelle økonomiske rammen for å forstå markedet ikke fullt ut fanger
-måtene den innsatsen vi analyserte for å tjene penger. Det handlet ikke bare
-om å tjene penger på knapphet.
+tradisjonelle økonomiske rammen for å forstå markedet ikke fullt ut fanger
+måtene den innsatsen vi analyserte for å tjene penger. Det handlet ikke bare
+om å tjene penger på knapphet.
</p><p>
- I stedet for å utarbeide en plan for å få folk til å betale penger for noe
-som gir dem direkte verdi, handlet mange av inntektsstrømmene mer om å tilby
-noe verdifullt, bygge forhold, og så eventuelt finne noen penger som
-strømmer tilbake ut fra en forståelse av gjensidighet. Mens noe ser ut som
+ I stedet for å utarbeide en plan for å få folk til å betale penger for noe
+som gir dem direkte verdi, handlet mange av inntektsstrømmene mer om å tilby
+noe verdifullt, bygge forhold, og så eventuelt finne noen penger som
+strømmer tilbake ut fra en forståelse av gjensidighet. Mens noe ser ut som
tradisjonelle veldedige finansieringsmodeller, er de ikke det. Innsatsen
-utveksler verdier mellom mennesker, bare ikke nødvendigvis synkront eller på
-en måte som krever lik verdi. Som David Bollier skrev i Think Like a
-Commoner, <span class="quote">«<span class="quote">Det er ingen iboende kalkyle til egen vinning i om verdien
-gitt og mottatt er helt lik</span>»</span>.
+utveksler verdier mellom mennesker, bare ikke nødvendigvis synkront eller på
+en måte som krever lik verdi. Som David Bollier skrev i Think Like a
+Commoner, <span class="quote">«<span class="quote">Det er ingen iboende kalkyle til egen vinning i om verdien
+gitt og mottatt er helt lik</span>»</span>.
</p><p>
- Dette bør være en kjent dynamikk – det er slik du behandler venner og
+ Dette bør være en kjent dynamikk – det er slik du behandler venner og
familie. Offer uten hensyn til gjengjeldelse og tidsperspektiv. David
-Bollier skrev, <span class="quote">«<span class="quote">Gjensidig sosial utveksling ligger i hjertet av
+Bollier skrev, <span class="quote">«<span class="quote">Gjensidig sosial utveksling ligger i hjertet av
menneskets identitet, samfunn og kultur. Det er en viktig hjernefunksjon som
-hjelper menneskeheten i sin overlevelse og utvikling</span>»</span>.
+hjelper menneskeheten i sin overlevelse og utvikling</span>»</span>.
</p><p>
- Det som er sjelden, er å innlemme slike forhold i en innsats som også favner
-markedet.<a href="#ftn.idm664" class="footnote" name="idm664"><sup class="footnote">[78]</sup></a> Vi kan nesten ikke unngå å
-tenke på markedsrelasjoner som sentrert, uten gjensidig utveksling av
+ Det som er sjelden, er å innlemme slike forhold i en innsats som også favner
+markedet.<a href="#ftn.idm664" class="footnote" name="idm664"><sup class="footnote">[78]</sup></a> Vi kan nesten ikke unngå å
+tenke på markedsrelasjoner som sentrert, uten gjensidig utveksling av
verdi.<a href="#ftn.idm666" class="footnote" name="idm666"><sup class="footnote">[79]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Medlemskap og individuelle donasjoner
<span class="emphasis"><em>[GJENSIDIGHETSBASERT]</em></span></h3></div></div></div><p>
Mens medlemskap og donasjoner er tradisjonelle veldedige
finansieringsmodeller, er det i sammenhenger gjort med Creative Commons,
direkte knyttet til det gjensidige forholdet dyrket med de som nyter godt av
-arbeidet. Jo større mengde som mottar verdi fra innholdet, jo mer sannsynlig
+arbeidet. Jo større mengde som mottar verdi fra innholdet, jo mer sannsynlig
er det at denne strategien vil fungere, gitt at bare en liten prosentandel
-av brukerne sannsynligvis vil bidra. Siden det å bruke CC-lisenser kan smøre
-hjulene for at innhold skal nå flere mennesker, kan denne strategien være
+av brukerne sannsynligvis vil bidra. Siden det å bruke CC-lisenser kan smøre
+hjulene for at innhold skal nå flere mennesker, kan denne strategien være
mer effektiv for innsatser gjort med Creative Commons. Jo viktigere
argumentet er for at innholdet er et kollektivt gode, eller at hele
innsatsen skal fremme en sosial oppgave, jo mer sannsynlig er det at denne
strategien lykkes.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>Betal-hva-du-vil-modellen <span class="emphasis"><em>[GJENSIDIGHETSBASERT]</em></span></h3></div></div></div><p>
- I betal-så-mye-du-vil-modellen blir de som har glede av Creative
-Commons-innholdet bedt om å gi et beløp de synes de har råd til og opplever
-som rimelig, basert på verdien de opplever, både offentlig og personlig, ble
-frembrakt av det åpne innholdet. Det kritiske er at disse modellene er ikke
-beskrevet som å <span class="quote">«<span class="quote">kjøpe</span>»</span> noe fritt tilgjengelig. De er som et
-glass for tips. Folk gir et økonomiske bidrag som en takk. Disse modellene
-kapitaliserer på det faktum at vi er naturlig tilbøyelige til å gi penger
-for tingene vi setter pris på i markedet, selv i situasjoner der vi ellers
-kan finne en måte å få det gratis.
+ I betal-så-mye-du-vil-modellen blir de som har glede av Creative
+Commons-innholdet bedt om å gi et beløp de synes de har råd til og opplever
+som rimelig, basert på verdien de opplever, både offentlig og personlig, ble
+frembrakt av det åpne innholdet. Det kritiske er at disse modellene er ikke
+beskrevet som å <span class="quote">«<span class="quote">kjøpe</span>»</span> noe fritt tilgjengelig. De er som et
+glass for tips. Folk gir et økonomiske bidrag som en takk. Disse modellene
+kapitaliserer på det faktum at vi er naturlig tilbøyelige til å gi penger
+for tingene vi setter pris på i markedet, selv i situasjoner der vi ellers
+kan finne en måte å få det gratis.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Folkefinansiering <span class="emphasis"><em>[GJENSIDIGHETSBASERT]</em></span></h3></div></div></div><p>
- Folkefinansiering er modeller basert på å tjene inn kostnadene ved å lage og
-distribuere innhold før innholdet er laget. Hvis innsatsen gjøres med
-Creative Commons, så kan de som ønsker det aktuelle verket bare vente til
-det blir laget, og deretter få tilgang til det gratis. Det betyr, for å få
-denne modellen til å virke, at folk må bry seg om mer enn å bare motta
-verket. De må ønske at du skal lykkes. Amanda Palmer tillegger suksessen med
-folkefinansiering av Kickstarter og Patreon til årene hun brukte til bygge
+ Folkefinansiering er modeller basert på å tjene inn kostnadene ved å lage og
+distribuere innhold før innholdet er laget. Hvis innsatsen gjøres med
+Creative Commons, så kan de som ønsker det aktuelle verket bare vente til
+det blir laget, og deretter få tilgang til det gratis. Det betyr, for å få
+denne modellen til å virke, at folk må bry seg om mer enn å bare motta
+verket. De må ønske at du skal lykkes. Amanda Palmer tillegger suksessen med
+folkefinansiering av Kickstarter og Patreon til årene hun brukte til bygge
opp sitt fellesskap, og utvikle koblingen med tilhengerne sine. Hun skrev i
-The Art og Asking, <span class="quote">«<span class="quote">God kunst lages, god kunst deles, hjelp tilbys,
-ører spisset, følelser utveksles, kompost bestående av ekte og dyp
-forbindelse er spredt over åkrene. Så en dag trapper kunstneren opp og ber
-om noe. Og hvis jorden er gjødslet nok, svarer publikum, uten å nøle:
-Selvfølgelig</span>»</span>.
+The Art og Asking, <span class="quote">«<span class="quote">God kunst lages, god kunst deles, hjelp tilbys,
+ører spisset, følelser utveksles, kompost bestående av ekte og dyp
+forbindelse er spredt over åkrene. Så en dag trapper kunstneren opp og ber
+om noe. Og hvis jorden er gjødslet nok, svarer publikum, uten å nøle:
+Selvfølgelig</span>»</span>.
</p><p>
- Andre typer folkefinansiering bygger på en ansvarsfølelse som et bestemt
+ Andre typer folkefinansiering bygger på en ansvarsfølelse som et bestemt
fellesskap kan ha. Knowledge Unlatched samler opp midler fra store
-amerikanske biblioteker for å støtte CC-lisensiert akademisk arbeid som vil
-bli, per definisjon, tilgjengelig gratis for alle. Biblioteker med større
-budsjetter tenderer til å gi mer av en følelse av forpliktelse til
-biblioteksamfunnet, og ideen om åpen tilgang generelt.
- </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>
Å bygge menneskelige forbindelser</h2></div></div></div><p>
- Uansett hvordan de tjente penger, hørte vi gjentatte ganger i våre
-intervjuer ord som <span class="quote">«<span class="quote">å overtale folk til å kjøpe</span>»</span> og
-<span class="quote">«<span class="quote">invitere folk til å betale</span>»</span>. Vi hørte det selv i forbindelse
-med inntektsstrømmer som er helt og holdent internt i markedet. Cory
-Doctorow fortalte oss, <span class="quote">«<span class="quote">Jeg må overbevise mine lesere om at det
-riktige å gjøre er å betale meg</span>»</span>. Grunnleggerne av det kommersielle
-selskapet Lumen Learning, viste oss brevet de sender til dem som velger å
+amerikanske biblioteker for å støtte CC-lisensiert akademisk arbeid som vil
+bli, per definisjon, tilgjengelig gratis for alle. Biblioteker med større
+budsjetter tenderer til å gi mer av en følelse av forpliktelse til
+biblioteksamfunnet, og ideen om åpen tilgang generelt.
+ </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>
Å bygge menneskelige forbindelser</h2></div></div></div><p>
+ Uansett hvordan de tjente penger, hørte vi gjentatte ganger i våre
+intervjuer ord som <span class="quote">«<span class="quote">å overtale folk til å kjøpe</span>»</span> og
+<span class="quote">«<span class="quote">invitere folk til å betale</span>»</span>. Vi hørte det selv i forbindelse
+med inntektsstrømmer som er helt og holdent internt i markedet. Cory
+Doctorow fortalte oss, <span class="quote">«<span class="quote">Jeg må overbevise mine lesere om at det
+riktige å gjøre er å betale meg</span>»</span>. Grunnleggerne av det kommersielle
+selskapet Lumen Learning, viste oss brevet de sender til dem som velger å
ikke betale for tjenestene de leverer med sitt CC-lisensierte
-utdanningsinnhold. Det er ikke et «cease-and-desist»-brev
-(«oppsigelsebrev»); det er en invitasjon til å betale fordi det er den
-riktige tingen å gjøre. Denne typen atferd overfor hva som kan anses som
-ikke betalende kunder, er hovedsakelig uhørt på den tradisjonelle
-markedsplassen. Men det synes å være en del av strukturen i å være gjort med
+utdanningsinnhold. Det er ikke et «cease-and-desist»-brev
+(«oppsigelsebrev»); det er en invitasjon til å betale fordi det er den
+riktige tingen å gjøre. Denne typen atferd overfor hva som kan anses som
+ikke betalende kunder, er hovedsakelig uhørt på den tradisjonelle
+markedsplassen. Men det synes å være en del av strukturen i å være gjort med
Creative Commons.
</p><p>
- Omtrent enhver innsats vi undersøkte baserte seg, i hvert fall delvis, på at
-folk legger stor innsats i det de gjør. Jo nærmere Creative Commons-innhold
-er i å være <span class="quote">«<span class="quote">produktet</span>»</span>, jo mer uttalt må denne dynamikken
-være. I stedet for bare å selge et produkt eller en service, knytter de
+ Omtrent enhver innsats vi undersøkte baserte seg, i hvert fall delvis, på at
+folk legger stor innsats i det de gjør. Jo nærmere Creative Commons-innhold
+er i å være <span class="quote">«<span class="quote">produktet</span>»</span>, jo mer uttalt må denne dynamikken
+være. I stedet for bare å selge et produkt eller en service, knytter de
ideologiske, personlige og kreative forbindelser med folk som verdsetter det
-de gjør.
+de gjør.
</p><p>
- Det tok meg lang tid å se hvordan dette å unngå å tenke på hva de gjør i
-rene markedstermer, var sterkt knyttet til å bruke Creative Commons.
+ Det tok meg lang tid å se hvordan dette å unngå å tenke på hva de gjør i
+rene markedstermer, var sterkt knyttet til å bruke Creative Commons.
</p><p>
- Jeg kom til prosjektet med forhåndsoppfatningen om hva Creative Commons er,
-og hva det betyr å gjøre ting med Creative Commons. Det viste seg at jeg tok
-feil på så mange punkter.
+ Jeg kom til prosjektet med forhåndsoppfatningen om hva Creative Commons er,
+og hva det betyr å gjøre ting med Creative Commons. Det viste seg at jeg tok
+feil på så mange punkter.
</p><p>
- Selvfølgelig er å gjøre ting med Creative Commons å bruke Creative
-Commons-lisenser. Så mye visste jeg. Men i våre intervjuer snakket folk om
-så mye mer enn opphavsrettigheter når de forklarte hvordan deling passer inn
-i hva de gjør. Jeg tenkte for smalt på deling, og resultatet var at jeg
+ Selvfølgelig er å gjøre ting med Creative Commons å bruke Creative
+Commons-lisenser. Så mye visste jeg. Men i våre intervjuer snakket folk om
+så mye mer enn opphavsrettigheter når de forklarte hvordan deling passer inn
+i hva de gjør. Jeg tenkte for smalt på deling, og resultatet var at jeg
hadde store sprekker i meningen som er pakket inn i Creative
-Commons. Snarere enn å analysere den spesifikke og smale rollen til
-opphavsretten i sammenhengen, er det viktig å ikke skille ut resten av det
-som følger med deling. Du må utvide synsfeltet.
+Commons. Snarere enn å analysere den spesifikke og smale rollen til
+opphavsretten i sammenhengen, er det viktig å ikke skille ut resten av det
+som følger med deling. Du må utvide synsfeltet.
</p><p>
- Å gjøre ting med Creative Commons dreier seg ikke bare om den enkle
-handlingen å lisensiere et åndsprodukt med et sett standardiserte vilkår,
-men også om fellesskap, sosial nytte, å bidra med ideer, uttrykke et
-verdisystem, samarbeide. Det er vanskelig å kultivere delingskomponentene
-hvis du tenker på hva du gjør med ren markedstenkning. Anstendig sosial
-atferd er ikke like intuitivt når vi gjør noe med en monetær utveksling. Det
-kreves en bevisst innsats for å fremme en kontekst med ekte deling, ikke
-bare basert på upersonlig utveksling i markedet, men på forbindelsene med
-folk som du deler med – forbindelsene til deg, med arbeidet ditt, med dine
+ Å gjøre ting med Creative Commons dreier seg ikke bare om den enkle
+handlingen å lisensiere et åndsprodukt med et sett standardiserte vilkår,
+men også om fellesskap, sosial nytte, å bidra med ideer, uttrykke et
+verdisystem, samarbeide. Det er vanskelig å kultivere delingskomponentene
+hvis du tenker på hva du gjør med ren markedstenkning. Anstendig sosial
+atferd er ikke like intuitivt når vi gjør noe med en monetær utveksling. Det
+kreves en bevisst innsats for å fremme en kontekst med ekte deling, ikke
+bare basert på upersonlig utveksling i markedet, men på forbindelsene med
+folk som du deler med – forbindelsene til deg, med arbeidet ditt, med dine
verdier, med hverandre.
</p><p>
- I resten av denne seksjonen vil vi gjennomgå noen av de vanlige strategiene
-som innholdsleverandører, selskaper og organisasjoner bruker for å minne oss
-på at det finnes mennesker bak ethvert kreativt arbeid. For å minne oss om
-at vi har forpliktelser overfor hverandre. For å minne oss om hvordan
+ I resten av denne seksjonen vil vi gjennomgå noen av de vanlige strategiene
+som innholdsleverandører, selskaper og organisasjoner bruker for å minne oss
+på at det finnes mennesker bak ethvert kreativt arbeid. For å minne oss om
+at vi har forpliktelser overfor hverandre. For å minne oss om hvordan
deling virkelig ser ut.
- </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>V
ær menneskelig</h3></div></div></div><p>
- Mennesker er sosiale dyr, noe som betyr at vi er naturlig tilbøyelig til å
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>V
ær menneskelig</h3></div></div></div><p>
+ Mennesker er sosiale dyr, noe som betyr at vi er naturlig tilbøyelig til å
behandle hverandre godt.<a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[80]</sup></a> Men jo
fjernere vi er fra personen som vi samhandler med, jo mindre omsorgsfull vil
-vår atferd være. Mens Internett har demokratisert kulturell produksjon, har
-økt tilgangen til kunnskap, og koblet oss sammen på ekstraordinære måter,
-kan det også gjøre det lett å glemme at vi arbeider med et annet menneske.
+vår atferd være. Mens Internett har demokratisert kulturell produksjon, har
+økt tilgangen til kunnskap, og koblet oss sammen på ekstraordinære måter,
+kan det også gjøre det lett å glemme at vi arbeider med et annet menneske.
</p><p>
- For å motvirke de anonyme og upersonlige tendensene i hvordan vi opererer på
+ For å motvirke de anonyme og upersonlige tendensene i hvordan vi opererer på
nettet, arbeider individuelle skapere og selskaper, som bruker Creative
-Commons-lisenser, med å demonstrere sin menneskelighet. For noen betyr dette
-å legge ut livene sine på nettsiden. For andre betyr dette å vise sin
-kreative prosess, gi et innblikk i hvordan de gjør det de gjør. Som
-forfatter skrev Austin Kleon, <span class="quote">«<span class="quote">Vårt arbeid snakker ikke for seg
-selv. Mennesker ønsker å vite hvor ting kom fra, hvordan de ble laget, og
-hvem som laget dem. Historiene du fortelle om arbeidet du gjør, har stor
-innvirkning på hvordan folk føler, hva de forstår om arbeidet ditt, hvordan
-folk føler, og hva de forstår om hvordan arbeidet ditt påvirker hvordan de
-verdsetter det</span>»</span>.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[81]</sup></a>
+Commons-lisenser, med å demonstrere sin menneskelighet. For noen betyr dette
+å legge ut livene sine på nettsiden. For andre betyr dette å vise sin
+kreative prosess, gi et innblikk i hvordan de gjør det de gjør. Som
+forfatter skrev Austin Kleon, <span class="quote">«<span class="quote">Vårt arbeid snakker ikke for seg
+selv. Mennesker ønsker å vite hvor ting kom fra, hvordan de ble laget, og
+hvem som laget dem. Historiene du fortelle om arbeidet du gjør, har stor
+innvirkning på hvordan folk føler, hva de forstår om arbeidet ditt, hvordan
+folk føler, og hva de forstår om hvordan arbeidet ditt påvirker hvordan de
+verdsetter det</span>
»</span>.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[81]</sup></a>
</p><p>
- En kritisk komponent for å gjøre dette effektivt er å ikke bekymre seg om å
-være en <span class="quote">«<span class="quote">merkevare</span>»</span>. Det betyr å ikke være redd for å være
-sårbar. Amanda Palmer sier, <span class="quote">«<span class="quote">når du er redd for noens dom, klarer du
-ikke å få kontakt med dem. Du blir for fokusert på å imponere
-dem</span>»</span>. Det passer ikke for alle å leve livet som en åpen bok, som
-Palmer, og det er OK. Det er mange måter å være menneske på. Trikset er bare
-unngå å late som, og fristelsen til å lage et kunstig fremstilling. Folk
-ønsker ikke bare den blankpolerte versjonen av deg. De kan ikke forholder
-seg til det, i hvert fall ikke på en meningsfylt måte.
+ En kritisk komponent for å gjøre dette effektivt er å ikke bekymre seg om å
+være en <span class="quote">«<span class="quote">merkevare</span>»</span>. Det betyr å ikke være redd for å være
+sårbar. Amanda Palmer sier, <span class="quote">«<span class="quote">når du er redd for noens dom, klarer du
+ikke å få kontakt med dem. Du blir for fokusert på å imponere
+dem</span>»</span>. Det passer ikke for alle å leve livet som en åpen bok, som
+Palmer, og det er OK. Det er mange måter å være menneske på. Trikset er bare
+unngå å late som, og fristelsen til å lage et kunstig fremstilling. Folk
+ønsker ikke bare den blankpolerte versjonen av deg. De kan ikke forholder
+seg til det, i hvert fall ikke på en meningsfylt måte.
</p><p>
- Dette rådet er sannsynligvis enda viktigere for bedrifter og organisasjoner
-fordi vi instinktivt tenker på dem som ikke menneskelige (men i USA, er
-selskaper mennesker!). Når bedrifter og organisasjoner gjør menneskene bak
-dem mer tydelige, minner det folk om at de har å gjøre med noe annet enn en
-anonym forretningsenhet. I forretningsspråket handler dette om å
-<span class="quote">«<span class="quote">menneskeliggjøre sine samhandlinger</span>»</span> med
-offentligheten.<a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[82]</sup></a> Men det kan ikke være
-en gimmick. Du kan ikke forfalske det å være menneske.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>V
ær åpen og ansvarlig</h3></div></div></div><p>
- Gjennomnsiktighet hjelper folk å forstå hvem du er og hvorfor du gjør det du
-gjør, men det inspirerer også til tillit. Som Max Temkin i Cards Against
-Humanity fortalte oss, <span class="quote">«<span class="quote">En av de mest overraskende tingene du kan
-gjøre i kapitalismen, er bare å være ærlig med folk</span>»</span>. Det betyr at du
-deler det gode og det dårlige. Som Amanda Palmer skrev, <span class="quote">«<span class="quote">Du kan fikse
-nesten alt med ekte og pålitelig kommunikasjon</span>»</span>.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[83]</sup></a> Det handler ikke om å prøve å tilfredsstille alle,
-eller prøver å glatte over feil eller dårlige nyheter, men i stedet forklare
-hvordan du har tenkt, og så være forberedt på å forsvare det når folk er
+ Dette rådet er sannsynligvis enda viktigere for bedrifter og organisasjoner
+fordi vi instinktivt tenker på dem som ikke menneskelige (men i USA, er
+selskaper mennesker!). Når bedrifter og organisasjoner gjør menneskene bak
+dem mer tydelige, minner det folk om at de har å gjøre med noe annet enn en
+anonym forretningsenhet. I forretningsspråket handler dette om å
+<span class="quote">«<span class="quote">menneskeliggjøre sine samhandlinger</span>»</span> med
+offentligheten.<a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[82]</sup></a> Men det kan ikke være
+en gimmick. Du kan ikke forfalske det å være menneske.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>V
ær åpen og ansvarlig</h3></div></div></div><p>
+ Gjennomnsiktighet hjelper folk å forstå hvem du er og hvorfor du gjør det du
+gjør, men det inspirerer også til tillit. Som Max Temkin i Cards Against
+Humanity fortalte oss, <span class="quote">«<span class="quote">En av de mest overraskende tingene du kan
+gjøre i kapitalismen, er bare å være ærlig med folk</span>»</span>. Det betyr at du
+deler det gode og det dårlige. Som Amanda Palmer skrev, <span class="quote">«<span class="quote">Du kan fikse
+nesten alt med ekte og pålitelig kommunikasjon</span>»</span>.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[83]</sup></a> Det handler ikke om å prøve å tilfredsstille alle,
+eller prøver å glatte over feil eller dårlige nyheter, men i stedet forklare
+hvordan du har tenkt, og så være forberedt på å forsvare det når folk er
kritiske.<a href="#ftn.idm719" class="footnote" name="idm719"><sup class="footnote">[84]</sup></a>
</p><p>
- Å være ansvarlig betyr ikke å operere med konsensus. Ifølge James
-Surowiecki, tenderer konsensusdrevne grupper til å ty til løsninger basert
-på laveste fellesnevner, og unngår oppriktig utveksling av ideer i
+ Å være ansvarlig betyr ikke å operere med konsensus. Ifølge James
+Surowiecki, tenderer konsensusdrevne grupper til å ty til løsninger basert
+på laveste fellesnevner, og unngår oppriktig utveksling av ideer i
fremmingen av sunt samarbeid.<a href="#ftn.idm722" class="footnote" name="idm722"><sup class="footnote">[85]</sup></a> Isteden
-kan det være så enkelt som å be om innspill, og deretter tilby
-bindeleddsinformasjon og forklaringer på beslutninger du tar, selv om det å
+kan det være så enkelt som å be om innspill, og deretter tilby
+bindeleddsinformasjon og forklaringer på beslutninger du tar, selv om det å
be om tilbakemeldinger og innby til meningsutveksling er tidkrevende. Hvis
-du ikke tar deg bryderiet med å svare på innspillene du får, kan det være
-verre enn å ikke invitere dem i første omgang.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[86]</sup></a> Når du dog får det godt til, kan det garantere den typen mangfold i
-tenkingen som hjelper til å øke bidragene. Samtidig er det en annen måte å
-få folk involvert og investert i det du gjør.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for de gode akt
ører</h3></div></div></div><p>
- Tradisjonell økonomi forutsetter at folk tar avgjørelser basert utelukkende
-ut fra sin
økonomiske egeninteresse.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[87]</sup></a>
-Ethvert relativt selvanalyserende menneske vet at dette er en fiksjon – vi
-er mye mer kompliserte vesener med en hel rekke behov, følelser og
-motivasjoner. Faktisk er vi bundet til å samarbeide og sikre
-rettferdighet.<a href="#ftn.idm731" class="footnote" name="idm731"><sup class="footnote">[88]</sup></a> Å gjøre ting med
+du ikke tar deg bryderiet med å svare på innspillene du får, kan det være
+verre enn å ikke invitere dem i første omgang.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[86]</sup></a> Når du dog får det godt til, kan det garantere den typen mangfold i
+tenkingen som hjelper til å øke bidragene. Samtidig er det en annen måte å
+få folk involvert og investert i det du gjør.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for de gode akt
ører</h3></div></div></div><p>
+ Tradisjonell økonomi forutsetter at folk tar avgjørelser basert utelukkende
+ut fra sin
økonomiske egeninteresse.<a href="#ftn.idm729" class="footnote" name="idm729"><sup class="footnote">[87]</sup></a>
+Ethvert relativt selvanalyserende menneske vet at dette er en fiksjon – vi
+er mye mer kompliserte vesener med en hel rekke behov, følelser og
+motivasjoner. Faktisk er vi bundet til å samarbeide og sikre
+rettferdighet.<a href="#ftn.idm731" class="footnote" name="idm731"><sup class="footnote">[88]</sup></a> Å gjøre ting med
Creative Commons forutsetter en oppfatning om at folk i stor grad vil handle
ut fra disse sosiale motivasjonene, motivasjoner som ville bli betraktet som
-<span class="quote">«<span class="quote">irrasjonelle</span>»</span> i økonomisk forstand. Som Pinter i Knowlegde
-Unlatched fortalte oss, <span class="quote">«<span class="quote">det er best å ignorere mennesker som prøver å
-skremme deg med gratisturer. Den frykten er basert på et svært grunt syn på
-hva som motiverer menneskelig atferd</span>»</span>. Det vil alltid være folk som
-vil handle på rent egoistiske måter, men oppgaver som er laget med Creative
-Commons-design er for de gode aktørene.
+<span class="quote">«<span class="quote">irrasjonelle</span>»</span> i økonomisk forstand. Som Pinter i Knowlegde
+Unlatched fortalte oss, <span class="quote">«<span class="quote">det er best å ignorere mennesker som prøver å
+skremme deg med gratisturer. Den frykten er basert på et svært grunt syn på
+hva som motiverer menneskelig atferd</span>»</span>. Det vil alltid være folk som
+vil handle på rent egoistiske måter, men oppgaver som er laget med Creative
+Commons-design er for de gode aktørene.
</p><p>
- Antagelsen om at folk i stor grad vil gjøre det rette, kan være en
-selvoppfyllende profeti. <span class="quote">«<span class="quote">Systemer som antar at folk vil opptre på
-måter som skaper offentlige goder, og som gir dem muligheter og belønninger
-for å gjøre det, lar dem ofte arbeide sammen bedre enn neoklassisk økonomi
-ville forutsi</span>»</span> skrev Shirky i Cognitive Surplus.<a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[89]</sup></a> Når vi erkjenner at folk ofte er motivert av noe
-annet enn finansiell egeninteresse, utformer vi det vi gjør på måter som
-stimulerer og fremhever våre sosiale instinkter.
+ Antagelsen om at folk i stor grad vil gjøre det rette, kan være en
+selvoppfyllende profeti. <span class="quote">«<span class="quote">Systemer som antar at folk vil opptre på
+måter som skaper offentlige goder, og som gir dem muligheter og belønninger
+for å gjøre det, lar dem ofte arbeide sammen bedre enn neoklassisk økonomi
+ville forutsi</span>»</span> skrev Shirky i Cognitive Surplus.<a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[89]</sup></a> Når vi erkjenner at folk ofte er motivert av noe
+annet enn finansiell egeninteresse, utformer vi det vi gjør på måter som
+stimulerer og fremhever våre sosiale instinkter.
</p><p>
- Snarere enn å prøve å utøve kontroll over menneskers atferd, krever denne
-arbeidsmåten en viss grad av tillit. Vi innser det kanskje ikke, men våre
-daglige liv er allerede bygget på tillit. Som Surowiecki skrev i The visdom
-of Crowds; <span class="quote">«<span class="quote">Det er umulig for et samfunn å stole på loven alene for å
-sikre at borgere opptrer ærlig og ansvarlig. Det er også umulig for en
-organisasjon å kun stole på kontrakter for å sørge for at dens ledere og
-arbeidere lever opp til sine forpliktelser</span>»</span>. I stedet stoler vi i
-stor grad på at folk – for det meste fremmede – vil gjøre hva som forventes
-av dem.<a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[90]</sup></a> Som oftest gjør de det.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>
Å behandle mennesker som, vel, mennesker</h3></div></div></div><p>
- For innholdsleverandører betyr å behandle folk som mennesker ikke å behandle
-dem som fans. Som Kleon sier, <span class="quote">«<span class="quote">Hvis du vil ha fans, må du først være
-en fan</span>»</span>.<a href="#ftn.idm747" class="footnote" name="idm747"><sup class="footnote">[91]</sup></a> Selv om du tilfeldigvis
-blir en av de få som oppnår kjendisberømmelse, er det bedre om du husker at
-folk som følger arbeidet ditt, også er menneskelige. Cory Doctorow gjør et
-poeng av å svare på hver enkelt e-post noen sender ham. Amanda Palmer bruker
-store deler av tiden på nettet til å kommunisere med sitt publikum, og gjør
-et poeng av
å lytte like mye som hun snakker.<a href="#ftn.idm749" class="footnote" name="idm749"><sup class="footnote">[92]</sup></a>
+ Snarere enn å prøve å utøve kontroll over menneskers atferd, krever denne
+arbeidsmåten en viss grad av tillit. Vi innser det kanskje ikke, men våre
+daglige liv er allerede bygget på tillit. Som Surowiecki skrev i The visdom
+of Crowds; <span class="quote">«<span class="quote">Det er umulig for et samfunn å stole på loven alene for å
+sikre at borgere opptrer ærlig og ansvarlig. Det er også umulig for en
+organisasjon å kun stole på kontrakter for å sørge for at dens ledere og
+arbeidere lever opp til sine forpliktelser</span>»</span>. I stedet stoler vi i
+stor grad på at folk – for det meste fremmede – vil gjøre hva som forventes
+av dem.<a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[90]</sup></a> Som oftest gjør de det.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>
Å behandle mennesker som, vel, mennesker</h3></div></div></div><p>
+ For innholdsleverandører betyr å behandle folk som mennesker ikke å behandle
+dem som fans. Som Kleon sier, <span class="quote">«<span class="quote">Hvis du vil ha fans, må du først være
+en fan</span>
»</span>.<a href="#ftn.idm747" class="footnote" name="idm747"><sup class="footnote">[91]</sup></a> Selv om du tilfeldigvis
+blir en av de få som oppnår kjendisberømmelse, er det bedre om du husker at
+folk som følger arbeidet ditt, også er menneskelige. Cory Doctorow gjør et
+poeng av å svare på hver enkelt e-post noen sender ham. Amanda Palmer bruker
+store deler av tiden på nettet til å kommunisere med sitt publikum, og gjør
+et poeng av
å lytte like mye som hun snakker.<a href="#ftn.idm749" class="footnote" name="idm749"><sup class="footnote">[92]</sup></a>
</p><p>
- Den samme ideen gjelder for bedrifter og organisasjoner. I stedet for å
-automatisere sin kundeservice, gjør musikkplattformen Tribe of Noise et
-poeng av å sikre at deres ansatte har en personlig, en-til-en-interaksjon
+ Den samme ideen gjelder for bedrifter og organisasjoner. I stedet for å
+automatisere sin kundeservice, gjør musikkplattformen Tribe of Noise et
+poeng av å sikre at deres ansatte har en personlig, en-til-en-interaksjon
med brukere.
</p><p>
- Når vi behandler folk som mennesker, vil de vanligvis behandle oss på samme
-måte. Det kalles karma. Men sosiale relasjoner er skjøre. Det er altfor lett
-å ødelegge dem hvis du gjør den feilen å behandle folk som anonyme kunder
+ Når vi behandler folk som mennesker, vil de vanligvis behandle oss på samme
+måte. Det kalles karma. Men sosiale relasjoner er skjøre. Det er altfor lett
+å ødelegge dem hvis du gjør den feilen å behandle folk som anonyme kunder
eller gratisarbeidere.<a href="#ftn.idm753" class="footnote" name="idm753"><sup class="footnote">[93]</sup></a> Plattformer som
-bruker innhold fra bidragsytere er spesielt i fare for å skape en dynamikk
-som utnytter. Det er viktig å finne måter å anerkjenne og betale tilbake
-verdien bidragsytere genererer. Det betyr ikke at du kan løse dette
-problemet bare ved å, i enkelhet, betale bidragsytere for deres tid eller
-bidrag. Så snart vi introduserer penger inn i et forhold – i det minste når
-det tar form av å betale en pengeverdi i bytte for en annen verdi - kan det
+bruker innhold fra bidragsytere er spesielt i fare for å skape en dynamikk
+som utnytter. Det er viktig å finne måter å anerkjenne og betale tilbake
+verdien bidragsytere genererer. Det betyr ikke at du kan løse dette
+problemet bare ved å, i enkelhet, betale bidragsytere for deres tid eller
+bidrag. Så snart vi introduserer penger inn i et forhold – i det minste når
+det tar form av å betale en pengeverdi i bytte for en annen verdi - kan det
dramatisk endre dynamikken.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[94]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>Legg frem dine prinsipper og hold deg til dem</h3></div></div></div><p>
- Når du gjør ting med Creative Commons, fastslår du hvem du er og hva du
-gjør. Symbolikken er kraftig. Med Creative Commons-lisenser demonstrerer du
+ Når du gjør ting med Creative Commons, fastslår du hvem du er og hva du
+gjør. Symbolikken er kraftig. Med Creative Commons-lisenser demonstrerer du
tilslutning til et bestemt trossystem, som genererer goodwill og knytter
likesinnede til arbeidet ditt. Noen ganger trekkes folk til innhold som er
-gjort med Creative Commons som en måte å demonstrere sin egen forpliktelse
-overfor verdisystemet til Creative Commons, som en politisk erklæring. Andre
-ganger vil folk identifisere seg med, og føle seg knyttet til innholdets
+gjort med Creative Commons som en måte å demonstrere sin egen forpliktelse
+overfor verdisystemet til Creative Commons, som en politisk erklæring. Andre
+ganger vil folk identifisere seg med, og føle seg knyttet til innholdets
separate sosiale oppgave. Ofte begge.
</p><p>
- Uttrykket for dine verdier trenger ikke å være implisitt. Faktisk snakket
-mange av menneskene vi intervjuet om hvor viktig det er å angi dine førende
-prinsipper på forhånd. Lumen Learning tillegger mye av sin suksess på at de
-har vært frittalende om de grunnleggende verdiene som styrer hva de
-gjør. Som et kommersielt selskap, mener de at deres uttrykte forpliktelse
-overfor lavinntekt-studenter og åpen lisensiering har vært avgjørende for
-deres troverdighet i OER-samfunnet (åpne pedagogiske ressurser) der de
+ Uttrykket for dine verdier trenger ikke å være implisitt. Faktisk snakket
+mange av menneskene vi intervjuet om hvor viktig det er å angi dine førende
+prinsipper på forhånd. Lumen Learning tillegger mye av sin suksess på at de
+har vært frittalende om de grunnleggende verdiene som styrer hva de
+gjør. Som et kommersielt selskap, mener de at deres uttrykte forpliktelse
+overfor lavinntekt-studenter og åpen lisensiering har vært avgjørende for
+deres troverdighet i OER-samfunnet (åpne pedagogiske ressurser) der de
arbeider.
</p><p>
- Når målet ditt ikke handler om å gjøre fortjeneste, stoler folk på at du
-ikke bare prøver å bruke verdien til din egen vinning. Folk merker når du
+ Når målet ditt ikke handler om å gjøre fortjeneste, stoler folk på at du
+ikke bare prøver å bruke verdien til din egen vinning. Folk merker når du
har en hensikt som overskrider din egeninteresse.<a href="#ftn.idm762" class="footnote" name="idm762"><sup class="footnote">[95]</sup></a> Det tiltrekker engasjerte ansatte, motiverte
bidragsytere, og bygger tillit.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>
Å bygge et fellesskap</h3></div></div></div><p>
- Innhold gjort med Creative Commons blomstrer når allmenneie er bygd rundt
-det de gjør. Dette kan bety at et fellesskap samarbeider om å skape noe
-nytt, eller det kan være en samling av likesinnede som blir kjent med
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>
Å bygge et fellesskap</h3></div></div></div><p>
+ Innhold gjort med Creative Commons blomstrer når allmenneie er bygd rundt
+det de gjør. Dette kan bety at et fellesskap samarbeider om å skape noe
+nytt, eller det kan være en samling av likesinnede som blir kjent med
hverandre, og samles rundt felles interesser eller oppfatninger.<a href="#ftn.idm767" class="footnote" name="idm767"><sup class="footnote">[96]</sup></a> Til en viss grad bringer bruk av Creative Commons
-automatisk med seg elementer av fellesskap, med hjelp til å koble deg til
-likesinnede som gjenkjenner og trekkes til verdiene som symboliseres ved å
+automatisk med seg elementer av fellesskap, med hjelp til å koble deg til
+likesinnede som gjenkjenner og trekkes til verdiene som symboliseres ved å
bruke CC.
</p><p>
- For å være bærekraftig må du jobbe hardt for å gi næring til
-fellesskapet. Folk må bry seg – om deg og hverandre. Én kritisk brikke i
-dette er å få frem følelsen av tilhørighet. Som Jono Bacon skriver i The Art
-of Community: <span class="quote">«<span class="quote">Hvis det ikke er tilhørighet, er det ikke noe
-fellesskap</span>»</span>. For Amanda Palmer og bandet hennes betydde dette å lage
-og godta et inkluderende miljø der folk følte seg som del av deres
-<span class="quote">
«<span class="quote">lille rare familie.</span>»</span><a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[97]</sup></a> For
-organisasjoner som Red Hat, betyr det å samle seg rundt felles oppfatninger
-eller mål. Som administrerende direktør Jim Whitehurst skrev i The Open
-Organization: <span class="quote">«<span class="quote">Å etablere følelsesmessig tilknytning er spesielt
-viktig for bygging av de typer deltakende fellesskap som driver åpne
-organisasjoner</span>»</span>.<a href="#ftn.idm775" class="footnote" name="idm775"><sup class="footnote">[98]</sup></a>
+ For å være bærekraftig må du jobbe hardt for å gi næring til
+fellesskapet. Folk må bry seg – om deg og hverandre. Én kritisk brikke i
+dette er å få frem følelsen av tilhørighet. Som Jono Bacon skriver i The Art
+of Community: <span class="quote">«<span class="quote">Hvis det ikke er tilhørighet, er det ikke noe
+fellesskap</span>»</span>. For Amanda Palmer og bandet hennes betydde dette å lage
+og godta et inkluderende miljø der folk følte seg som del av deres
+<span class="quote">
«<span class="quote">lille rare familie.</span>»</span><a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[97]</sup></a> For
+organisasjoner som Red Hat, betyr det å samle seg rundt felles oppfatninger
+eller mål. Som administrerende direktør Jim Whitehurst skrev i The Open
+Organization: <span class="quote">«<span class="quote">Å etablere følelsesmessig tilknytning er spesielt
+viktig for bygging av de typer deltakende fellesskap som driver åpne
+organisasjoner</span>
»</span>.<a href="#ftn.idm775" class="footnote" name="idm775"><sup class="footnote">[98]</sup></a>
</p><p>
- Fellesskap som jobber sammen krever nøye planlegging. Surowiecki skrev:
-<span class="quote">«<span class="quote">Det krever mye arbeid å få satt sammen gruppen. Det er vanskelig å
-sikre at folk jobber for gruppens interesse, og ikke i sin egen. Og når det
-er mangel på tillit mellom medlemmer av gruppen (som ikke bør overraske gitt
+ Fellesskap som jobber sammen krever nøye planlegging. Surowiecki skrev:
+<span class="quote">«<span class="quote">Det krever mye arbeid å få satt sammen gruppen. Det er vanskelig å
+sikre at folk jobber for gruppens interesse, og ikke i sin egen. Og når det
+er mangel på tillit mellom medlemmer av gruppen (som ikke bør overraske gitt
at de egentlig ikke kjenner hverandre), blir en betraktelig del av energien
-kastet bort ved å prøve å avklare hverandres ærlige
-hensikter</span>»</span>.<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[99]</sup></a> Å bygge ekte
-fellesskap forutsetter å gi folk i fellesskapet makt til å lage eller
-påvirke reglene som styrer fellesskapet.<a href="#ftn.idm781" class="footnote" name="idm781"><sup class="footnote">[100]</sup></a> Hvis reglene lages og innføres ovenfra og ned, føler folk at de
-ikke har noe å si, som igjen fører til at de trekker seg ut.
+kastet bort ved å prøve å avklare hverandres ærlige
+hensikter</span>»</span>.<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[99]</sup></a> Å bygge ekte
+fellesskap forutsetter å gi folk i fellesskapet makt til å lage eller
+påvirke reglene som styrer fellesskapet.<a href="#ftn.idm781" class="footnote" name="idm781"><sup class="footnote">[100]</sup></a> Hvis reglene lages og innføres ovenfra og ned, føler folk at de
+ikke har noe å si, som igjen fører til at de trekker seg ut.
</p><p>
- Fellesskap krever arbeid, men å arbeide sammen, eller ganske enkelt å være
-knyttet sammen rundt felles interesser eller verdier, er på mange måter hva
+ Fellesskap krever arbeid, men å arbeide sammen, eller ganske enkelt å være
+knyttet sammen rundt felles interesser eller verdier, er på mange måter hva
deling betyr.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Gi mer til fellesskapet enn du tar</h3></div></div></div><p>
- Tradisjonell markedstenkning tilsier at folk bør prøve å trekke ut så mye
+ Tradisjonell markedstenkning tilsier at folk bør prøve å trekke ut så mye
penger som mulig fra ressursene. Dette er egentlig det som definerer mye av
-den såkalte delingsøkonomien. I en artikkel på nettsiden til Harvard
-Business Review, kalt <span class="quote">«<span class="quote">The Sharing Economy Isn’t about Sharing at
-All</span>»</span>, forklarte forfatterne Giana Eckhardt og Fleura Bardhi hvordan
-anonyme markedsdrevne transaksjoner i de fleste delingsøkonomibedrifter bare
-er myntet p
å å tjene penger.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[101]</sup></a> Som Lisa
-Gansky førte det i pennen i sin bok The Mesh, er delingsøkonomiens primære
-strategi å selge det samme produktet flere ganger ved å selge adgang i
+den såkalte delingsøkonomien. I en artikkel på nettsiden til Harvard
+Business Review, kalt <span class="quote">«<span class="quote">The Sharing Economy Isn’t about Sharing at
+All</span>»</span>, forklarte forfatterne Giana Eckhardt og Fleura Bardhi hvordan
+anonyme markedsdrevne transaksjoner i de fleste delingsøkonomibedrifter bare
+er myntet p
å å tjene penger.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[101]</sup></a> Som Lisa
+Gansky førte det i pennen i sin bok The Mesh, er delingsøkonomiens primære
+strategi å selge det samme produktet flere ganger ved å selge adgang i
stedet eierskap.<a href="#ftn.idm792" class="footnote" name="idm792"><sup class="footnote">[102]</sup></a> Det er ikke deling.
</p><p>
- Deling krever å legge til lik mengde verdi eller mer i økosystemet enn du
-tar ut. Du kan ikke bare behandle åpent innhold som en gratis ansamling
-ressurser å nyttegjøre deg av verdien av. En del av det å gi tilbake til
-økosystemet er å bidra med innhold tilbake til offentligheten med
-CC-lisenser. Det trenger ikke å være skaping av innhold; det kan være å øke
-verdien på andre måter. Den sosiale bloggingsplattformen Medium utgjør verdi
-for sitt fellesskap ved å fremme god oppførsel, resultatet er et nettsted
-med bemerkelsesverdig brukergenerert innhold av høy kvalitet, og begrenset
-fors
øpling.<a href="#ftn.idm795" class="footnote" name="idm795"><sup class="footnote">[103]</sup></a> Opendesk bidrar til sine
-fellesskap ved å hjelpe sine designere å tjene penger, delvis ved å
-organisere og effektivt vise arbeidet deres på sin plattform.
+ Deling krever å legge til lik mengde verdi eller mer i økosystemet enn du
+tar ut. Du kan ikke bare behandle åpent innhold som en gratis ansamling
+ressurser å nyttegjøre deg av verdien av. En del av det å gi tilbake til
+økosystemet er å bidra med innhold tilbake til offentligheten med
+CC-lisenser. Det trenger ikke å være skaping av innhold; det kan være å øke
+verdien på andre måter. Den sosiale bloggingsplattformen Medium utgjør verdi
+for sitt fellesskap ved å fremme god oppførsel, resultatet er et nettsted
+med bemerkelsesverdig brukergenerert innhold av høy kvalitet, og begrenset
+fors
øpling.<a href="#ftn.idm795" class="footnote" name="idm795"><sup class="footnote">[103]</sup></a> Opendesk bidrar til sine
+fellesskap ved å hjelpe sine designere å tjene penger, delvis ved å
+organisere og effektivt vise arbeidet deres på sin plattform.
</p><p>
- I alle tilfeller er det viktig å åpent erkjenne hvor stor verdi du legger
-til, sett opp mot det du trekker veksel på som er laget av andre. Å være
-åpen om dette bygger troverdighet og viser du er en medvirkende deltaker i
-allmennseiet. Når din oppgave er å tjene penger, som også betyr å fordele
-økonomisk kompensasjon på en måte som gjenspeiler verdien andre har bidratt
-med, og gir mer til bidragsytere når verdien de bidrar med er større verdien
+ I alle tilfeller er det viktig å åpent erkjenne hvor stor verdi du legger
+til, sett opp mot det du trekker veksel på som er laget av andre. Å være
+åpen om dette bygger troverdighet og viser du er en medvirkende deltaker i
+allmennseiet. Når din oppgave er å tjene penger, som også betyr å fordele
+økonomisk kompensasjon på en måte som gjenspeiler verdien andre har bidratt
+med, og gir mer til bidragsytere når verdien de bidrar med er større verdien
du leverer.
- </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involver folk i det du gj
ør</h3></div></div></div><p>
- Takket være Internett, kan vi utnytte talentene og ekspertisen til folk over
-hele verden. Chris Anderson kaller det <span class="quote">«<span class="quote">en lang hale</span>»</span> av
-talent.<a href="#ftn.idm804" class="footnote" name="idm804"><sup class="footnote">[104]</sup></a> Men for å få samarbeid til å
-virke, må gruppen være effektiv i hva den gjør, og folk i gruppen må finne
-tilfredshet i
å være involvert.<a href="#ftn.idm806" class="footnote" name="idm806"><sup class="footnote">[105]</sup></a> Dette
-er enklere å få til for noen typer kreative oppgaver enn andre. Grupper som
-er knyttet sammen på nettet samarbeider best når folk kan arbeide uavhengig
-og asynkront, og særlig i større grupper med løselig knyttede bånd, der
-bidragsytere kan gjøre enkle forbedringer uten å beslaglegge mye
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involver folk i det du gj
ør</h3></div></div></div><p>
+ Takket være Internett, kan vi utnytte talentene og ekspertisen til folk over
+hele verden. Chris Anderson kaller det <span class="quote">«<span class="quote">en lang hale</span>»</span> av
+talent.<a href="#ftn.idm804" class="footnote" name="idm804"><sup class="footnote">[104]</sup></a> Men for å få samarbeid til å
+virke, må gruppen være effektiv i hva den gjør, og folk i gruppen må finne
+tilfredshet i
å være involvert.<a href="#ftn.idm806" class="footnote" name="idm806"><sup class="footnote">[105]</sup></a> Dette
+er enklere å få til for noen typer kreative oppgaver enn andre. Grupper som
+er knyttet sammen på nettet samarbeider best når folk kan arbeide uavhengig
+og asynkront, og særlig i større grupper med løselig knyttede bånd, der
+bidragsytere kan gjøre enkle forbedringer uten å beslaglegge mye
tid.<a href="#ftn.idm808" class="footnote" name="idm808"><sup class="footnote">[106]</sup></a>
</p><p>
- Suksessen til Wikipedia viser at det å redigere et leksikon på nettet er
-akkurat typen aktivitet som er perfekt for massivt samarbeid fordi små,
-trinnvise redigeringer laget av en broket forsamling av folk som handler på
-egen hånd, er svært verdifullt i sum. Samme slags små bidrag vil være mindre
+ Suksessen til Wikipedia viser at det å redigere et leksikon på nettet er
+akkurat typen aktivitet som er perfekt for massivt samarbeid fordi små,
+trinnvise redigeringer laget av en broket forsamling av folk som handler på
+egen hånd, er svært verdifullt i sum. Samme slags små bidrag vil være mindre
nyttig for mange andre typer skapende arbeid, og folk iboende er mindre
-motivert til å bidra, når det ikke vises at deres innsats utgjør noen særlig
+motivert til å bidra, når det ikke vises at deres innsats utgjør noen særlig
forskjell.<a href="#ftn.idm811" class="footnote" name="idm811"><sup class="footnote">[107]</sup></a>
</p><p>
- Det er lett å romantisere mulighetene for en global samlet innsats gjort
-mulig gjennom Internett, og faktisk, de vellykkede eksemplene på det er
+ Det er lett å romantisere mulighetene for en global samlet innsats gjort
+mulig gjennom Internett, og faktisk, de vellykkede eksemplene på det er
virkelig utrolige og inspirerende. Men i en rekke tilfeller, kanskje de
-fleste av dem – inngår ikke det å lage noe i fellesskap som en del av
-ligningen, selv med innsats bygget på CC-innhold. <span class="quote">«<span class="quote">Noen ganger trumfer
-verdien av profesjonelt arbeid amatørdeling eller en følelse av
-tilh
ørighet</span>»</span><a href="#ftn.idm815" class="footnote" name="idm815"><sup class="footnote">[108]</sup></a>, skrev
-Shirky. Lærebokutgiveren OpenStax, som distribuerer alt sitt materiale
-gratis med CC-lisensiering, er et eksempel på denne dynamikken. I stedet for
-å tappe fellesskapet for samlede bidrag til sine college-lærebøker,
-investerer de en betydelig mengde tid og penger på å utvikle faglig
-innhold. For individuelle innholdsleverandører, der det kreative arbeidet
-er grunnlaget for hva de gjør, er å lage noe i fellesskap kun sjelden en del
-av bildet. Selv musikeren Amanda Palmer, kjent for sin åpenhet og gode
-forhold til fansen, sa, <span class="quote">«<span class="quote">Det eneste området der jeg ikke var åpen for
-innspill var i skrivingen, musikken i seg selv</span>»</span>.<a href="#ftn.idm818" class="footnote" name="idm818"><sup class="footnote">[109]</sup></a>
+fleste av dem – inngår ikke det å lage noe i fellesskap som en del av
+ligningen, selv med innsats bygget på CC-innhold. <span class="quote">«<span class="quote">Noen ganger trumfer
+verdien av profesjonelt arbeid amatørdeling eller en følelse av
+tilh
ørighet</span>»</span><a href="#ftn.idm815" class="footnote" name="idm815"><sup class="footnote">[108]</sup></a>, skrev
+Shirky. Lærebokutgiveren OpenStax, som distribuerer alt sitt materiale
+gratis med CC-lisensiering, er et eksempel på denne dynamikken. I stedet for
+å tappe fellesskapet for samlede bidrag til sine college-lærebøker,
+investerer de en betydelig mengde tid og penger på å utvikle faglig
+innhold. For individuelle innholdsleverandører, der det kreative arbeidet
+er grunnlaget for hva de gjør, er å lage noe i fellesskap kun sjelden en del
+av bildet. Selv musikeren Amanda Palmer, kjent for sin åpenhet og gode
+forhold til fansen, sa, <span class="quote">«<span class="quote">Det eneste området der jeg ikke var åpen for
+innspill var i skrivingen, musikken i seg selv</span>
»</span>.<a href="#ftn.idm818" class="footnote" name="idm818"><sup class="footnote">[109]</sup></a>
</p><p>
- Mens tankene umiddelbart rettes mot å skape ting i fellesskap og remiksing
-når vi hører ordet samarbeid, kan du også involvere andre i kreative
-prosesser på mer uformelle måter, ved å dele halvferdige ideer og tidlige
-utkast, og ha direkte kontakt med de som følger med når en ruger ut ideer og
-får tilbakemeldinger. Såkalt <span class="quote">«<span class="quote">offentlighetslaging</span>»</span> åpner døren
-for å la folk føle seg mer involvert i ditt kreative arbeid.<a href="#ftn.idm822" class="footnote" name="idm822"><sup class="footnote">[110]</sup></a> Og det viser en ikke-beskyttende tilnærming til
-ideer og informasjon. Stephen Covey (berømt for The 7 Habits of Highly
-Effective People) kaller dette overflodsmentalitet – å behandle ideer som
-noe det finnes rikelig av, og det kan skape et miljø der samarbeid
+ Mens tankene umiddelbart rettes mot å skape ting i fellesskap og remiksing
+når vi hører ordet samarbeid, kan du også involvere andre i kreative
+prosesser på mer uformelle måter, ved å dele halvferdige ideer og tidlige
+utkast, og ha direkte kontakt med de som følger med når en ruger ut ideer og
+får tilbakemeldinger. Såkalt <span class="quote">«<span class="quote">offentlighetslaging</span>»</span> åpner døren
+for å la folk føle seg mer involvert i ditt kreative arbeid.<a href="#ftn.idm822" class="footnote" name="idm822"><sup class="footnote">[110]</sup></a> Og det viser en ikke-beskyttende tilnærming til
+ideer og informasjon. Stephen Covey (berømt for The 7 Habits of Highly
+Effective People) kaller dette overflodsmentalitet – å behandle ideer som
+noe det finnes rikelig av, og det kan skape et miljø der samarbeid
blomstrer.<a href="#ftn.idm824" class="footnote" name="idm824"><sup class="footnote">[111]</sup></a>
</p><p>
- Det er ikke bare en måte å involvere folk i hva du gjør. Det sentrale er å
-finne en måte for folk å bidra på deres betingelser, nødet av sin egen
+ Det er ikke bare en måte å involvere folk i hva du gjør. Det sentrale er å
+finne en måte for folk å bidra på deres betingelser, nødet av sin egen
motivasjon.<a href="#ftn.idm827" class="footnote" name="idm827"><sup class="footnote">[112]</sup></a> Hvordan det arter seg,
varierer vidt, avhengig av prosjektet. Ikke alle tiltak gjort med Creative
-Commons kan være Wikipedia, men enhver oppgave kan finne måter å invitere
-publikum med på hva som gjøres. Målet for alle former for samarbeid er å
-bevege seg bort fra å tenke på forbrukere som passive mottakere av innholdet
+Commons kan være Wikipedia, men enhver oppgave kan finne måter å invitere
+publikum med på hva som gjøres. Målet for alle former for samarbeid er å
+bevege seg bort fra å tenke på forbrukere som passive mottakere av innholdet
ditt, og ta imot deres aktive deltagelse.<a href="#ftn.idm829" class="footnote" name="idm829"><sup class="footnote">[113]</sup></a>
</p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm424" class="footnote"><p><a href="#idm424" class="para"><sup class="para">[39] </sup></a>
Alex Osterwalder og Yves Pigneur, Business Model Generation (Hoboken, NJ:
-John Wiley and Sons, 2010), 14. En forhåndsvisning av boken er tilgjengelig
-p
å <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
+John Wiley and Sons, 2010), 14. En forhåndsvisning av boken er tilgjengelig
+p
å <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[40] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm448" class="footnote"><p><a href="#idm448" class="para"><sup class="para">[41] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm451" class="footnote"><p><a href="#idm451" class="para"><sup class="para">[42] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, nytt opplag med nytt forord (New York: Hyperion,
2010), 224.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[43] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm467" class="footnote"><p><a href="#idm467" class="para"><sup class="para">[44] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[49] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[50] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[51] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm502" class="footnote"><p><a href="#idm502" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[53] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm518" class="footnote"><p><a href="#idm518" class="para"><sup class="para">[54] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm522" class="footnote"><p><a href="#idm522" class="para"><sup class="para">[55] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm529" class="footnote"><p><a href="#idm529" class="para"><sup class="para">[57] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki uttaler: <span class="quote">«<span class="quote">Målestokken på hvor vellykket lover og
-kontrakter er, er hvor sjelden de må hentes frem.</span>»</span>
+124. Surowiecki uttaler: <span class="quote">«<span class="quote">Målestokken på hvor vellykket lover og
+kontrakter er, er hvor sjelden de må hentes frem.</span>»</span>
</p></div><div id="ftn.idm539" class="footnote"><p><a href="#idm539" class="para"><sup class="para">[58] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm546" class="footnote"><p><a href="#idm546" class="para"><sup class="para">[59] </sup></a>
</p></div><div id="ftn.idm560" class="footnote"><p><a href="#idm560" class="para"><sup class="para">[64] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm565" class="footnote"><p><a href="#idm565" class="para"><sup class="para">[65] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm572" class="footnote"><p><a href="#idm572" class="para"><sup class="para">[66] </sup></a>
- William Landes Foster, Peter Kim og Barbara Christiansen, <span class="quote">«<span class="quote">Ten
-Nonprofit Funding Models</span>»</span>, Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim og Barbara Christiansen, <span class="quote">«<span class="quote">Ten
+Nonprofit Funding Models</span>»</span>, Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm579" class="footnote"><p><a href="#idm579" class="para"><sup class="para">[67] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm762" class="footnote"><p><a href="#idm762" class="para"><sup class="para">[95] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[96] </sup></a>
- Jono Bacon, The Art of Community, 2. utgave (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2. utgave (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[97] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm781" class="footnote"><p><a href="#idm781" class="para"><sup class="para">[100] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[101] </sup></a>
- Giana Eckhardt og Fleura Bardhi, <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
-Sharing at All</span>»</span>, Harvard Business Review (nettsted), 28. januar 2015,
+ Giana Eckhardt og Fleura Bardhi, <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
+Sharing at All</span>»</span>, Harvard Business Review (nettsted), 28. januar 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm792" class="footnote"><p><a href="#idm792" class="para"><sup class="para">[102] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, ny utgave med
ny epolog (New York: Portfolio, 2012).
</p></div><div id="ftn.idm795" class="footnote"><p><a href="#idm795" class="para"><sup class="para">[103] </sup></a>
- David Lee, <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet</span>»</span>, BBC News, 3. mars 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet</span>
»</span>, BBC News, 3. mars 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm804" class="footnote"><p><a href="#idm804" class="para"><sup class="para">[104] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm806" class="footnote"><p><a href="#idm806" class="para"><sup class="para">[105] </sup></a>
</p></div><div id="ftn.idm827" class="footnote"><p><a href="#idm827" class="para"><sup class="para">[112] </sup></a>
Whitehurst, forord til Open Organization.
</p></div><div id="ftn.idm829" class="footnote"><p><a href="#idm829" class="para"><sup class="para">[113] </sup></a>
- Rachel Botsman og Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman og Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapittel 3. Creative Commons-lisensene</h2></div></div></div><p>
Alle Creative Commons-lisenser gir et grunnleggende sett tillatelser. Som
-minstemål kan et CC-lisensiert arbeid kopieres og deles i opprinnelig form
-for ikke-kommersielle formål, så lenge henvisning er gitt til den som har
-levert innholdet. Det er seks lisenser i CC sine lisenspakker som bygger på
+minstemål kan et CC-lisensiert arbeid kopieres og deles i opprinnelig form
+for ikke-kommersielle formål, så lenge henvisning er gitt til den som har
+levert innholdet. Det er seks lisenser i CC sine lisenspakker som bygger på
det grunnleggende settet med tillatelser, alt fra de mest restriktive
-(tillatelse av kun grunnleggende tilgang til å dele uforandrede kopier for
-ikke-kommersielle formål) til den mest romslige (gjenbrukere kan gjøre hva
-de vil med arbeidet, til og med for kommersielle formål, så lenge de
-krediterer opphavspersonen). Lisensene er bygget på opphavsrett, og dekker
+(tillatelse av kun grunnleggende tilgang til å dele uforandrede kopier for
+ikke-kommersielle formål) til den mest romslige (gjenbrukere kan gjøre hva
+de vil med arbeidet, til og med for kommersielle formål, så lenge de
+krediterer opphavspersonen). Lisensene er bygget på opphavsrett, og dekker
ikke andre typer rettigheter bidragsytere kan ha til sine arbeider, som
patenter eller varemerker.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
</p><p>
Attribusjonslisensen (CC BY) lar andre distribuere, remikse, justere og
-bygge videre på ditt arbeid, også kommersielt, så lenge de krediterer deg
-for det opprinnelige arbeidet. Dette er den mest imøtekommende lisensen som
+bygge videre på ditt arbeid, også kommersielt, så lenge de krediterer deg
+for det opprinnelige arbeidet. Dette er den mest imøtekommende lisensen som
tilbys. Anbefalt for maksimal spredning og bruk av lisensiert materiale.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
</p><p>
- Med Attribution-Share-Alike-lisensen (CC BY-SA) kan andre mikse sammen på
-nytt, finjustere og bygge videre på ditt arbeid, selv til kommersielle
-formål, så lenge de krediterer deg og lisensierer sine nye bidrag med samme
-vilkår. Denne lisensen er ofte sammenlignet med
-<span class="quote">«<span class="quote">copyleft</span>»</span>-lisenser og andre fri programvare-lisenser. Alle nye
-arbeider basert på ditt skal ha samme lisens, så alle avledede verk skal
-også tillate kommersielt bruk.
+ Med Attribution-Share-Alike-lisensen (CC BY-SA) kan andre mikse sammen på
+nytt, finjustere og bygge videre på ditt arbeid, selv til kommersielle
+formål, så lenge de krediterer deg og lisensierer sine nye bidrag med samme
+vilkår. Denne lisensen er ofte sammenlignet med
+<span class="quote">«<span class="quote">copyleft</span>»</span>-lisenser og andre fri programvare-lisenser. Alle nye
+arbeider basert på ditt skal ha samme lisens, så alle avledede verk skal
+også tillate kommersielt bruk.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
</p><p>
Attribution-NoDerivs-lisensen (CC BY-ND) tillater videre distribusjon,
-kommersielt og ikke-kommersielt, så lenge arbeidet leveres videre uendret og
+kommersielt og ikke-kommersielt, så lenge arbeidet leveres videre uendret og
kreditert deg.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
</p><p>
Attribution-NonCommercial-lisensen (CC BY-NC) lar andre remikse, finjustere,
-og ikke-kommersielt bygge videre på arbeidet. Selv om deres nye arbeider
-også må anerkjenne deg, trenger de ikke å lisensiere sine avledede arbeider
-på samme vilkår.
+og ikke-kommersielt bygge videre på arbeidet. Selv om deres nye arbeider
+også må anerkjenne deg, trenger de ikke å lisensiere sine avledede arbeider
+på samme vilkår.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
Attribution-NonCommercial-ShareAlike-lisensen (CC BY-NC-SA) lar andre
-remikse, finjustere og bygge på arbeidet ditt ikke-kommersielt, så lenge de
-krediterer deg, og lisensierer sine nye arbeider på samme vilkår.
+remikse, finjustere og bygge på arbeidet ditt ikke-kommersielt, så lenge de
+krediterer deg, og lisensierer sine nye arbeider på samme vilkår.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
</p><p>
Attribution-NonCommercial-NoDerivs-lisensen (CC BY-NC-ND) er den mest
-restriktive av våre seks viktigste lisenser, og tillater bare andre å laste
-ned dine verk, og dele dem med andre så lenge de krediterer deg, men de kan
+restriktive av våre seks viktigste lisenser, og tillater bare andre å laste
+ned dine verk, og dele dem med andre så lenge de krediterer deg, men de kan
ikke endre dem eller bruke dem kommersielt.
</p><p>
I tillegg til disse seks lisenser, har Creative Commons to offentlige
-verktøy – en for innholdsleverandører og den andre for dem som håndterer
+verktøy – en for innholdsleverandører og den andre for dem som håndterer
samlinger av eksisterende arbeider der opphavsrettighetene til bidragsyterne
-har utløpt:
+har utløpt:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
- CC0 gjør det mulig for innholdsleverandører og rettighetshavere å tilegne
+ CC0 gjør det mulig for innholdsleverandører og rettighetshavere å tilegne
sine arbeider til det verdensomspennende samling av verk i det fri
-(<span class="quote">«<span class="quote">ingen rettigheter reservert</span>»</span>).
+(<span class="quote">«<span class="quote">ingen rettigheter reservert</span>»</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
- Creative Commons Public Domain Mark muliggjør merkingen, og å oppdage verk
+ Creative Commons Public Domain Mark muliggjør merkingen, og å oppdage verk
som allerede er fri for kjente opphavsrettsrestriksjoner.
</p><p>
- I våre referansestudier bruker noen bare én Creative Commons-lisens, andre
+ I våre referansestudier bruker noen bare én Creative Commons-lisens, andre
bruker flere. Attribution (funnet i tretten referansestudier) og
-Attribution-ShareAlike (funnet i åtte studier) var de vanligste. De andre
+Attribution-ShareAlike (funnet i åtte studier) var de vanligste. De andre
lisenser forekom i rundt fire referansestudier, inkludert det
-offentlig-domene-verktøyet CC0. Noen organisasjoner vi undersøkte tilbyr
-både digitalt innhold og programvare. Ved å bruke fri programvare-lisenser
+offentlig-domene-verktøyet CC0. Noen organisasjoner vi undersøkte tilbyr
+både digitalt innhold og programvare. Ved å bruke fri programvare-lisenser
for programvarekoden og Creative Commons-lisenser for digitalt innhold,
-forsterker de sitt engasjement og forpliktelse til å dele.
+forsterker de sitt engasjement og forpliktelse til å dele.
</p><p>
- Det er en vidtfavnende misforståelse at de tre ikke-kommersielle lisensene
-som CC tilbyr er de eneste alternativene for dem som ønsker å tjene penger
-på arbeidet sitt. Vi håper denne boka får frem at det er mange måter å gjøre
-bruk av Creative Commons-lisensierte tiltak bærekraftige. Å forbeholde de
-kommersielle rettigheter til seg selv er bare én av dem. Det er helt klart
+ Det er en vidtfavnende misforståelse at de tre ikke-kommersielle lisensene
+som CC tilbyr er de eneste alternativene for dem som ønsker å tjene penger
+på arbeidet sitt. Vi håper denne boka får frem at det er mange måter å gjøre
+bruk av Creative Commons-lisensierte tiltak bærekraftige. Å forbeholde de
+kommersielle rettigheter til seg selv er bare én av dem. Det er helt klart
tilfelle at en lisens som tillater kommersiell bruk av verket ditt (CC BY,
-CC BY-SA, og CC BY-ND) hindrer noen tradisjonelle inntektsårer. Hvis du tar
+CC BY-SA, og CC BY-ND) hindrer noen tradisjonelle inntektsårer. Hvis du tar
i bruk en Navngivingslisens (CC BY) for boken din, kan du ikke tvinge et
-filmselskap til å betale deg godtgjørelse for bruk hvis de gjør boken din
-til en helaftens film, eller forhindre et annet selskap å selge fysiske
+filmselskap til å betale deg godtgjørelse for bruk hvis de gjør boken din
+til en helaftens film, eller forhindre et annet selskap å selge fysiske
kopier av verket ditt.
</p><p>
- Beslutningen om å velge en NonCommercial- (ikke-kommersiell) og/eller
+ Beslutningen om å velge en NonCommercial- (ikke-kommersiell) og/eller
NoDerivs-lisens (ikke-derivate lisenser) resulterer i en vurdering av hvor
-mye du trenger å beholde kontrollen over det kreative arbeidet.
-NonCommercial- og NoDerivs-lisensene er måter å reservere en vesentlig del
+mye du trenger å beholde kontrollen over det kreative arbeidet.
+NonCommercial- og NoDerivs-lisensene er måter å reservere en vesentlig del
av det eksklusive knippet av rettigheter som opphavsrett sikrer
-innholdsleverandører. I noen tilfeller er å reservere disse rettighetene
+innholdsleverandører. I noen tilfeller er å reservere disse rettighetene
viktig for hvordan du bringer inn inntekter. I andre tilfeller bruker
-innholdsleverandørene NonCommercial- eller NoDerivs-lisensene fordi de ikke
-kan gi opp drømmen om å treffe den kreative storgevinsten. Musikkplattformen
-Tribe of Noise fortalte oss at NonCommercial-lisensene var populære blant
-brukerne deres fordi de fortsatt holdt på drømmen om at et større
+innholdsleverandørene NonCommercial- eller NoDerivs-lisensene fordi de ikke
+kan gi opp drømmen om å treffe den kreative storgevinsten. Musikkplattformen
+Tribe of Noise fortalte oss at NonCommercial-lisensene var populære blant
+brukerne deres fordi de fortsatt holdt på drømmen om at et større
plateselskap ville oppdage arbeidet deres.
</p><p>
- Andre ganger er beslutningen om å bruke en mer restriktiv lisens på grunn av
+ Andre ganger er beslutningen om å bruke en mer restriktiv lisens på grunn av
bekymring for arbeidets integritet. For eksempel bruker det
-ikke-kommersielle TeachAIDS en NoDerivs-lisens for sine læremidler fordi
-dette medisinske emnet er særlig viktig å få riktig.
+ikke-kommersielle TeachAIDS en NoDerivs-lisens for sine læremidler fordi
+dette medisinske emnet er særlig viktig å få riktig.
</p><p>
- Det er ikke bare én riktig måte. NonCommercial- og NoDerivs-begrensningene
-gjenspeiler verdiene og preferansene til innholdsleverandørene om hvordan
+ Det er ikke bare én riktig måte. NonCommercial- og NoDerivs-begrensningene
+gjenspeiler verdiene og preferansene til innholdsleverandørene om hvordan
deres kreative arbeid skal gjenbrukes, akkurat som ShareAlike-lisensen
-gjenspeiler et annet sett med verdier, som er mindre om å kontrollere
-tilgangen til sitt eget arbeid og mer om å sikre at det som blir laget med
-deres arbeid, er tilgjengelig for alle på samme vilkår. Siden starten av
-allmenningene, har folk laget strukturer som hjalp til å regulere måten
-delte ressurser ble brukt på. CC-lisensene er et forsøk på å standardisere
-normer på tvers av alle domener.
+gjenspeiler et annet sett med verdier, som er mindre om å kontrollere
+tilgangen til sitt eget arbeid og mer om å sikre at det som blir laget med
+deres arbeid, er tilgjengelig for alle på samme vilkår. Siden starten av
+allmenningene, har folk laget strukturer som hjalp til å regulere måten
+delte ressurser ble brukt på. CC-lisensene er et forsøk på å standardisere
+normer på tvers av alle domener.
</p><p>
Merk
</p><p>
For mer om lisenser, inkludert eksempler og tips om deling av verkene dine i
den digitale allmenningen, start med Creative Commons-siden med tittelen
-<span class="quote">
«<span class="quote">Del ditt verk</span>»</span> på <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
II. Referansestudiene</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
«<span class="quote">Del ditt verk</span>»</span> på <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
 II. Referansestudiene</h1></div></div></div><div class="partintro"><div></div><p>
De tjuefire referansestudiene i denne seksjonen ble valgt ut blant hundrevis
av forslag fra hjelpere i Kickstarter, medarbeidere i Creative Commons og
-det globale Creative Commons-fellesskapet. Vi valgte åtti potensielle
+det globale Creative Commons-fellesskapet. Vi valgte åtti potensielle
kandidater som representerte en blanding av bransjer, innholdstyper,
-inntektsstrømmer, og deler av verden. Tolv referansestudier ble valgt ut fra
+inntektsstrømmer, og deler av verden. Tolv referansestudier ble valgt ut fra
den gruppen etter avstemning blant Kickstarters hjelpere, og de andre tolv
ble valgt av oss.
</p><p>
- Vi gjorde bakgrunnsundersøkelser, og gjennomførte intervjuer for hver
-referansestudie, basert på det samme settet med grunnleggende spørsmål om
-innsatsen. Fokus for hver saksstudie er å fortelle historien om hvordan
-oppgaven løses, og hvilken rolle deling spiller i den, i hovedsak som måten
-det ble fortalt oss på av dem vi intervjuet.
- </p><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender-instituttet</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun-prosjektet</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data-instituttet</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia-stiftelsen</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapittel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Vi gjorde bakgrunnsundersøkelser, og gjennomførte intervjuer for hver
+referansestudie, basert på det samme settet med grunnleggende spørsmål om
+innsatsen. Fokus for hver saksstudie er å fortelle historien om hvordan
+oppgaven løses, og hvilken rolle deling spiller i den, i hovedsak som måten
+det ble fortalt oss på av dem vi intervjuet.
+ </p><div class="toc"><p><b>Innholdsfortegnelse</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender-instituttet</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun-prosjektet</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data-instituttet</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia-stiftelsen</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapittel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Arduino er en kommersiell og fri programvareplattform for et selskap tuftet
-på datautstyr og programvare. Grunnlagt i 2005 i Italia.
+på datautstyr og programvare. Grunnlagt i 2005 i Italia.
</p><p>
<a class="ulink" href="https://www.arduino.cc" target="_top">https://www.arduino.cc</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for fysiske
kopier (salg av brett, moduler, skjermer og byggesett), lisensiering av et
-varemerke (avgifter betalt av dem som ønsker å selge Arduino-produkter med
+varemerke (avgifter betalt av dem som ønsker å selge Arduino-produkter med
deres navn)
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 4. februar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: David Cuartielles og Tom
Igoe, medgrunnleggere
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- I 2005, hos Interaction Design Institute Ivrea i Nord-Italia, trengte lærere
-og elever en enkel måte å bruke elektronikk og programmering på for raskt å
+ I 2005, hos Interaction Design Institute Ivrea i Nord-Italia, trengte lærere
+og elever en enkel måte å bruke elektronikk og programmering på for raskt å
lage prototyper for designideer. Musikere, kunstnere og designere trengte en
-plattform som ikke krevde ingeniørekspertise. En gruppe lærere og studenter,
+plattform som ikke krevde ingeniørekspertise. En gruppe lærere og studenter,
inkludert Massimo Banzi, David Cuartielles, Tom Igoe, Gianluca Martino og
-David Mellis, bygget en plattform som kombinerte ulike åpne
+David Mellis, bygget en plattform som kombinerte ulike åpne
kildekode-teknologier. De kalte det Arduino. Plattformen integrerte
programvare, maskinvare, mikrokontroller og elektronikk. Alle aspekter av
-plattformen ble åpent lisensiert: Maskinvare og dokumentasjon med
+plattformen ble åpent lisensiert: Maskinvare og dokumentasjon med
Attribution-Share-Alike-lisens (CC BY-SA), og programvare med GNU General
Public License.
</p><p>
- Kretskort fra Arduino kan lese inndata: Lys på en sensor, en finger på en
+ Kretskort fra Arduino kan lese inndata: Lys på en sensor, en finger på en
knapp, eller en Twitter-melding, og snu den til utganger, aktivere en motor,
-slå på en LED, og publisere noe på nettet. Du sender et sett med
-instruksjoner til mikrokontrollen på kortet ved hjelp av Arduino
-programmeringsspråk og Arduino programvare (basert på fri programvare ved
-navn Processing, et programmeringsverktøy som brukes til å lage visuell
+slå på en LED, og publisere noe på nettet. Du sender et sett med
+instruksjoner til mikrokontrollen på kortet ved hjelp av Arduino
+programmeringsspråk og Arduino programvare (basert på fri programvare ved
+navn Processing, et programmeringsverktøy som brukes til å lage visuell
kunst).
- </p><p><span class="quote">«<span class="quote">Grunnene for å gjøre Arduino til åpen maskinvare er
-kompliserte</span>»</span>, sier Tom. Delvis handlet det om å støtte
-fleksibilitet. Åpen maskinvare-egenskapene til Arduino gir brukere rett til
-å endre og lage mange forskjellige varianter, bygd på toppen av det
-grunnleggende laget. David sier dette <span class="quote">«<span class="quote">endte opp med å styrke
-plattformen langt utover det vi til og med hadde tenkt å lage</span>»</span>.
- </p><p>
- En annen faktor for Tom var den forestående nedleggelsen av Ivrea
-designskole. Han hadde sett andre organisasjoner lukke dørene, og at alt
-arbeid og forskning bare forsvant. Åpen maskinvare sikret at Arduino ville
+ </p><p><span class="quote">«<span class="quote">Grunnene for å gjøre Arduino til åpen maskinvare er
+kompliserte</span>»</span>, sier Tom. Delvis handlet det om å støtte
+fleksibilitet. Åpen maskinvare-egenskapene til Arduino gir brukere rett til
+å endre og lage mange forskjellige varianter, bygd på toppen av det
+grunnleggende laget. David sier dette <span class="quote">«<span class="quote">endte opp med å styrke
+plattformen langt utover det vi til og med hadde tenkt å lage</span>»</span>.
+ </p><p>
+ En annen faktor for Tom var den forestående nedleggelsen av Ivrea
+designskole. Han hadde sett andre organisasjoner lukke dørene, og at alt
+arbeid og forskning bare forsvant. Åpen maskinvare sikret at Arduino ville
overleve nedleggelsen av Ivrea. Lang levetid er den tingen Tom virkelig
-liker ved åpen maskinvare. Hvis nøkkelpersoner drar, eller selskapet
-avsluttes, lever et åpent maskinvareprodukt videre. <span class="quote">«<span class="quote">Bruk av åpen
-maskinvare gjør det enklere å stole på et produkt</span>»</span>, etter Toms syn.
+liker ved åpen maskinvare. Hvis nøkkelpersoner drar, eller selskapet
+avsluttes, lever et åpent maskinvareprodukt videre. <span class="quote">«<span class="quote">Bruk av åpen
+maskinvare gjør det enklere å stole på et produkt</span>»</span>, etter Toms syn.
</p><p>
Da skolen lukket, startet David og noen av de andre Arduino-grunnleggerne et
konsulentfirma og et tverrfaglig designstudio de kalte Tinker, i
London. Tinker utviklet produkter og tjenester som bygde bro mellom det
-digitale og fysiske, og de lærte folk hvordan de skulle bruke ny teknologi
-på kreative måter. Inntekter fra Tinker ble investert i å opprettholde og
+digitale og fysiske, og de lærte folk hvordan de skulle bruke ny teknologi
+på kreative måter. Inntekter fra Tinker ble investert i å opprettholde og
styrke Arduino.
</p><p>
For Tom er del av Arduinos suksess at grunnleggerne gjorde seg selv til den
-første kunden av produktet sitt. De laget de produktene de selv personlig
-ønsket. Det var et spørsmål om <span class="quote">«<span class="quote">Jeg trenger denne tingen</span>»</span>, ikke
-<span class="quote">«<span class="quote">Hvis vi lager denne, vil vi tjene mye penger</span>»</span>. Tom bemerker at
-å være din egen første kunde, gjør deg mer trygg og overbevisende når
+første kunden av produktet sitt. De laget de produktene de selv personlig
+ønsket. Det var et spørsmål om <span class="quote">«<span class="quote">Jeg trenger denne tingen</span>»</span>, ikke
+<span class="quote">«<span class="quote">Hvis vi lager denne, vil vi tjene mye penger</span>»</span>. Tom bemerker at
+å være din egen første kunde, gjør deg mer trygg og overbevisende når
produktet ditt skal selges.
</p><p>
- Arduinos forretningsmodell har utviklet seg over tid – og Tom sier at modell
-er et stort ord for den. Opprinnelig ville de bare lage noen få kretskort,
-og få dem ut i verden. De startet med to hundre kort, solgte dem, og fikk et
-lite overskudd. De brukte det til å lage tusen til, som genererte nok
-inntekter til å lage fem tusen. I begynnelsen prøvde de bare å generere nok
-midler for å holde virksomheten gående fra dag til dag. Da de traff
-titusen-merket, begynte de å tenke på Arduino som selskap. Innen da var det
-klart at det var mulig å åpent dele utformingen og fortsatt produsere det
-fysiske produktet. Så lenge det er et kvalitetsprodukt, og selges til en
-rimelig pris, vil folk kjøpe det.
- </p><p>
- Arduino har nå et verdensomspennende fellesskap av produsenter, studenter og
-amatører, kunstnere, programmerere og fagfolk. Arduino tilbyr en wiki kalt
+ Arduinos forretningsmodell har utviklet seg over tid – og Tom sier at modell
+er et stort ord for den. Opprinnelig ville de bare lage noen få kretskort,
+og få dem ut i verden. De startet med to hundre kort, solgte dem, og fikk et
+lite overskudd. De brukte det til å lage tusen til, som genererte nok
+inntekter til å lage fem tusen. I begynnelsen prøvde de bare å generere nok
+midler for å holde virksomheten gående fra dag til dag. Da de traff
+titusen-merket, begynte de å tenke på Arduino som selskap. Innen da var det
+klart at det var mulig å åpent dele utformingen og fortsatt produsere det
+fysiske produktet. Så lenge det er et kvalitetsprodukt, og selges til en
+rimelig pris, vil folk kjøpe det.
+ </p><p>
+ Arduino har nå et verdensomspennende fellesskap av produsenter, studenter og
+amatører, kunstnere, programmerere og fagfolk. Arduino tilbyr en wiki kalt
Playground (en wiki er der alle brukere kan redigere og legge til sider,
-bidra til, og ha nytte av kollektive undersøkelser). Folk deler koden,
-kretsdiagrammer, veiledninger, gjør det selv-instruksjoner (DIY
+bidra til, og ha nytte av kollektive undersøkelser). Folk deler koden,
+kretsdiagrammer, veiledninger, gjør det selv-instruksjoner (DIY
instructions: Do it yourself instructions) og tips og triks, og viser frem
-sine prosjekter. I tillegg er det et flerspråklig diskusjonsforum der
-brukere kan få hjelp til å bruke Arduino, diskutere temaer som robotikk, og
+sine prosjekter. I tillegg er det et flerspråklig diskusjonsforum der
+brukere kan få hjelp til å bruke Arduino, diskutere temaer som robotikk, og
komme med forslag til nye Arduino produktdesigner. I januar 2017 hadde 324
928 medlemmer laget 2 989 489 innlegg om 379 044 emner. Det
verdensomspennende fellesskapet av bidragsytere har gitt en utrolig mengde
-tilgjengelig kunnskap til hjelp både for nybegynnere og eksperter.
+tilgjengelig kunnskap til hjelp både for nybegynnere og eksperter.
</p><p>
Arduinos overgang fra et prosjekt til et selskap var et stort skritt. Andre
-bedrifter som lagde kretskort tok mye penger for dem. Arduino ville gjøre
+bedrifter som lagde kretskort tok mye penger for dem. Arduino ville gjøre
sine tilgjengelig til en lav pris for et bredt spekter av bransjer. Som med
-all forretning var priser nøkkelen. De ønsket priser som vil gi mange
-kunder, men som også var høy nok til å opprettholde virksomheten.
+all forretning var priser nøkkelen. De ønsket priser som vil gi mange
+kunder, men som også var høy nok til å opprettholde virksomheten.
</p><p>
- For en bedrift er det å ikke gå i minus ved slutten av året en
-suksess. Arduino kan ha en åpen lisensstrategi, men de er fortsatt en
-bedrift, og alt som er nødvendig for å kunne drive den vellykket, gjelder
-fortsatt. David forteller at <span class="quote">«<span class="quote">hvis du gjør disse andre tingene bra,
-kan det å dele slik fri programvare bare hjelpe deg</span>»</span>.
+ For en bedrift er det å ikke gå i minus ved slutten av året en
+suksess. Arduino kan ha en åpen lisensstrategi, men de er fortsatt en
+bedrift, og alt som er nødvendig for å kunne drive den vellykket, gjelder
+fortsatt. David forteller at <span class="quote">«<span class="quote">hvis du gjør disse andre tingene bra,
+kan det å dele slik fri programvare bare hjelpe deg</span>»</span>.
</p><p>
- Mens åpen lisensiering av design, dokumentasjon og programvare sikrer lang
-levetid, innebærer den også risiko. Det er en mulighet for at andre vil lage
+ Mens åpen lisensiering av design, dokumentasjon og programvare sikrer lang
+levetid, innebærer den også risiko. Det er en mulighet for at andre vil lage
rimeligere utgaver, kloner og kopier. CC BY-SA lisensen betyr at hvem som
helst kan lage kopier av deres kretskort, omforme dem, og til og med selge
-kretskort som kopierer designet. De trenger ikke å betale en lisensavgift
+kretskort som kopierer designet. De trenger ikke å betale en lisensavgift
til Arduino, eller be om tillatelse. Men hvis de gir ut kortet igjen med
-samme design, må de henvise til Arduino. Hvis de endrer utformingen, må de
-utgi den nye utformingen med samme Creative Commons-lisens for å sikre at
-den nye versjonen er like fri og åpen.
+samme design, må de henvise til Arduino. Hvis de endrer utformingen, må de
+utgi den nye utformingen med samme Creative Commons-lisens for å sikre at
+den nye versjonen er like fri og åpen.
</p><p>
Tom og David sier at mange mennesker har bygget selskaper ut fra Arduino,
med dusinvis av Arduino-derivater der ute. Men i motsetning til lukkede
-forretningsmodeller som kan vri penger ut av systemet over mange år fordi
-det ikke er konkurranse, så Arduinos grunnleggere konkurransen som et middel
-til å holder seg ærlige, og rettet mot et samarbeidsmiljø. En fordel med
-åpen fremfor lukket, er de mange nye idéer og design andre har bidratt med
-til Arduinos økosystem, idéer og design som Arduino og Arduinos allmennseie
+forretningsmodeller som kan vri penger ut av systemet over mange år fordi
+det ikke er konkurranse, så Arduinos grunnleggere konkurransen som et middel
+til å holder seg ærlige, og rettet mot et samarbeidsmiljø. En fordel med
+åpen fremfor lukket, er de mange nye idéer og design andre har bidratt med
+til Arduinos økosystem, idéer og design som Arduino og Arduinos allmennseie
bruker og innlemmer i nye produkter.
</p><p>
Over tid har Arduino-produkter spredt seg, endret og tilpasset seg nye behov
-og utfordringer. I tillegg til enkle kretskort på inngangsnivå, er nye
-produkter lagt til – fra forbedrede kort med avansert funksjonalitet og
-raskere ytelse, til kort for å lage programmer til Internett av ting,
+og utfordringer. I tillegg til enkle kretskort på inngangsnivå, er nye
+produkter lagt til – fra forbedrede kort med avansert funksjonalitet og
+raskere ytelse, til kort for å lage programmer til Internett av ting,
iklebare ting og 3D-printing (3D-utskrift). Hele spekteret av offisielle
Arduino-produkter inkluderer kort, moduler (en mindre formfaktor av
-klassiske kort), skjold (shield) (elementer som kan kobles til et kort for å
+klassiske kort), skjold (shield) (elementer som kan kobles til et kort for å
gi den ekstra funksjoner) og byggesett.<a href="#ftn.idm924" class="footnote" name="idm924"><sup class="footnote">[114]</sup></a>
</p><p>
- Arduinos fokus er på høykvalitetskort, bra utformet støttemateriell og
-forming av fellesskapet. Dette fokuset er én av nøklene til suksessen. Det å
-være åpen lar deg bygge et ekte fellesskap. David sier Arduinos fellesskap
-er en stor styrke, og noe som virkelig gjør en forskjell, som han sier;
-<span class="quote">«<span class="quote">det er god forretningsførsel</span>»</span>. Da de begynte, hadde
+ Arduinos fokus er på høykvalitetskort, bra utformet støttemateriell og
+forming av fellesskapet. Dette fokuset er én av nøklene til suksessen. Det å
+være åpen lar deg bygge et ekte fellesskap. David sier Arduinos fellesskap
+er en stor styrke, og noe som virkelig gjør en forskjell, som han sier;
+<span class="quote">«<span class="quote">det er god forretningsførsel</span>»</span>. Da de begynte, hadde
Arduino-gjengen nesten ingen anelse om hvordan man bygger fellesskap. De
-startet ved å gjennomføre mange arbeidsrettede møter, direkte med personer
-som bruker plattformen for å kontrollere at maskinvaren og programvaren var
-formålstjenlig i det å løse folks problemer. Fellesskapet vokste organisk
+startet ved å gjennomføre mange arbeidsrettede møter, direkte med personer
+som bruker plattformen for å kontrollere at maskinvaren og programvaren var
+formålstjenlig i det å løse folks problemer. Fellesskapet vokste organisk
etter dette.
</p><p>
- En viktig beslutning for Arduino var å varemerke navnet. Grunnleggerne
-trengte en måte å garantere folk kjøp av et kvalitetsprodukt fra et selskap
+ En viktig beslutning for Arduino var å varemerke navnet. Grunnleggerne
+trengte en måte å garantere folk kjøp av et kvalitetsprodukt fra et selskap
forpliktet til friprog-filosofi og kunnskapsdeling. Varemerking av Arduinos
-navn og logo gir den garantien, og hjelper kundene å enkelt identifisere
-produktene deres, samt produkter godkjent av dem. Hvis andre ønsker å selge
-kretskort med Arduino-navn og -logo, må de betale en liten avgift til
-Arduino. Dette gjør Arduino i stand til å skalere opp produksjon og
+navn og logo gir den garantien, og hjelper kundene å enkelt identifisere
+produktene deres, samt produkter godkjent av dem. Hvis andre ønsker å selge
+kretskort med Arduino-navn og -logo, må de betale en liten avgift til
+Arduino. Dette gjør Arduino i stand til å skalere opp produksjon og
distribusjon, samtidig som det forsikres at Arduino-merket ikke skades av
lavkvalitetskopier.
</p><p>
Gjeldende offisielle produsenter er Smart-prosjekter i Italia, SparkFun i
USA, og Dog Hunter i Taiwan/Kina. Dette er de eneste produsentene som
-tillates å bruke Arduino-logoen på brettene sine. Varemerkingen av
-merkevaren deres har gitt grunnleggerne en måte å beskytte Arduino på, bygge
-ut videre, finansiere utvikling av programvare og opplæring. Gebyret for
+tillates å bruke Arduino-logoen på brettene sine. Varemerkingen av
+merkevaren deres har gitt grunnleggerne en måte å beskytte Arduino på, bygge
+ut videre, finansiere utvikling av programvare og opplæring. Gebyret for
varemerke-lisensiering ble Arduinos inntektsgenererende modell.
</p><p>
- Hvilken utstrekning ting skulle åpnes i var ikke alltid noe grunnleggerne
-var helt enige om. David, som alltid gikk i bresjen for å åpne ting opp mer,
+ Hvilken utstrekning ting skulle åpnes i var ikke alltid noe grunnleggerne
+var helt enige om. David, som alltid gikk i bresjen for å åpne ting opp mer,
hadde noen betenkeligheter om beskyttelse av Arduino-navnet, idet folk
kanskje ville bli sure om de beskyttet deres merkevare. Det var et tidlig
tilbakeslag med et prosjekt kalt Freeduino, men samlet, varemerking og
-merkevarebygging har vært et kritisk verktøy for Arduino.
+merkevarebygging har vært et kritisk verktøy for Arduino.
</p><p>
- David oppfordrer folk og bedrifter til å ta utgangspunkt i å dele alt, og
+ David oppfordrer folk og bedrifter til å ta utgangspunkt i å dele alt, og
deretter vurdere om det er noe som virkelig trenger beskyttelse, og
-hvorfor. Det er mange gode grunner til å ikke åpne bestemte elementer. Denne
-strategien for å dele alt, er den diametrale motsats til hvordan dagens
-verden opererer, der ingenting deles. Tom foreslår at en bedrift
-formaliserer hvilke elementer som er basert på åpen deling, og hvilke som er
+hvorfor. Det er mange gode grunner til å ikke åpne bestemte elementer. Denne
+strategien for å dele alt, er den diametrale motsats til hvordan dagens
+verden opererer, der ingenting deles. Tom foreslår at en bedrift
+formaliserer hvilke elementer som er basert på åpen deling, og hvilke som er
lukket. Et Arduino-blogginnlegg fra 2013 av en av grunnleggerne Massimo
-Banzi, med tittelen <span class="quote">«<span class="quote">Send In the Clones</span>»</span>, er til stor hjelp for
-å forklare hele kompleksiteten hvilken effekt varemerkingen deres har hatt,
-ved å skille mellom offisielle kort og de som er kloner, avledet, kompatible
+Banzi, med tittelen <span class="quote">«<span class="quote">Send In the Clones</span>»</span>, er til stor hjelp for
+å forklare hele kompleksiteten hvilken effekt varemerkingen deres har hatt,
+ved å skille mellom offisielle kort og de som er kloner, avledet, kompatible
og forfalskninger.<a href="#ftn.idm934" class="footnote" name="idm934"><sup class="footnote">[115]</sup></a>
</p><p>
- For David er en spennende del av Arduino hvordan den gjør det mulig for så
-mange å tilpasse teknologi på mange forskjellige måter. Teknologi åpner
-alltid flere muligheter, men ikke alltid med fokus på å være enkel i bruk og
-å tilpasse. Det er der Arduino trer frem. Arduinos mål er <span class="quote">«<span class="quote">å lage ting
-som hjelper andre mennesker å lage ting</span>»</span>.
+ For David er en spennende del av Arduino hvordan den gjør det mulig for så
+mange å tilpasse teknologi på mange forskjellige måter. Teknologi åpner
+alltid flere muligheter, men ikke alltid med fokus på å være enkel i bruk og
+å tilpasse. Det er der Arduino trer frem. Arduinos mål er <span class="quote">«<span class="quote">å lage ting
+som hjelper andre mennesker å lage ting</span>»</span>.
</p><p>
- Arduino har vært svært vellykket med å få teknologi og elektronikk ut til et
-større publikum. For Tom har Arduino handlet om <span class="quote">«<span class="quote">demokratisering av
-teknologi</span>»</span>. Tom ser Arduinos fri programvarestrategi som å hjelpe
-verden å komme forbi tanken om at teknologi må beskyttes. <span class="quote">«<span class="quote">Teknologi
-er en ferdighet som alle burde lære</span>»</span>, sier Tom.
+ Arduino har vært svært vellykket med å få teknologi og elektronikk ut til et
+større publikum. For Tom har Arduino handlet om <span class="quote">«<span class="quote">demokratisering av
+teknologi</span>»</span>. Tom ser Arduinos fri programvarestrategi som å hjelpe
+verden å komme forbi tanken om at teknologi må beskyttes. <span class="quote">«<span class="quote">Teknologi
+er en ferdighet som alle burde lære</span>»</span>, sier Tom.
</p><p>
- Til slutt, for Arduino, å bli åpne har vært bra for forretningen – bra for
+ Til slutt, for Arduino, å bli åpne har vært bra for forretningen – bra for
produktutvikling, bra for distribusjon, bra for prising og bra for
produksjon.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm924" class="footnote"><p><a href="#idm924" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm934" class="footnote"><p><a href="#idm934" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapittel 5.
Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica gir kurs på nettet og konsulenttjenester fokusert på hvordan du
-bruker digital teknologi til å dele kunnskap og muliggjøre samarbeid i kunst
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm924" class="footnote"><p><a href="#idm924" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm934" class="footnote"><p><a href="#idm934" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapittel 5.
Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ Ártica gir kurs på nettet og konsulenttjenester fokusert på hvordan du
+bruker digital teknologi til å dele kunnskap og muliggjøre samarbeid i kunst
og kultur. Grunnlagt i 2011 i Uruguay.
</p><p>
<a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 9. mars 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Mariana Fossatti og Jorge
Gemetto, medgrunnleggere
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Historien om Mariana Fossattis og Jorge Gemettos virksomhet, Ártica, er det
-beste eksempelet på Gjør det selv (DIY: Do it yourself). Ikke bare er de
-vellykkede gründere, nisjen deres lille virksomhet opererer i, er i hovedsak
+ Historien om Mariana Fossattis og Jorge Gemettos virksomhet, Ártica, er det
+beste eksempelet på Gjør det selv (DIY: Do it yourself). Ikke bare er de
+vellykkede gründere, nisjen deres lille virksomhet opererer i, er i hovedsak
en de har bygget selv.
</p><p>
- Drømmejobbene deres eksisterer ikke, så de laget dem.
+ Drømmejobbene deres eksisterer ikke, så de laget dem.
</p><p>
I 2011 var Mariana en sosiolog som arbeider for en internasjonal
-organisasjon med å utvikle forskning og utdanning på nettet om
-jordbruksutviklingsoppgaver. Jorge var psykolog, som også arbeidet med
-utdanning på nett. Begge var bloggere og tunge brukere av sosiale medier, og
+organisasjon med å utvikle forskning og utdanning på nettet om
+jordbruksutviklingsoppgaver. Jorge var psykolog, som også arbeidet med
+utdanning på nett. Begge var bloggere og tunge brukere av sosiale medier, og
begge hadde en lidenskap for kunst og kultur. Med sine ferdigheter i digital
-teknologi og nettlæring besluttet de å bruke dem på et område de likte. De
-lanserte Ártica, en bedrift som gir opplæring og rådgivning for folk og
-institusjoner som utvikler kunstneriske og kulturelle prosjekter på
+teknologi og nettlæring besluttet de å bruke dem på et område de likte. De
+lanserte Ártica, en bedrift som gir opplæring og rådgivning for folk og
+institusjoner som utvikler kunstneriske og kulturelle prosjekter på
Internettet.
</p><p>
- Ártica føles som en unik virksomhet i det tjueførste århundret. Det lille
-selskapet har en global tilstedeværelse på Internett uten fysiske
+ Ártica føles som en unik virksomhet i det tjueførste århundret. Det lille
+selskapet har en global tilstedeværelse på Internett uten fysiske
kontorer. Jorge og Mariana bor i Uruguay, og de andre to fulltids ansatte,
-som Jorge og Mariana aldri har møtt personlig, bor i Spania. De startet ved
-å opprette en MOOC (et fleksibelt nettkurs, gratis og tilgjengelig for alle)
+som Jorge og Mariana aldri har møtt personlig, bor i Spania. De startet ved
+å opprette en MOOC (et fleksibelt nettkurs, gratis og tilgjengelig for alle)
om remiks-kultur og samarbeid innen kunsten, som ga dem en direkte vei til
et internasjonalt publikum, og tiltrekke seg studenter fra hele
Latin-Amerika og Spania. Med andre ord, det er den klassiske
-Internett-historien om å kunne koble seg direkte til publikum uten å være
+Internett-historien om å kunne koble seg direkte til publikum uten å være
avhengig av portvoktere eller mellommenn.
</p><p>
- Ártica tilbyr personlig tilpasset utdanning og konsulenttjenester, og
-hjelper kundene å gjennomføre prosjekter. Alle disse tjenestene er
-tilpasset. De kaller det en <span class="quote">«<span class="quote">artisan</span>»</span>-prosess på grunn av den
-tid og krefter det tar for å tilpasse sitt arbeid til de spesielle behovene
-til studenter og kunder. <span class="quote">«<span class="quote">Hver student eller kunde betaler for en
-bestemt løsning på hans eller hennes problemer og spørsmål</span>»</span>, sier
-Mariana. I stedet for å selge tilgang til innholdet sitt, gir de det gratis,
+ Ártica tilbyr personlig tilpasset utdanning og konsulenttjenester, og
+hjelper kundene å gjennomføre prosjekter. Alle disse tjenestene er
+tilpasset. De kaller det en <span class="quote">«<span class="quote">artisan</span>»</span>-prosess på grunn av den
+tid og krefter det tar for å tilpasse sitt arbeid til de spesielle behovene
+til studenter og kunder. <span class="quote">«<span class="quote">Hver student eller kunde betaler for en
+bestemt løsning på hans eller hennes problemer og spørsmål</span>»</span>, sier
+Mariana. I stedet for å selge tilgang til innholdet sitt, gir de det gratis,
og tar betalt for den personlige tilpasningen.
</p><p>
- Da de begynte, tilbød de et mindre antall kurs myntet på store
-målgrupper. <span class="quote">«<span class="quote">Gjennom årene har vi innsett at nettsamfunn er smalere
-enn vi trodde</span>»</span>, sa Mariana. Ártica leverer nå flere mulige kurs og
-har færre påmeldinger på hver av dem. Dette betyr at de kan gi hver enkelte
+ Da de begynte, tilbød de et mindre antall kurs myntet på store
+målgrupper. <span class="quote">«<span class="quote">Gjennom årene har vi innsett at nettsamfunn er smalere
+enn vi trodde</span>»</span>, sa Mariana. Ártica leverer nå flere mulige kurs og
+har færre påmeldinger på hver av dem. Dette betyr at de kan gi hver enkelte
elev mer oppmerksomhet, og tilby kurs i mer spesialiserte emner.
</p><p>
- Kurs på nettet er deres største inntektskilde, men de har også mer enn et
-dusin konsulentprosjekter hvert år, alt fra digitalisering til
-arrangementsplanlegging og markedsføringskampanjer. Noen av dem har en viss
-størrelse, spesielt når de jobber med kulturinstitusjoner, mens andre er
-mindre prosjekter på oppdrag fra enkeltartister.
+ Kurs på nettet er deres største inntektskilde, men de har også mer enn et
+dusin konsulentprosjekter hvert år, alt fra digitalisering til
+arrangementsplanlegging og markedsføringskampanjer. Noen av dem har en viss
+størrelse, spesielt når de jobber med kulturinstitusjoner, mens andre er
+mindre prosjekter på oppdrag fra enkeltartister.
</p><p>
- Ártica søker også etter offentlig og privat finansiering til bestemte
-prosjekter. Noen ganger, selv om de ikke lykkes i å få støtte til et
-prosjekt som et nytt kurs eller en nettbok, går de videre fordi de tror på
-det. De har det standpunktet at hvert nytt prosjekt fører dem til noe nytt,
-hver ny ressurs de lager åpner nye dører.
+ Ártica søker også etter offentlig og privat finansiering til bestemte
+prosjekter. Noen ganger, selv om de ikke lykkes i å få støtte til et
+prosjekt som et nytt kurs eller en nettbok, går de videre fordi de tror på
+det. De har det standpunktet at hvert nytt prosjekt fører dem til noe nytt,
+hver ny ressurs de lager åpner nye dører.
</p><p>
- Ártica lener seg tungt på at deres fritt tilgjengelige Creative
+ Ártica lener seg tungt på at deres fritt tilgjengelige Creative
Commons-lisensierte innhold vil trekke til seg nye studenter og kunder. Alt
de lager, nettbasert utdanning, blogg-innlegg og videoer, utgis med en
-Attribution-ShareAlike-lisens (CC BY-SA). <span class="quote">«<span class="quote">Vi bruker en
-ShareAlike-lisens fordi vi vil gi størst mulig frihet til våre studenter og
-lesere, og vi ønsker også at friheten skal være viral</span>»</span>, sa Jorge. For
-dem er det en grunnleggende verdi å gi andre rett til å gjenbruke og remikse
-innholdet. <span class="quote">«<span class="quote">Hvordan kan du tilby en nettbasert pedagogisk tjeneste
-uten å tillate å laste ned, lage og beholde kopier, eller skrive ut de
-pedagogiske ressursene?</span>»</span>, sa Jorge. <span class="quote">«<span class="quote">Hvis vi ønsker å gjøre det
-best for våre studenter - de som stoler så mye på oss at de er villige til
-å betale oss via nettet uten å møte oss fysisk - vi er nødt til å tilby dem
-en balansert og etisk avtale.</span>»</span>
- </p><p>
- De tror også at å dele sine ideer og sin ekspertise åpent, hjelper dem å
-bygge omdømmet og synligheten sin. Folk deler og siterer deres arbeid
-ofte. For noen år siden plukket en utgiver selv opp en av nettbøkene deres,
-og distribuerte trykte kopier. Ártica ser gjenbruk av arbeidet deres som en
-vei til å åpne opp nye muligheter for sin virksomhet.
- </p><p>
- Denne troen på at åpenhet skaper nye muligheter reflekterer en annen tro -
-på tilfeldige lykketreff. Når de beskriver sin prosess når de lager
-innhold, snakker de om alle de spontane og organiske måtene de finne
-inspirasjon på. <span class="quote">«<span class="quote">Noen ganger starter samarbeidsprosessen med en
-samtale mellom oss, eller med venner fra andre prosjekter</span>»</span>, sa
-Jorge. <span class="quote">«<span class="quote">Det kan være det første skrittet til et nytt blogginnlegg,
+Attribution-ShareAlike-lisens (CC BY-SA). <span class="quote">«<span class="quote">Vi bruker en
+ShareAlike-lisens fordi vi vil gi størst mulig frihet til våre studenter og
+lesere, og vi ønsker også at friheten skal være viral</span>»</span>, sa Jorge. For
+dem er det en grunnleggende verdi å gi andre rett til å gjenbruke og remikse
+innholdet. <span class="quote">«<span class="quote">Hvordan kan du tilby en nettbasert pedagogisk tjeneste
+uten å tillate å laste ned, lage og beholde kopier, eller skrive ut de
+pedagogiske ressursene?</span>»</span>, sa Jorge. <span class="quote">«<span class="quote">Hvis vi ønsker å gjøre det
+best for våre studenter - de som stoler så mye på oss at de er villige til
+å betale oss via nettet uten å møte oss fysisk - vi er nødt til å tilby dem
+en balansert og etisk avtale.</span>»</span>
+ </p><p>
+ De tror også at å dele sine ideer og sin ekspertise åpent, hjelper dem å
+bygge omdømmet og synligheten sin. Folk deler og siterer deres arbeid
+ofte. For noen år siden plukket en utgiver selv opp en av nettbøkene deres,
+og distribuerte trykte kopier. Ártica ser gjenbruk av arbeidet deres som en
+vei til å åpne opp nye muligheter for sin virksomhet.
+ </p><p>
+ Denne troen på at åpenhet skaper nye muligheter reflekterer en annen tro -
+på tilfeldige lykketreff. Når de beskriver sin prosess når de lager
+innhold, snakker de om alle de spontane og organiske måtene de finne
+inspirasjon på. <span class="quote">«<span class="quote">Noen ganger starter samarbeidsprosessen med en
+samtale mellom oss, eller med venner fra andre prosjekter</span>»</span>, sa
+Jorge. <span class="quote">«<span class="quote">Det kan være det første skrittet til et nytt blogginnlegg,
eller et nytt enkelt innhold, som i fremtiden kan utvikle seg til et mer
-sammensatt produkt, som et kurs eller en bok.</span>»</span>
+sammensatt produkt, som et kurs eller en bok.</span>»</span>
</p><p>
- I stedet for å planlegge det de skal gjøre på forhånd, går de for en mer
-dynamisk kreativ prosess. <span class="quote">«<span class="quote">Dette betyr ikke at vi slipper å jobbe
-hardt for å få gode profesjonelle resultater, men utformingsprosessen er mer
-fleksibel</span>»</span>, sa Jorge. De deler tidlig og ofte, og de justerer ut fra
-det de lærer, og utforsker og tester alltid nye ideer og måter å arbeide
-på. På mange måter er prosessen for dem like viktig som sluttproduktet.
+ I stedet for å planlegge det de skal gjøre på forhånd, går de for en mer
+dynamisk kreativ prosess. <span class="quote">«<span class="quote">Dette betyr ikke at vi slipper å jobbe
+hardt for å få gode profesjonelle resultater, men utformingsprosessen er mer
+fleksibel</span>»</span>, sa Jorge. De deler tidlig og ofte, og de justerer ut fra
+det de lærer, og utforsker og tester alltid nye ideer og måter å arbeide
+på. På mange måter er prosessen for dem like viktig som sluttproduktet.
</p><p>
- Folk og relasjoner er også like viktige, noen ganger mer. <span class="quote">«<span class="quote">I den
-pedagogiske og kulturelle virksomheten, er det viktigere å ta hensyn til
+ Folk og relasjoner er også like viktige, noen ganger mer. <span class="quote">«<span class="quote">I den
+pedagogiske og kulturelle virksomheten, er det viktigere å ta hensyn til
folk og prosesser, snarere enn innhold eller spesielle formater eller
-materialer</span>»</span>, sa Mariana. <span class="quote">«<span class="quote">Materialer og innhold er
-flytende. Den viktige tingen er relasjonene.</span>»</span>
+materialer</span>»</span>, sa Mariana. <span class="quote">«<span class="quote">Materialer og innhold er
+flytende. Den viktige tingen er relasjonene.</span>»</span>
</p><p>
- Ártica tror på kraften i nettverket. De søker å lage forbindelser mellom
-mennesker og institusjoner over hele verden, så de kan lære av dem og dele
+ Ártica tror på kraften i nettverket. De søker å lage forbindelser mellom
+mennesker og institusjoner over hele verden, så de kan lære av dem og dele
sine kunnskaper.
</p><p>
- I hjertet av alt Ártica gjør, ligger et sett med verdier. <span class="quote">«<span class="quote">Godt
-innhold ikke er nok</span>»</span>, sa Jorge. <span class="quote">«<span class="quote">Vi tror også at det er svært
-viktig i kultursektoren å ta et standpunkt for endel ting</span>»</span>. Mariana
+ I hjertet av alt Ã\81rtica gjør, ligger et sett med verdier. <span class="quote">«<span class="quote">Godt
+innhold ikke er nok</span>»</span>, sa Jorge. <span class="quote">«<span class="quote">Vi tror også at det er svært
+viktig i kultursektoren å ta et standpunkt for endel ting</span>»</span>. Mariana
og Jorge er aktivister. De forsvarer fri kultur (bevegelsen som fremmer
-frihet til å endre og distribuere kreativt arbeid), og arbeider for å vise
-skjæringspunktet mellom fri kultur og andre bevegelser for sosial
-rettferdighet. Innsatsen deres for å involvere mennesker i sitt arbeid, og
-aktivere kunstnere og kulturinstitusjoner til å bedre bruken av teknologi,
+frihet til å endre og distribuere kreativt arbeid), og arbeider for å vise
+skjæringspunktet mellom fri kultur og andre bevegelser for sosial
+rettferdighet. Innsatsen deres for å involvere mennesker i sitt arbeid, og
+aktivere kunstnere og kulturinstitusjoner til å bedre bruken av teknologi,
er tett knyttet til deres holdninger. Til syvende og sist, det som driver
-deres arbeid er målet om å demokratisere kunst og kultur.
- </p><p>
- Ártica må selvfølgelig også tjene nok penger til å dekke sine utgifter. I
-stor grad er menneskelige ressurser den største utgiftsposten. De trekker
-veksler på samarbeidspartnere fra sak til sak, og leier inn oppdragstakere
-til bestemte prosjekter. Når det er mulig, trekker de veksler på
-kunstneriske og kulturelle ressurser i fellesskapet, og de stoler på fri
-programvare. Virksomheten deres er liten, effektiv og bærekraftig, og derfor
+deres arbeid er målet om å demokratisere kunst og kultur.
+ </p><p>
+ Ártica må selvfølgelig også tjene nok penger til å dekke sine utgifter. I
+stor grad er menneskelige ressurser den største utgiftsposten. De trekker
+veksler på samarbeidspartnere fra sak til sak, og leier inn oppdragstakere
+til bestemte prosjekter. Når det er mulig, trekker de veksler på
+kunstneriske og kulturelle ressurser i fellesskapet, og de stoler på fri
+programvare. Virksomheten deres er liten, effektiv og bærekraftig, og derfor
er den en suksess.
- </p><p><span class="quote">«<span class="quote">Det er mange mennesker som tilbyr kurs på nettet</span>»</span>, sa
-Jorge. <span class="quote">«<span class="quote">Men det er lett å skille oss ut. Vi har en tilnærming som er
-veldig spesifikk og personlig</span>»</span>. Árticas modell er forankret i det
-personlige på alle nivåer. For Mariana og Jorge betyr suksess å gjøre det
-som gir dem personlig formål og mening, og gjøre det bærekraftig og sammen
+ </p><p><span class="quote">«<span class="quote">Det er mange mennesker som tilbyr kurs på nettet</span>»</span>, sa
+Jorge. <span class="quote">«<span class="quote">Men det er lett å skille oss ut. Vi har en tilnærming som er
+veldig spesifikk og personlig</span>»</span>. Árticas modell er forankret i det
+personlige på alle nivåer. For Mariana og Jorge betyr suksess å gjøre det
+som gir dem personlig formål og mening, og gjøre det bærekraftig og sammen
med andre.
</p><p>
- I sitt arbeid med yngre artister prøver Mariana og Jorge å understreke at
+ I sitt arbeid med yngre artister prøver Mariana og Jorge å understreke at
denne modellen for suksess er like verdifull som det bildet av suksess vi
-får i media. <span class="quote">«<span class="quote">Hvis de bare søker etter den tradisjonell typen suksess
-så kommer de til å bli frustrert</span>»</span>, sa Mariana. <span class="quote">«<span class="quote">Vi prøver å
-vise dem et annet bilde av hvordan suksess ser ut.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapittel 6. Blender-instituttet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+får i media. <span class="quote">«<span class="quote">Hvis de bare søker etter den tradisjonell typen suksess
+så kommer de til å bli frustrert</span>»</span>, sa Mariana. <span class="quote">«<span class="quote">Vi prøver å
+vise dem et annet bilde av hvordan suksess ser ut.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapittel 6. Blender-instituttet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Blender Institute er et animasjonsstudio som lager 3D-filmer med
programvaresystemet Blender. Grunnlagt i 2006 i Nederland.
</p><p>
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 8. mars 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Francesco Siddi,
produksjonsleder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
For Ton Roosendaal, som skapte programvaresystemet Blender og de tilknyttede
-enhetene, er deling praktisk. Å gjøre programvaren sin for å lage 3D-innhold
-tilgjengelig under fri programvarelisens har vært fundamentalt for
-programmets utvikling og popularitet. Å bruke programvaren til å lage filmer
-lisensiert med Creative Commons, skjøv denne utviklingen ytterligere
-fremover. Deling gjør det mulig for folk å delta og samhandle med, og å
-bygge videre på, den teknologien og innholdet de lager på en måte som er til
+enhetene, er deling praktisk. Å gjøre programvaren sin for å lage 3D-innhold
+tilgjengelig under fri programvarelisens har vært fundamentalt for
+programmets utvikling og popularitet. Å bruke programvaren til å lage filmer
+lisensiert med Creative Commons, skjøv denne utviklingen ytterligere
+fremover. Deling gjør det mulig for folk å delta og samhandle med, og å
+bygge videre på, den teknologien og innholdet de lager på en måte som er til
fordel for Blender og Blenders fellesskap helt konkret.
</p><p>
- Hvert åpen-filmprosjekt Blender kjører, produserer en rekke åpne lisensierte
+ Hvert åpen-filmprosjekt Blender kjører, produserer en rekke åpne lisensierte
resultater, ikke bare den endelige filmen selv, men alt kildematerialet
-også. Den kreative prosessen forbedrer også utviklingen av Blenders
-programvare fordi det tekniske teamet responderer direkte på behovene
-filmens produksjonsteam har, ved å lage verktøy og funksjoner som gjør livet
-deres enklere. Og, selvfølgelig, hvert prosjekt innebærer en lang, givende
+også. Den kreative prosessen forbedrer også utviklingen av Blenders
+programvare fordi det tekniske teamet responderer direkte på behovene
+filmens produksjonsteam har, ved å lage verktøy og funksjoner som gjør livet
+deres enklere. Og, selvfølgelig, hvert prosjekt innebærer en lang, givende
prosess der det kreative og tekniske fellesskapet arbeider sammen.
</p><p>
- Heller enn bare å snakke om de teoretiske fordelene ved deling og fri
-kultur, er Ton veldig for å få til og lage fri kultur. Blenders
-produksjonsleder Francesco Siddi fortalte oss at, <span class="quote">«<span class="quote">Ton tror hvis du
-ikke lager innhold med dine egne verktøy, så gjør du ikke storverk.</span>»</span>
+ Heller enn bare å snakke om de teoretiske fordelene ved deling og fri
+kultur, er Ton veldig for å få til og lage fri kultur. Blenders
+produksjonsleder Francesco Siddi fortalte oss at, <span class="quote">«<span class="quote">Ton tror hvis du
+ikke lager innhold med dine egne verktøy, så gjør du ikke storverk.</span>»</span>
</p><p>
Blenders historie begynner i 1990, da Ton opprettet programvaren
Blender. Opprinnelig var programvaren en intern ressurs for hans
-animasjonsstudio i Nederland. Investorer ble interessert i programvaren, så
-han begynte å markedsføre programvaren til publikum, og tilbød en gratis
+animasjonsstudio i Nederland. Investorer ble interessert i programvaren, så
+han begynte å markedsføre programvaren til publikum, og tilbød en gratis
versjon i tillegg til en betalt versjon. Salget var skuffende, og hans
-investorer ga opp forsøket tidlig på 2000-tallet. Han gjorde en avtale med
-investorer – hvis han kunne skaffe nok penger, kunne han så gjøre
+investorer ga opp forsøket tidlig på 2000-tallet. Han gjorde en avtale med
+investorer – hvis han kunne skaffe nok penger, kunne han så gjøre
Blender-programvaren tilgjengelig under GNU General Public License.
</p><p>
- Dette var lenge før Kickstarter og andre nettsteder for folkefinansiering
-eksisterte, men Ton kjørte sin egen versjon av en
+ Dette var lenge før Kickstarter og andre nettsteder for folkefinansiering
+eksisterte, men Ton kjørte sin egen versjon av en
folkefinansieringskampanje, og skaffet raskt pengene han
-trengte. Blender-programvaren ble fritt tilgjengelig å bruke for alle. Men
-bare å bruke General Public License til programvaren, var ikke nok til å få
+trengte. Blender-programvaren ble fritt tilgjengelig å bruke for alle. Men
+bare å bruke General Public License til programvaren, var ikke nok til å få
til et blomstrende fellesskap rundt den. Francesco fortalte oss:
-<span class="quote">«<span class="quote">Programvare med denne kompleksiteten er avhengig av mennesker og
+<span class="quote">«<span class="quote">Programvare med denne kompleksiteten er avhengig av mennesker og
deres visjon om hvordan folk arbeider sammen. Ton er en fantastisk
-fellesskapsbygger og leder, og han har lagt ned mye arbeid i å fremme et
-fellesskap av utviklere slik at prosjektet kunne leve.</span>»</span>
+fellesskapsbygger og leder, og han har lagt ned mye arbeid i å fremme et
+fellesskap av utviklere slik at prosjektet kunne leve.</span>»</span>
</p><p>
Som ethvert vellykket fri programvareprosjekt utviklet Blender seg raskt
-fordi fellesskapet kunne gjøre feilrettinger og
-forbedringer. <span class="quote">«<span class="quote">Programvare bør være fritt tilgjengelig og mulig å
-endre</span>»</span>, sa Francesco. <span class="quote">«<span class="quote">Ellers gjør alle det samme i skjul i ti
-år</span>»</span>. Ton satt opp Blender Foundation til å følge med på og forvalte
+fordi fellesskapet kunne gjøre feilrettinger og
+forbedringer. <span class="quote">«<span class="quote">Programvare bør være fritt tilgjengelig og mulig å
+endre</span>»</span>, sa Francesco. <span class="quote">«<span class="quote">Ellers gjør alle det samme i skjul i ti
+år</span>»</span>. Ton satt opp Blender Foundation til å følge med på og forvalte
programvareutviklingen og vedlikeholdet.
</p><p>
- Etter noen år begynte Ton å lete etter nye måter å fremme utviklingen av
-programvaren på. Han fikk ideen om å lage CC-lisensierte filmer med
-Blender-programvare. Ton la ut en forespørsel på nettet til alle
-interesserte og erfarne kunstnere. Francesco sa ideen var å få de beste
+ Etter noen år begynte Ton å lete etter nye måter å fremme utviklingen av
+programvaren på. Han fikk ideen om å lage CC-lisensierte filmer med
+Blender-programvare. Ton la ut en forespørsel på nettet til alle
+interesserte og erfarne kunstnere. Francesco sa ideen var å få de beste
artistene som var tilgjengelig, sette dem i en bygning sammen med de beste
-utviklerne, og få dem til å arbeide sammen. De skulle ikke bare lage åpent
-lisensiert innhold av høy kvalitet, de skulle forbedre Blenders programvare
+utviklerne, og få dem til å arbeide sammen. De skulle ikke bare lage åpent
+lisensiert innhold av høy kvalitet, de skulle forbedre Blenders programvare
i prosessen.
</p><p>
- De gikk for folkefinansieringsmodellen for å subsidiere
-prosjektkostnadene. Med tjue personer arbeidende på fulltid i seks til ti
-måneder, var kostnadene betydelige. Francesco sa at folk ble forbløffet da
-folkefinansieringskampanjen deres lyktes. <span class="quote">«<span class="quote">Idéen om inntjening med
-CC-lisensiert materiale var overveldende for folk</span>»</span>, sa
-han. <span class="quote">«<span class="quote">Reaksjonen var at <span class="quote">‘<span class="quote">Dette tror jeg ikke før jeg får se
-det</span>’</span>.</span>»</span>
- </p><p>
- Den første filmen, som ble utgitt i 2006, var et eksperiment. Det var så
-vellykket at Ton besluttet å sette opp Blender Institute, en enhet øremerket
-til å huse åpen-filmprosjekter. Blender Institute sitt neste prosjekt var en
-enda større suksess. Filmen Big Buck Bunny gikk viralt, og de animerte
-figurene ble plukket opp av markedsførere.
- </p><p>
- Francesco sa at over tid har Blender Institute-prosjektene blitt større og
-mer betydningsfulle. Det betyr at prosessen med å lage film har blitt mer
-kompleks ved å kombinere tekniske eksperter og kunstnere som har fokus på
-historiefortelling. Francesco sier prosessen er nesten på industriell skala
-på grunn av antallet bevegelige deler. Dette krever mye spesialisert hjelp,
-men Blender Institute har ingen problemer med å finne talentene de trenger
-for å bistå prosjekter. <span class="quote">«<span class="quote">Blender gjør knapt noen rekruttering til
-filmprosjekter fordi talenter dukker opp helt av seg selv</span>»</span>, sa
-Francesco. <span class="quote">«<span class="quote">Så mange mennesker ønsker å samarbeide med oss, at vi ikke
-kan ansette dem alle på grunn av budsjettbegrensninger.</span>»</span>
- </p><p>
- Blender har hatt stor suksess med å skaffe penger fra sitt fellesskap
-gjennom årene. På mange måter har det blitt lettere å få det til over
+ De gikk for folkefinansieringsmodellen for å subsidiere
+prosjektkostnadene. Med tjue personer arbeidende på fulltid i seks til ti
+måneder, var kostnadene betydelige. Francesco sa at folk ble forbløffet da
+folkefinansieringskampanjen deres lyktes. <span class="quote">«<span class="quote">Idéen om inntjening med
+CC-lisensiert materiale var overveldende for folk</span>»</span>, sa
+han. <span class="quote">«<span class="quote">Reaksjonen var at <span class="quote">‘<span class="quote">Dette tror jeg ikke før jeg får se
+det</span>â\80\99</span>.</span>»</span>
+ </p><p>
+ Den første filmen, som ble utgitt i 2006, var et eksperiment. Det var så
+vellykket at Ton besluttet å sette opp Blender Institute, en enhet øremerket
+til å huse åpen-filmprosjekter. Blender Institute sitt neste prosjekt var en
+enda større suksess. Filmen Big Buck Bunny gikk viralt, og de animerte
+figurene ble plukket opp av markedsførere.
+ </p><p>
+ Francesco sa at over tid har Blender Institute-prosjektene blitt større og
+mer betydningsfulle. Det betyr at prosessen med å lage film har blitt mer
+kompleks ved å kombinere tekniske eksperter og kunstnere som har fokus på
+historiefortelling. Francesco sier prosessen er nesten på industriell skala
+på grunn av antallet bevegelige deler. Dette krever mye spesialisert hjelp,
+men Blender Institute har ingen problemer med å finne talentene de trenger
+for å bistå prosjekter. <span class="quote">«<span class="quote">Blender gjør knapt noen rekruttering til
+filmprosjekter fordi talenter dukker opp helt av seg selv</span>»</span>, sa
+Francesco. <span class="quote">«<span class="quote">Så mange mennesker ønsker å samarbeide med oss, at vi ikke
+kan ansette dem alle på grunn av budsjettbegrensninger.</span>»</span>
+ </p><p>
+ Blender har hatt stor suksess med å skaffe penger fra sitt fellesskap
+gjennom årene. På mange måter har det blitt lettere å få det til over
tid. Ikke bare er folkefinansiering blitt bedre kjent i offentligheten, men
-folk kjenner til, og stoler på at Blender leverer, og Ton har opparbeidet et
-rykte som en effektiv fellesskapsleder, og visjonær for arbeidet
-deres. <span class="quote">«<span class="quote">Det er et helt fellesskap som ser og forstår fordelen med
-disse prosjektene</span>»</span>, sa Francesco.
+folk kjenner til, og stoler på at Blender leverer, og Ton har opparbeidet et
+rykte som en effektiv fellesskapsleder, og visjonær for arbeidet
+deres. <span class="quote">«<span class="quote">Det er et helt fellesskap som ser og forstår fordelen med
+disse prosjektene</span>»</span>, sa Francesco.
</p><p>
- Mens disse fordelene ved hvert åpen-filmprosjekt gir et overbevisende
+ Mens disse fordelene ved hvert åpen-filmprosjekt gir et overbevisende
grunnlag for folkefinansieringskampanjer, fortalte Francesco oss at Blender
Institute har funnet noen begrensninger i den standard
folkefinansieringsmodellen der man legger frem et bestemt prosjekt og ber om
-finansiering. <span class="quote">«<span class="quote">Når et prosjekt er over, drar alle hjem</span>»</span>, sa
-han. <span class="quote">«<span class="quote">Det er mye moro, men så slutter det. Det er et problem.</span>»</span>
+finansiering. <span class="quote">«<span class="quote">Når et prosjekt er over, drar alle hjem</span>»</span>, sa
+han. <span class="quote">«<span class="quote">Det er mye moro, men så slutter det. Det er et problem.</span>»</span>
</p><p>
- For å gjøre arbeidet mer bærekraftig trengte de en måte for å motta
-kontinuerlig støtte, og ikke på prosjekt-for-prosjektbasis. Deres løsning er
+ For å gjøre arbeidet mer bærekraftig trengte de en måte for å motta
+kontinuerlig støtte, og ikke på prosjekt-for-prosjektbasis. Deres løsning er
Blender Sky, en abonnementstype folkefinansieringsmodell som likner den
nettbaserte folkefinansieringsplattformen Patreon. For ca. 10 euro hver
-måned får abonnenter tilgang til å laste ned alt det Blender Institute
-produserer – programvare, kunst, opplæring, og mer. Alle disse ressursene er
+måned får abonnenter tilgang til å laste ned alt det Blender Institute
+produserer – programvare, kunst, opplæring, og mer. Alle disse ressursene er
tilgjengelige med en Attribution-lisens (CC BY), eller plassert i den
-offentlige sfæren (CC0), men de er opprinnelig gjort tilgjengelige kun for
-abonnenter. Blender Cloud lar abonnentene følge Blenders filmprosjekter mens
+offentlige sfæren (CC0), men de er opprinnelig gjort tilgjengelige kun for
+abonnenter. Blender Cloud lar abonnentene følge Blenders filmprosjekter mens
de utvikles, og deler detaljert informasjon og innhold til bruk i den
-kreative prosessen. Blender Cloud har også omfattende opplæringsmateriell,
+kreative prosessen. Blender Cloud har også omfattende opplæringsmateriell,
biblioteker med rollemodeller og andre ressurser til bruk i ulike
prosjekter.
</p><p>
- Kontinuerlig økonomisk støtte fra Blender Cloud finansierer fem til seks
-heltidsansatte ved Blender Institute. Francesco sier at deres mål er å
-utvide sin abonnentbase. <span class="quote">«<span class="quote">Dette er vår frihet</span>»</span>, fortalte han
-oss, <span class="quote">«<span class="quote">og for kunstnere er frihet alt</span>»</span>.
+ Kontinuerlig økonomisk støtte fra Blender Cloud finansierer fem til seks
+heltidsansatte ved Blender Institute. Francesco sier at deres mål er å
+utvide sin abonnentbase. <span class="quote">«<span class="quote">Dette er vår frihet</span>»</span>, fortalte han
+oss, <span class="quote">«<span class="quote">og for kunstnere er frihet alt</span>»</span>.
</p><p>
- Blender Cloud er den primære inntektskilden for Blender Institute. Blender
-Fundation er finanisert hovedsakelig av donasjoner, og pengene går til
-programvareutvikling og -vedlikehold. Inntektsstrømmene til Blender
-Institute og Foundation er bevisst holdt separat. Blender har også andre
-inntektsstrømmer, som Blender-butikken, hvor folk kan kjøpe DVD-er,
+ Blender Cloud er den primære inntektskilden for Blender Institute. Blender
+Fundation er finanisert hovedsakelig av donasjoner, og pengene går til
+programvareutvikling og -vedlikehold. Inntektsstrømmene til Blender
+Institute og Foundation er bevisst holdt separat. Blender har også andre
+inntektsstrømmer, som Blender-butikken, hvor folk kan kjøpe DVD-er,
T-skjorter og andre Blender-produkter.
</p><p>
Ton har jobbet med prosjekter knyttet til Blender-programvare i nesten tjue
-år. Gjennom det meste av denne tiden, har han vært opptatt av å gjøre
+år. Gjennom det meste av denne tiden, har han vært opptatt av å gjøre
programvaren og innholdet som er produsert med programvaren gratis og
-åpent. Å selge en lisens har aldri vært en del av forretningsmodellen.
- </p><p>
- Helt siden 2006 har han gjort filmer tilgjengelig sammen med alt tilhørende
-kildemateriale. Han sier han har knapt sett folk som har prøvd å fylle
-fotsporene til Blenders sko og forsøkt å tjene penger på innholdet. Ton
-mener dette er fordi den virkelige verdien av det de gjør, er i det kreative
-og i produksjonsprosessen. <span class="quote">«<span class="quote">Selv om du deler alt, alle dine originale
-kilder, kreves det mye talent, ferdigheter, tid og budsjett å gjenskape det
-du gjorde</span>»</span>, sa Ton.
- </p><p>
- For Ton og Blender, går alt tilbake til hva du gjør.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapittel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+åpent. Å selge en lisens har aldri vært en del av forretningsmodellen.
+ </p><p>
+ Helt siden 2006 har han gjort filmer tilgjengelig sammen med alt tilhørende
+kildemateriale. Han sier han har knapt sett folk som har prøvd å fylle
+fotsporene til Blenders sko og forsøkt å tjene penger på innholdet. Ton
+mener dette er fordi den virkelige verdien av det de gjør, er i det kreative
+og i produksjonsprosessen. <span class="quote">«<span class="quote">Selv om du deler alt, alle dine originale
+kilder, kreves det mye talent, ferdigheter, tid og budsjett å gjenskape det
+du gjorde</span>»</span>, sa Ton.
+ </p><p>
+ For Ton og Blender, går alt tilbake til hva du gjør.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapittel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cards Against Humanity er et privat, for-fortjeneste selskap som lager et
-populært fest-spill ved samme navn. Grunnlagt i USA i 2011.
+populært fest-spill ved samme navn. Grunnlagt i USA i 2011.
</p><p>
<a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for fysiske
kopier
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 3. februar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Max Temkin, medgrunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Hvis du spør medgrunnlegger Max Temkin, er det ikke noe spesielt interessant
-med forretningsmodellen til Cards Against Humanity. <span class="quote">«<span class="quote">Vi lager et
-produkt. Vi selger det og tar betalt. Så bruker vi mindre penger enn vi
-tjener</span>»</span>, sa Max.
- </p><p>
- Han har rett. Cards Against Humanity er et enkelt fest-spill, tuftet på
-spillet Apples to Apples. For å spille stiller en spiller et spørsmål, eller
-en fyll-inn-feltet-påstand fra et svart kort, og de andre spillerne sender
+ Hvis du spør medgrunnlegger Max Temkin, er det ikke noe spesielt interessant
+med forretningsmodellen til Cards Against Humanity. <span class="quote">«<span class="quote">Vi lager et
+produkt. Vi selger det og tar betalt. Så bruker vi mindre penger enn vi
+tjener</span>»</span>, sa Max.
+ </p><p>
+ Han har rett. Cards Against Humanity er et enkelt fest-spill, tuftet på
+spillet Apples to Apples. For å spille stiller en spiller et spørsmål, eller
+en fyll-inn-feltet-påstand fra et svart kort, og de andre spillerne sender
sine morsomste hvite kort som svar. Haken er at alle kortene er fylt med
grove, grusomme og ellers forferdelig ting. For den rette typen mennesker
-(<span class="quote">«<span class="quote">fryktelige folk</span>»</span>, ifølge Cards Against Humanitys reklame),
+(<span class="quote">«<span class="quote">fryktelige folk</span>»</span>, ifølge Cards Against Humanitys reklame),
blir dette et artig og morsomt spill.
</p><p>
Inntektsmodellen er enkel. Fysiske kopier av spillet blir solgt med
-fortjeneste, og det fungerer. Når dette blir skrevet, er Cards Against
+fortjeneste, og det fungerer. Når dette blir skrevet, er Cards Against
Humanity det bestselgende produktet blant alle leker og spill hos
-Amazon. Offisielle utvidelsespakker er tilgjengelig, og også flere
+Amazon. Offisielle utvidelsespakker er tilgjengelig, og også flere
offisielle temapakker samt internasjonale utgaver.
</p><p>
- Men Cards Against Humanity er også tilgjengelig gratis. Alle kan laste ned
+ Men Cards Against Humanity er også tilgjengelig gratis. Alle kan laste ned
en digital versjon av spillet fra nettsiden til Cards Against Humanity. Mer
-enn én million mennesker har lastet ned spillet etter at selskapet begynte å
-loggføre tallene.
+enn én million mennesker har lastet ned spillet etter at selskapet begynte å
+loggføre tallene.
</p><p>
Spillet er tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens
-(CC BY-NC-SA). Det betyr, i tillegg til å kopiere spillet, at alle kan lage
-nye versjoner av spillet så lenge de gjør det tilgjengelig på de samme
-ikke-kommersielle vilkårene. Muligheten til å tilpasse spillet, er som et
+(CC BY-NC-SA). Det betyr, i tillegg til å kopiere spillet, at alle kan lage
+nye versjoner av spillet så lenge de gjør det tilgjengelig på de samme
+ikke-kommersielle vilkårene. Muligheten til å tilpasse spillet, er som et
helt nytt spill i seg selv.
</p><p>
- Til sammen er disse faktorene – den krasse tonen til spillet og selskapet,
-gratis nedlasting, åpenhet for fans til å remikse spillet – det som gir
+ Til sammen er disse faktorene – den krasse tonen til spillet og selskapet,
+gratis nedlasting, åpenhet for fans til å remikse spillet – det som gir
spillet solid kultstatus.
</p><p>
Suksessen deres er ikke et resultat av en storstilt plan. Cards Against
Humanity var det siste i en lang rekke spill og komedieprosjekter Max Temkin
-og vennene hans satte sammen for egen fornøyelse. Som Max forteller
-historien, laget de spillet så de kunne spille det selv på nyttårsaften
-fordi de var for nerdete til å bli invitert i andres selskap. Spillet ble en
-hit, så de bestemte seg for å legge det ut på nettet som en gratis PDF. Folk
-begynte å spørre om de kunne betale for å få spillet trykket for dem, og til
-slutt bestemte de seg å kjøre en Kickstarter for å finansiere trykkingen. De
-sattte Kickstarter-målet til 4 000 dollar – og fikk inn 15 000
+og vennene hans satte sammen for egen fornøyelse. Som Max forteller
+historien, laget de spillet så de kunne spille det selv på nyttårsaften
+fordi de var for nerdete til å bli invitert i andres selskap. Spillet ble en
+hit, så de bestemte seg for å legge det ut på nettet som en gratis PDF. Folk
+begynte å spørre om de kunne betale for å få spillet trykket for dem, og til
+slutt bestemte de seg å kjøre en Kickstarter for å finansiere trykkingen. De
+sattte Kickstarter-målet til 4 000 dollar – og fikk inn 15 000
dollar. Spillet ble utgitt offisielt i mai 2011.
</p><p>
Spillet fenget raskt, og populariteten har bare vokst med tiden. Max sier at
-de åtte grunnleggerne aldri hadde et møte hvor de bestemte seg for å gjøre
-dette til en kontinuerlig virksomhet. <span class="quote">«<span class="quote">Det skjedde bare av seg
-selv</span>»</span>, sa han.
+de åtte grunnleggerne aldri hadde et møte hvor de bestemte seg for å gjøre
+dette til en kontinuerlig virksomhet. <span class="quote">«<span class="quote">Det skjedde bare av seg
+selv</span>»</span>, sa han.
</p><p>
- Men denne fortellingen om en <span class="quote">«<span class="quote">heldig tilfeldighet</span>»</span> står i
-motsetning til markedsføringbegavelsen. Akkurat som spillet, er Cards
+ Men denne fortellingen om en <span class="quote">«<span class="quote">heldig tilfeldighet</span>»</span> står i
+motsetning til markedsføringbegavelsen. Akkurat som spillet, er Cards
Against Humanity sitt kjennemerke distanse og minneverdighet. Det er
-vanskelig å glemme en virksomhet som kaller sine ofte besvarte spørsmål på
-hjemmesiden sin <span class="quote">«<span class="quote">Dine dumme spørsmål</span>»</span>.
+vanskelig å glemme en virksomhet som kaller sine ofte besvarte spørsmål på
+hjemmesiden sin <span class="quote">«<span class="quote">Dine dumme spørsmål</span>»</span>.
</p><p>
- Som de fleste kvalitetssatirer består humoren av mer enn vulgaritet og
-sjokkeffekter. Selskapets markedsføring rundt Black Friday illustrerer dette
+ Som de fleste kvalitetssatirer består humoren av mer enn vulgaritet og
+sjokkeffekter. Selskapets markedsføring rundt Black Friday illustrerer dette
spesielt godt. For dem utenfor USA er Black Friday begrepet for dagen etter
-Thanksgiving-helligdagen, den største handledagen i året. Det er en utrolig
+Thanksgiving-helligdagen, den største handledagen i året. Det er en utrolig
viktig dag for Cards Against Humanity, slik den er det for alle forhandlere
-i USA. Max sa at de strevde med hva de skulle gjøre med Black Friday fordi
-de ikke ønsker å støtte det han kalte <span class="quote">«<span class="quote">forbruksorgien</span>»</span>, som
-dagen er blitt til, spesielt siden den følger etter en dag som handler om å
-være takknemlig for hva du har. I 2013 besluttet de, etter rådslaging, å ha
-et <span class="quote">«<span class="quote">alt koster 5 dollar mer</span>»</span>-salg.
- </p><p><span class="quote">«<span class="quote">Vi svettet natten før Black Friday, og lurte på om våre fans ville
-hate oss</span>»</span>, sa han. <span class="quote">«<span class="quote">Men det fikk oss til å le, så vi gikk ut
-med det. Og folk tok helt klart humoren.</span>»</span>
- </p><p>
- Denne typen modig åpenhet gleder media, men enda viktigere, det engasjerer
-fansen. <span class="quote">«<span class="quote">En av de mest overraskende tingene du kan gjøre i
-kapitalismen er bare å være ærlig med folk</span>»</span>, sa Max. <span class="quote">«<span class="quote">Det
-sjokkerer folk at det er åpenhet om hva du gjør.</span>»</span>
- </p><p>
- Max sammenlignet det også med en stor improvisasjonsscene. <span class="quote">«<span class="quote">Hvis vi
-gjør noe litt undergravende og uventet, ønsker publikum å være med på
-spøken.</span>»</span> Ett år laget de spøken Gi Cards Against Humanity 5 dollar,
+i USA. Max sa at de strevde med hva de skulle gjøre med Black Friday fordi
+de ikke ønsker å støtte det han kalte <span class="quote">«<span class="quote">forbruksorgien</span>»</span>, som
+dagen er blitt til, spesielt siden den følger etter en dag som handler om å
+være takknemlig for hva du har. I 2013 besluttet de, etter rådslaging, å ha
+et <span class="quote">«<span class="quote">alt koster 5 dollar mer</span>»</span>-salg.
+ </p><p><span class="quote">«<span class="quote">Vi svettet natten før Black Friday, og lurte på om våre fans ville
+hate oss</span>»</span>, sa han. <span class="quote">«<span class="quote">Men det fikk oss til å le, så vi gikk ut
+med det. Og folk tok helt klart humoren.</span>»</span>
+ </p><p>
+ Denne typen modig åpenhet gleder media, men enda viktigere, det engasjerer
+fansen. <span class="quote">«<span class="quote">En av de mest overraskende tingene du kan gjøre i
+kapitalismen er bare å være ærlig med folk</span>»</span>, sa Max. <span class="quote">«<span class="quote">Det
+sjokkerer folk at det er åpenhet om hva du gjør.</span>»</span>
+ </p><p>
+ Max sammenlignet det også med en stor improvisasjonsscene. <span class="quote">«<span class="quote">Hvis vi
+gjør noe litt undergravende og uventet, ønsker publikum å være med på
+spøken.</span>»</span> Ett år laget de spøken Gi Cards Against Humanity 5 dollar,
hvor folk bokstavelig talt betalte dem fem dollar uten grunn. Fansen ville
-gjøre spøken morsommere ved å gjøre den vellykket. De fikk inn 70 000 dollar
-på én dag.
+gjøre spøken morsommere ved å gjøre den vellykket. De fikk inn 70 000 dollar
+på én dag.
</p><p>
Denne bemerkelsesverdige tilliten de har til sine kunder var det som
-inspirerte avgjørelsen om å bruke en Creative Commons-lisens på spillet. Å
+inspirerte avgjørelsen om å bruke en Creative Commons-lisens på spillet. Å
tiltro kundene dine gjenbruk og remiksing av arbeidet ditt krever en porsjon
-tæl. Cards Against Humanity er åpenbart ikke redd for å gjøre det uventede,
-men det finnes grenser selv ikke de ønsker å krysse. Før de brukte lisensen,
-sier Max de var bekymret for at noen fans ville tilpasse spillet til å
+tæl. Cards Against Humanity er åpenbart ikke redd for å gjøre det uventede,
+men det finnes grenser selv ikke de ønsker å krysse. Før de brukte lisensen,
+sier Max de var bekymret for at noen fans ville tilpasse spillet til å
inkludere alle vitser de forsettlig aldri laget fordi de gikk over
-streken. <span class="quote">«<span class="quote">Det skjedde, og verden gikk ikke under</span>»</span>, sa Max.
-<span class="quote">«<span class="quote">Hvis det er den verste kostnaden ved å bruke CC, ville jeg betalt dét
-hundre ganger, fordi det er så mange fordeler.</span>»</span>
+streken. <span class="quote">«<span class="quote">Det skjedde, og verden gikk ikke under</span>»</span>, sa Max.
+<span class="quote">«<span class="quote">Hvis det er den verste kostnaden ved å bruke CC, ville jeg betalt dét
+hundre ganger, fordi det er så mange fordeler.</span>»</span>
</p><p>
- Et vellykket produkt inspirerer sine største fans til å lage remikser av
+ Et vellykket produkt inspirerer sine største fans til å lage remikser av
det, men ikke-sanksjonerte tilpasninger flyr sannsynligvis under
radaren. Creative Commons-lisensen gir tilhengere av Cards Against Humanity
-frihet til å bruke spillet, og kopiere, tilpasse, og åpent reklamere for det
+frihet til å bruke spillet, og kopiere, tilpasse, og åpent reklamere for det
de har laget. I dag finnes det tusenvis av utvidelser fra tilhengere av
spillet.
</p><p>
- Max sa, <span class="quote">«<span class="quote">CC var et åpenbart valg for oss fordi det får mest folk
-involvert. Å gjøre spillet gratis og tilgjengelig med en CC-lisens førte til
-den utrolige situasjonen der vi er en av de best markedsførte spillene i
-verden, og vi har aldri brukt en krone på markedsføring.</span>»</span>
+ Max sa, <span class="quote">«<span class="quote">CC var et åpenbart valg for oss fordi det får mest folk
+involvert. Å gjøre spillet gratis og tilgjengelig med en CC-lisens førte til
+den utrolige situasjonen der vi er en av de best markedsførte spillene i
+verden, og vi har aldri brukt en krone på markedsføring.</span>»</span>
</p><p>
- Selvfølgelig er det grenser for hva firmaet tillater kundene sine å gjøre
+ Selvfølgelig er det grenser for hva firmaet tillater kundene sine å gjøre
med spillet. De valgte lisensen Attribution-NonCommercial-ShareAlike fordi
-den nekter folk å tjene penger på spillet. Det krever også at tilpasninger
-av spillet gjøres tilgjengelig med de samme lisensvilkårene hvis de deles
-offentlig. Cards Against Humanity vokter også sitt varemerke. <span class="quote">«<span class="quote">Vi
-mener at vi er de eneste som kan bruke vår merkevare og vårt spill til å
-tjene penger</span>»</span>, sa Max. Rundt 99,9 prosent av tiden sender de bare en
-e-post til dem som utnytter spillet kommersielt, og så stopper det der. Det
-har bare vært en håndfull tilfeller der de har måttet hyre advokat.
- </p><p>
- Akkurat som det er mer enn det åpenbare i forretningsmodellen til Cards
-Against Humanity, kan det samme sies om selve spillet. For å være spillbare
-må alle hvite kort kunne fungere sammen med nok svarte kort. De åtte
-skribentene legger ned en utrolig mengde arbeid i å skape nye kort til
-spillet. <span class="quote">«<span class="quote">Vi har dagelange diskusjoner om bruk av komma</span>»</span>, sa
-Max. <span class="quote">«<span class="quote">Den tilbakelente tonen i kortene gir folk inntrykk av at det er
-enkelt å skrive dem, men det er faktisk mye arbeid og ordkløveri.</span>»</span>
- </p><p>
- Det betyr at å lage dem sammen med fansen deres, virkelig ikke
-virker. Selskapet har en innleveringsmulighet på hjemmesiden sin, og de får
+den nekter folk å tjene penger på spillet. Det krever også at tilpasninger
+av spillet gjøres tilgjengelig med de samme lisensvilkårene hvis de deles
+offentlig. Cards Against Humanity vokter også sitt varemerke. <span class="quote">«<span class="quote">Vi
+mener at vi er de eneste som kan bruke vår merkevare og vårt spill til å
+tjene penger</span>»</span>, sa Max. Rundt 99,9 prosent av tiden sender de bare en
+e-post til dem som utnytter spillet kommersielt, og så stopper det der. Det
+har bare vært en håndfull tilfeller der de har måttet hyre advokat.
+ </p><p>
+ Akkurat som det er mer enn det åpenbare i forretningsmodellen til Cards
+Against Humanity, kan det samme sies om selve spillet. For å være spillbare
+må alle hvite kort kunne fungere sammen med nok svarte kort. De åtte
+skribentene legger ned en utrolig mengde arbeid i å skape nye kort til
+spillet. <span class="quote">«<span class="quote">Vi har dagelange diskusjoner om bruk av komma</span>»</span>, sa
+Max. <span class="quote">«<span class="quote">Den tilbakelente tonen i kortene gir folk inntrykk av at det er
+enkelt å skrive dem, men det er faktisk mye arbeid og ordkløveri.</span>»</span>
+ </p><p>
+ Det betyr at å lage dem sammen med fansen deres, virkelig ikke
+virker. Selskapet har en innleveringsmulighet på hjemmesiden sin, og de får
inn tusenvis av forslag, men det er sjelden at et innsendt kort kommer
-med. De åtte første forfatterne er og blir de viktigste bidragsytere til nye
+med. De åtte første forfatterne er og blir de viktigste bidragsytere til nye
grupper tilleggskort, og andre nye produkter utgitt av
selskapet. Interessant nok er kreativiteten i kundebasen deres egentlig bare
-en ressurs for selskapet, først når det opprinnelige arbeidet er ferdig og
+en ressurs for selskapet, først når det opprinnelige arbeidet er ferdig og
publisert, og idet folk lager sine egne tilpasninger til spillet.
</p><p>
- På tross av all sin suksess, er de som lager Cards Against Humanity bare
-delvis motivert av penger. Max sier de alltid har vært interessert i Walt
-Disney sin filosofi om økonomisk suksess. <span class="quote">«<span class="quote">Vi lager ikke vitser og
-spill for å tjene penger – vi tjener penger slik at vi kan lage flere vitser
-og spill</span>»</span>, sa han.
+ På tross av all sin suksess, er de som lager Cards Against Humanity bare
+delvis motivert av penger. Max sier de alltid har vært interessert i Walt
+Disney sin filosofi om økonomisk suksess. <span class="quote">«<span class="quote">Vi lager ikke vitser og
+spill for å tjene penger – vi tjener penger slik at vi kan lage flere vitser
+og spill</span>»</span>, sa han.
</p><p>
Selskapet har faktisk gitt mer enn fire millioner dollar til forskjellige
-veldedighetsorganisasjoner og formål. <span class="quote">«<span class="quote">Kort er ikke vår plan for
-livet</span>»</span>, sa Max. <span class="quote">«<span class="quote">Vi har andre interesser og hobbyer. Vi er
-opptatt av andre ting som skjer i våre liv. Mye av aktivismen vi har deltatt
-i springer ut fra at vi bruker ting fra resten av livene våre og kanaliserer
-noe av spillets spenningen inn i det.</span>»</span>
- </p><p>
- Å se penger som drivstoff i stedet for det endelige målet, er det som har
-gjort dem i stand til, uten reservasjon, å favne om Creative
+veldedighetsorganisasjoner og formål. <span class="quote">«<span class="quote">Kort er ikke vår plan for
+livet</span>»</span>, sa Max. <span class="quote">«<span class="quote">Vi har andre interesser og hobbyer. Vi er
+opptatt av andre ting som skjer i våre liv. Mye av aktivismen vi har deltatt
+i springer ut fra at vi bruker ting fra resten av livene våre og kanaliserer
+noe av spillets spenningen inn i det.</span>»</span>
+ </p><p>
+ Å se penger som drivstoff i stedet for det endelige målet, er det som har
+gjort dem i stand til, uten reservasjon, å favne om Creative
Commons-lisensiering. CC-lisensiering endte opp som et forstandig
-markedsføringsgrep for selskapet, men likevel, å gi opp den eksklusive
-kontrollen over sitt arbeid betyr nødvendigvis å gi opp noe av mulighetene
-til å hente ut mer penger fra kunder.
- </p><p><span class="quote">«<span class="quote">Det er ikke riktig for alle å legge ut alt med CC-lisens</span>»</span>, sa
-Max. <span class="quote">«<span class="quote">Hvis du har som eneste mål å tjene masse penger, så er ikke CC
+markedsføringsgrep for selskapet, men likevel, å gi opp den eksklusive
+kontrollen over sitt arbeid betyr nødvendigvis å gi opp noe av mulighetene
+til å hente ut mer penger fra kunder.
+ </p><p><span class="quote">«<span class="quote">Det er ikke riktig for alle å legge ut alt med CC-lisens</span>»</span>, sa
+Max. <span class="quote">«<span class="quote">Hvis du har som eneste mål å tjene masse penger, så er ikke CC
beste strategi. Denne forretningsmodellen tilsvarer imidlertid med dine
-verdier, og hvem du er og hvorfor du lager ting.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapittel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+verdier, og hvem du er og hvorfor du lager ting.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapittel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Conversation er en uavhengig kilde for nyheter, hentet fra akademiske og
forskningsamfunnet og levert direkte til publikum over Internett. Grunnlagt
2011 i Australia.
</p><p>
<a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling fra
-innholdsleverandørene (universiteter betaler kontingent for å ha sine
+innholdsleverandørene (universiteter betaler kontingent for å ha sine
fakulteter som forfattere), ekstern prosjektfinansiering
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 4. februar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Andrew Jaspan, grunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Andrew Jaspan tilbrakte flere år som redaktør for store aviser, inkludert
+ Andrew Jaspan tilbrakte flere år som redaktør for store aviser, inkludert
The Observer i London, The Sunday Herald i Glasgow og The age i Melbourne,
Australia. Han opplevde selv nedgangen for avisene, inkludert fallet i
inntekter, og permitteringer, og konstant press for kostnadsreduksjon. Etter
at han forlot The Age i 2005, forsvant ikke hans bekymring for fremtidens
-journalistikk. Andrew forpliktet seg til å koke opp en alternativ modell.
- </p><p>
- På det tidspunktet han forlot jobben som redaktør av Melbourne Age, undret
-Andrew seg på hvor borgerne ville få nyheter forankret i fakta og bevis
-snarere enn i mening eller ideologi. Han mente det fortsatt var etterspørsel
-etter journalistikk med dybde og substans, men var bekymret for økende fokus
-på det spekulative.
- </p><p>
- Mens han var i avisen <span class="quote">«<span class="quote">The Age</span>»</span>, var han blitt venner med en
-prorektor ved et universitet i Melbourne, som oppmuntret ham til å snakke
-med gløgge folk på hele lærestedet – en astrofysiker, en nobelprisvinner,
-forskere fra geovitenskap, økonomer ... Disse var dyktige folk som han
-ønsket var mer involvert i å informere verden om hva som skjer, og rette
-feilene som dukker opp i media. De var imidlertid uvillige til å engasjere
+journalistikk. Andrew forpliktet seg til å koke opp en alternativ modell.
+ </p><p>
+ På det tidspunktet han forlot jobben som redaktør av Melbourne Age, undret
+Andrew seg på hvor borgerne ville få nyheter forankret i fakta og bevis
+snarere enn i mening eller ideologi. Han mente det fortsatt var etterspørsel
+etter journalistikk med dybde og substans, men var bekymret for økende fokus
+på det spekulative.
+ </p><p>
+ Mens han var i avisen <span class="quote">«<span class="quote">The Age</span>»</span>, var han blitt venner med en
+prorektor ved et universitet i Melbourne, som oppmuntret ham til å snakke
+med gløgge folk på hele lærestedet – en astrofysiker, en nobelprisvinner,
+forskere fra geovitenskap, økonomer ... Disse var dyktige folk som han
+ønsket var mer involvert i å informere verden om hva som skjer, og rette
+feilene som dukker opp i media. De var imidlertid uvillige til å engasjere
seg i massemedia. Ofte forsto ikke journalister hva de sa, eller valgte
ensidig ut hvilket aspekt av en historie som ble fortalt, og publiserte en
-versjon som fagfolkene følte var feil eller feilkarakterisert. Aviser ønsker
-å tiltrekke seg et stort publikum. Forskere vil kommunisere seriøse nyheter,
+versjon som fagfolkene følte var feil eller feilkarakterisert. Aviser ønsker
+å tiltrekke seg et stort publikum. Forskere vil kommunisere seriøse nyheter,
funn og innsikter. Det er ikke en perfekt overensstemmelse
(match). Universiteter har massive lagre med kunnskap, forskning, visdom og
-ekspertise. Men mye av dette ligger bak en vegg de har laget selv – det er
-metaforene om en inngjerdet hage og elfenbenstårnet, og i mer bokstavelig
+ekspertise. Men mye av dette ligger bak en vegg de har laget selv – det er
+metaforene om en inngjerdet hage og elfenbenstårnet, og i mer bokstavelig
forstand, betalingsveggen. Bredt sagt er universiteter en del av samfunnet,
-men frakoblet det. De er en enorm offentlig ressurs, men ikke så bra på å
+men frakoblet det. De er en enorm offentlig ressurs, men ikke så bra på å
presentere sin kompetanse til det bredere publikum.
</p><p>
- Andrew trodde han kunne hjelpe til med å koble akademikere til den
-offentlige arenaen igjen, og kanskje bidra til at samfunnet finner løsninger
-på større problemer. Han tenkte på å koble profesjonelle redaktører med
-universitet og forskere, til å arbeider én-til-én for å forbedre alt fra
-fortellingsstruktur til overskrift, bildetekster og sitater. Redaktørene kan
-bidra til å gjøre noe som er akademisk, til noe forståelig og lesbart. Dette
-ville vært en hovedforskjell fra tradisjonell journalistikk – emneeksperten
-ville fått en sjanse å se artikkelen, og gi den en endelig godkjenning før
+ Andrew trodde han kunne hjelpe til med å koble akademikere til den
+offentlige arenaen igjen, og kanskje bidra til at samfunnet finner løsninger
+på større problemer. Han tenkte på å koble profesjonelle redaktører med
+universitet og forskere, til å arbeider én-til-én for å forbedre alt fra
+fortellingsstruktur til overskrift, bildetekster og sitater. Redaktørene kan
+bidra til å gjøre noe som er akademisk, til noe forståelig og lesbart. Dette
+ville vært en hovedforskjell fra tradisjonell journalistikk – emneeksperten
+ville fått en sjanse å se artikkelen, og gi den en endelig godkjenning før
den blir publisert. Sammenlign dette med journalister som bare plukker og
-velger sitater, og skriver hva enn de måtte ønske.
+velger sitater, og skriver hva enn de måtte ønske.
</p><p>
- De han snakket med likte denne idéen, og Andrew gikk i gang med å skaffe
-penger og støtte ved hjelp av Commonwealth Scientific og Industrial Research
+ De han snakket med likte denne idéen, og Andrew gikk i gang med å skaffe
+penger og støtte ved hjelp av Commonwealth Scientific og Industrial Research
Organisation (CSIRO), University of Melbourne, Monash University, University
of Technology Sydney, og University of Western Australia. Disse
-grunnleggende samarbeidspartnere så verdien av en uavhengig
-informasjonskanal som også ville bli et utstillingsvindu for talent og
+grunnleggende samarbeidspartnere så verdien av en uavhengig
+informasjonskanal som også ville bli et utstillingsvindu for talent og
kunnskap i universitets- og forskningssektoren. Med deres hjelp, i 2011, ble
Conversation lansert som en uavhengig nyhetsside i Australia. Alt som
-publiseres i Conversation lisensieres åpent med Creative Commons.
- </p><p>
- Conversation er grunnlagt på den oppfatning at forankringen av et fungerende
-demokrati er tilgang til uavhengig, informativ journalistikk med høy
-kvalitet. Conversations mål er at folk skal få en bedre forståelse av
-aktuelle saker og komplekse problemstillinger – og forhåpentligvis også
-høyne kvaliteten på den offentlige diskusjonen. Conversation ser seg selv
-som en kilde til pålitelig informasjon til vårt felles beste. Kjerneoppgaven
-deres er enkel: Å gi leserne en pålitelig kilde til bevisbasert informasjon.
- </p><p>
- Andrew jobbet hardt for å gjenoppfinne en metodikk for å lage pålitelig,
-troverdig innhold. Han innførte strenge nye arbeidsrutiner, prinsipper og
-koder for utf
øringen.<a href="#ftn.idm1117" class="footnote" name="idm1117"><sup class="footnote">[116]</sup></a> Disse inkluderer
-full åpenhet om hvem hver forfatter er (med sin relevante kompetanse); hvem
+publiseres i Conversation lisensieres åpent med Creative Commons.
+ </p><p>
+ Conversation er grunnlagt på den oppfatning at forankringen av et fungerende
+demokrati er tilgang til uavhengig, informativ journalistikk med høy
+kvalitet. Conversations mål er at folk skal få en bedre forståelse av
+aktuelle saker og komplekse problemstillinger – og forhåpentligvis også
+høyne kvaliteten på den offentlige diskusjonen. Conversation ser seg selv
+som en kilde til pålitelig informasjon til vårt felles beste. Kjerneoppgaven
+deres er enkel: Å gi leserne en pålitelig kilde til bevisbasert informasjon.
+ </p><p>
+ Andrew jobbet hardt for å gjenoppfinne en metodikk for å lage pålitelig,
+troverdig innhold. Han innførte strenge nye arbeidsrutiner, prinsipper og
+koder for utf
øringen.<a href="#ftn.idm1117" class="footnote" name="idm1117"><sup class="footnote">[116]</sup></a> Disse inkluderer
+full åpenhet om hvem hver forfatter er (med sin relevante kompetanse); hvem
som finansierer forskningen deres; og om det er noen potensielle eller
-faktiske interessekonflikter. Viktig er det også hvor innholdet kommer fra,
-og selv om det kommer fra universitets- og forskningssamfunnet, må det
-fremdeles være helt åpent. Conversation befinner seg ikke bak
-betalingsmur. Andrew tror at tilgang til informasjon er et likhetsspørsmål –
+faktiske interessekonflikter. Viktig er det også hvor innholdet kommer fra,
+og selv om det kommer fra universitets- og forskningssamfunnet, må det
+fremdeles være helt åpent. Conversation befinner seg ikke bak
+betalingsmur. Andrew tror at tilgang til informasjon er et likhetsspørsmål –
alle skal ha tilgang, som tilgang til rent vann. Conversation er forpliktet
-til et åpent og gratis Internett. Alle bør ha gratis tilgang til innholdet
-deres, kunne dele det, eller publiserere det på nytt.
+til et åpent og gratis Internett. Alle bør ha gratis tilgang til innholdet
+deres, kunne dele det, eller publiserere det på nytt.
</p><p>
- Creative Commons hjelper til med disse målene; artiklene publiseres med
+ Creative Commons hjelper til med disse målene; artiklene publiseres med
Attribution-NoDerivs-lisens (CC BY-ND). Det er fritt tilgjengelig for andre
-å viderepublisere et annet sted så lenge henvisning er gitt, og innholdet
-ikke er endret. I fem år har mer enn tjueto tusen nettsteder republisert
-innholdet. Conversations nettsted får om lag 2,9 millioner unike
-sidevisninger pr. måned, men gjennom viderepublisering har de trettifem
+å viderepublisere et annet sted så lenge henvisning er gitt, og innholdet
+ikke er endret. I fem år har mer enn tjueto tusen nettsteder republisert
+innholdet. Conversations nettsted får om lag 2,9 millioner unike
+sidevisninger pr. måned, men gjennom viderepublisering har de trettifem
millioner lesere. Dette kunne ikke blitt gjort uten Creative
Commons-lisensen, og etter Andrews syn, er Creative Commons sentral i alt
-Conversation gjør.
+Conversation gjør.
</p><p>
- Når leserne kommer over Conversation, virker det som om de liker det de
+ Når leserne kommer over Conversation, virker det som om de liker det de
finner, og anbefaler det til venner, kolleger, og sine nettverk. Leserskaren
-har primært vokst gjennom jungeltelegrafen. Selv om de ikke har salg og
-markedsføring, fremmer de sitt arbeid gjennom sosiale medier (inkludert
-Twitter og Facebook), og ved å være en akkreditert leverandør til Google
+har primært vokst gjennom jungeltelegrafen. Selv om de ikke har salg og
+markedsføring, fremmer de sitt arbeid gjennom sosiale medier (inkludert
+Twitter og Facebook), og ved å være en akkreditert leverandør til Google
News.
</p><p>
- Det er vanlig for grunnleggerne av alle selskaper å spørre seg selv hva
-slags selskap det skal være. Det ble raskt klart for grunnleggerne av
-Conversation at de ønsket å opprette et offentlig gode i stedet for å tjene
-penger på informasjonen. De fleste medieselskaper arbeider med å samle så
-mange øyne som mulig for salg av annonser. Conversation-stifterne ønsket
+ Det er vanlig for grunnleggerne av alle selskaper å spørre seg selv hva
+slags selskap det skal være. Det ble raskt klart for grunnleggerne av
+Conversation at de ønsket å opprette et offentlig gode i stedet for å tjene
+penger på informasjonen. De fleste medieselskaper arbeider med å samle så
+mange øyne som mulig for salg av annonser. Conversation-stifterne ønsket
ikke den modellen. De har ingen reklame og er et
ikke-for-profitt-foretagende.
</p><p>
I dag er det ulike utgaver av Conversation for Afrika, Storbritannia,
Frankrike og USA, i tillegg til en for Australia. Alle fem versjonene har
-egne redaksjonelle kolofoner, eget rådgivende styre og eget
+egne redaksjonelle kolofoner, eget rådgivende styre og eget
innhold. Conversations globale virtuelle redaksjon har omtrent nitti ansatte
som arbeider med trettifem tusen akademikere fra over seksten hundre
-universiteter over hele verden. Conversation ønsker å jobbe med
+universiteter over hele verden. Conversation ønsker å jobbe med
universitetsforskere fra enda flere deler av verden.
</p><p>
I tillegg har hver utgave sitt eget sett av finansieringspartnere,
strategiske partnere og finansielle bidragsytere. De har mottatt
finansiering fra stiftelser, bedrifter, institusjoner og individuelle
donasjoner, men Conversation beveger seg mot betalt medlemskap fra
-universiteter og forskningsinstitusjoner for å videreføre
-virksomheten. Dette ville sikre den nåværende tjenesten, og hjelpe til med å
+universiteter og forskningsinstitusjoner for å videreføre
+virksomheten. Dette ville sikre den nåværende tjenesten, og hjelpe til med å
forbedre dekning og funksjoner.
</p><p>
- Når forskere ved medlemsuniversiteter skriver en artikkel, så er det en viss
-bygging av universitetets varemerke knyttet til artikkelen. På nettsiden til
-Conversation, så står betalende medlemsuniversiteter oppført som
-<span class="quote">«<span class="quote">medlemmer og sponsorer</span>»</span>. Tidlige deltagere presenteres som
-<span class="quote">«<span class="quote">stiftelsesmedlemmer</span>»</span>, med plass i det redaksjonelle rådgivende
+ Når forskere ved medlemsuniversiteter skriver en artikkel, så er det en viss
+bygging av universitetets varemerke knyttet til artikkelen. På nettsiden til
+Conversation, så står betalende medlemsuniversiteter oppført som
+<span class="quote">«<span class="quote">medlemmer og sponsorer</span>»</span>. Tidlige deltagere presenteres som
+<span class="quote">«<span class="quote">stiftelsesmedlemmer</span>»</span>, med plass i det redaksjonelle rådgivende
styre.
</p><p>
- Akademikere betales ikke for sine bidrag, men får fri redigeringsbistand fra
-en profesjonell (fire til fem timer i gjennomsnitt per stykke). De får også
+ Akademikere betales ikke for sine bidrag, men får fri redigeringsbistand fra
+en profesjonell (fire til fem timer i gjennomsnitt per stykke). De får også
tilgang til et stort publikum. Hver forfatter og medlemsuniversitet har
tilgang til en spesiell analyseoversikt der de kan se hvor langt en artikkel
rekker ut. Beregningene omfatter hva folk kvitrer, kommentarene, landene
lesekretsen representerer, hvor artikkelen er viderepublisert, og antall
lesere per artikkel.
</p><p>
- Conversation planlegger å utvide analyseverktøyet til å vise ikke bare
+ Conversation planlegger å utvide analyseverktøyet til å vise ikke bare
spredning, men innvirkning. Dette sporer aktiviteter, atferd og hendelser
-som følge av publikasjonen, inkludert ting som at en fagperson blir bedt om
-å være med på en forestilling for å diskutere sitt bidrag, holde en tale på
+som følge av publikasjonen, inkludert ting som at en fagperson blir bedt om
+å være med på en forestilling for å diskutere sitt bidrag, holde en tale på
en konferanse, samarbeide, sende et bidrag til en journal og konsultere et
selskap om et emne.
</p><p>
medlemskap. Med Conversation kan universiteter engasjere offentligheten, og
vise at de er verdifulle.
</p><p>
- Med sitt slagord, <span class="quote">«<span class="quote">Akademisk standhaftighet, journalistisk
-finesse</span>»</span>, representerer Conversation en ny form for journalistikk som
+ Med sitt slagord, <span class="quote">«<span class="quote">Akademisk standhaftighet, journalistisk
+finesse</span>»</span>, representerer Conversation en ny form for journalistikk som
bidrar til bedre informerte borgere, og forbedret demokrati rundt om i
-verden. Dets åpne forretningsmodell og bruk av Creative Commons viser
-hvordan det er mulig å bygge opp både et offentlig gode, og skaffe
+verden. Dets åpne forretningsmodell og bruk av Creative Commons viser
+hvordan det er mulig å bygge opp både et offentlig gode, og skaffe
operasjonelle inntekter samtidig.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1117" class="footnote"><p><a href="#idm1117" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapittel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1117" class="footnote"><p><a href="#idm1117" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapittel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cory Doctorow er en science fiction-forfatter, aktivist, blogger og
journalist med base i USA.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> og <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for fysiske
kopier (boksalg), betal-hva-du-vil, salg av rettigheter til bokoversettelser
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 12. januar 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hater begrepet <span class="quote">«<span class="quote">forretningsmodell</span>»</span>, og han er
-ubøyelig på at han ikke er en merkevare. <span class="quote">«<span class="quote">For meg er merkevarebygging
-idéen om at du kan ta en ting som har visse kvaliteter, fjerne kvalitetene
-og så gå i gang med å selge det</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg holder ikke på
-for å prøve å finne ut hvordan man blir en merkevare. Jeg gjør det som egger
-meg i det å arbeide et utallig antall timer fordi det er det aller viktigste
-jeg vet hvordan skal gjøres.</span>»</span>
+ Cory Doctorow hater begrepet <span class="quote">«<span class="quote">forretningsmodell</span>»</span>, og han er
+ubøyelig på at han ikke er en merkevare. <span class="quote">«<span class="quote">For meg er merkevarebygging
+idéen om at du kan ta en ting som har visse kvaliteter, fjerne kvalitetene
+og så gå i gang med å selge det</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg holder ikke på
+for å prøve å finne ut hvordan man blir en merkevare. Jeg gjør det som egger
+meg i det å arbeide et utallig antall timer fordi det er det aller viktigste
+jeg vet hvordan skal gjøres.</span>»</span>
</p><p>
- Cory kaller seg entreprenør. Han liker å si at hans suksess kom fra å gjøre
-ting folk tilfeldigvis liker, for så å ikke være i veien når de deler det.
+ Cory kaller seg entreprenør. Han liker å si at hans suksess kom fra å gjøre
+ting folk tilfeldigvis liker, for så å ikke være i veien når de deler det.
</p><p>
Han er science fiction-forfatter, aktivist, blogger og journalist. Han
-begynte med sin første roman, Down and Out in the Magic Kingdom, i 2003, med
-sitt arbeid publisert med en Creative Commons-lisens. Cory er medredaktør av
-det populære CC-lisensierte nettstedet Boing Boing, der han skriver om
-teknologi, politikk, opphavsrett og programvarepatenter. Han har også
-skrevet flere sakprosabøker, inkludert den nyeste <span class="quote">«<span class="quote">Information Doesn’t
-Want to Be Free</span>»</span>, om måtene innholdsprodusenter kan skaffe seg et
-levebrød i Internett-alderen.
- </p><p>
- Cory tjener primært penger ved å selge fysiske bøker, men han tar også
-betalt på foredragsarrangementer, og eksperimenterer med
+begynte med sin første roman, Down and Out in the Magic Kingdom, i 2003, med
+sitt arbeid publisert med en Creative Commons-lisens. Cory er medredaktør av
+det populære CC-lisensierte nettstedet Boing Boing, der han skriver om
+teknologi, politikk, opphavsrett og programvarepatenter. Han har også
+skrevet flere sakprosabøker, inkludert den nyeste <span class="quote">«<span class="quote">Information Doesn’t
+Want to Be Free</span>»</span>, om måtene innholdsprodusenter kan skaffe seg et
+levebrød i Internett-alderen.
+ </p><p>
+ Cory tjener primært penger ved å selge fysiske bøker, men han tar også
+betalt på foredragsarrangementer, og eksperimenterer med
betal-hva-du-vil-modeller for sitt arbeid.
</p><p>
Mens Corys omfattende fiksjonsforfatterskap har en stor tilhengerskare, er
han like godt kjent for sin aktivisme. Han er en frittalende motstander av
at restriktiv opphavsretts- og digitale restriksjonsmekanismer
-(DRM-teknologi ) brukes til å låse innhold, fordi han mener begge
+(DRM-teknologi ) brukes til å låse innhold, fordi han mener begge
undergraver innholdsprodusenters- og offentlighetens interesser. Han er
-spesialrådgiver for Electronic Frontier Foundation, hvor han er involvert i
+spesialrådgiver for Electronic Frontier Foundation, hvor han er involvert i
en rettssak som utfordrer den amerikanske lovens beskyttelse av DRM. Cory
sier at hans politiske arbeid ikke er direkte inntektsbringende, men hvis
han ga det opp, tror han at han vil miste troverdighet, og enda viktigere,
-tape pågangsmotet som driver ham til å lage innhold. <span class="quote">«<span class="quote">Mitt politiske
+tape pågangsmotet som driver ham til å lage innhold. <span class="quote">«<span class="quote">Mitt politiske
arbeid er et annet uttrykk for den samme kunstnerisk-politiske
-trangen</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg mistenker at hvis jeg sluttet med
+trangen</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg mistenker at hvis jeg sluttet med
tingene som ikke gir inntekter, ville oppriktigheten forsvinne fra det jeg
-gjør, og kvaliteten som gjør at folk liker det jeg gjør, ville bli
-borte.</span>»</span>
- </p><p>
- Cory har lykkes økonomisk, men penger er ikke hans viktigste motivasjon. I
-begynnelsen i boka <span class="quote">«<span class="quote">Information Doesn’t Want to Be Free</span>»</span>
-understreker han hvor viktig det er å ikke bli kunstner, hvis målet ditt er
-å bli rik. <span class="quote">«<span class="quote">Å velge kunsten fordi du ønsker å bli rik er som å kjøpe
-lodd, fordi du vil bli rik</span>»</span>, skrev han. <span class="quote">«<span class="quote">Det kan fungere, men
-det vil nesten helt sikkert ikke gjøre det. Men selvfølgelig, det er alltid
-noen som vinner på lodd.</span>»</span> Han erkjenner at han er en av de heldige
-få som <span class="quote">«<span class="quote">får det til</span>»</span>, men han sier han vil skrive samme
-hva. <span class="quote">«<span class="quote">Jeg er nødt til å skrive</span>»</span>, skrev han. <span class="quote">«<span class="quote">Lenge før
-jeg skrev for å få mat på bordet og tak over hodet, skrev jeg for å holde
-meg selv frisk.</span>»</span>
- </p><p>
- Akkurat som penger ikke er hovedmotivasjonen hans for å skape, er ikke
-penger hovedmotivasjonen hans for å dele. For Cory er å dele verkene sine
-med Creative Commons-lisens et moralsk imperativ. <span class="quote">«<span class="quote">Det føltes moralsk
-riktig</span>»</span>, sa han om sin beslutning om å ta i bruk Creative
-Commons-lisenser. <span class="quote">«<span class="quote">Jeg følte at jeg ikke bidro til den
-overvåkningskulturen og sensuren som er laget for å prøve å stoppe
-kopieringen.</span>»</span> Med andre ord symboliserer bruken av CC-lisenser hans
+gjør, og kvaliteten som gjør at folk liker det jeg gjør, ville bli
+borte.</span>»</span>
+ </p><p>
+ Cory har lykkes økonomisk, men penger er ikke hans viktigste motivasjon. I
+begynnelsen i boka <span class="quote">«<span class="quote">Information Doesnâ\80\99t Want to Be Free</span>»</span>
+understreker han hvor viktig det er å ikke bli kunstner, hvis målet ditt er
+å bli rik. <span class="quote">«<span class="quote">Å velge kunsten fordi du ønsker å bli rik er som å kjøpe
+lodd, fordi du vil bli rik</span>»</span>, skrev han. <span class="quote">«<span class="quote">Det kan fungere, men
+det vil nesten helt sikkert ikke gjøre det. Men selvfølgelig, det er alltid
+noen som vinner på lodd.</span>»</span> Han erkjenner at han er en av de heldige
+få som <span class="quote">«<span class="quote">får det til</span>»</span>, men han sier han vil skrive samme
+hva. <span class="quote">«<span class="quote">Jeg er nødt til å skrive</span>»</span>, skrev han. <span class="quote">«<span class="quote">Lenge før
+jeg skrev for å få mat på bordet og tak over hodet, skrev jeg for å holde
+meg selv frisk.</span>»</span>
+ </p><p>
+ Akkurat som penger ikke er hovedmotivasjonen hans for å skape, er ikke
+penger hovedmotivasjonen hans for å dele. For Cory er å dele verkene sine
+med Creative Commons-lisens et moralsk imperativ. <span class="quote">«<span class="quote">Det føltes moralsk
+riktig</span>»</span>, sa han om sin beslutning om å ta i bruk Creative
+Commons-lisenser. <span class="quote">«<span class="quote">Jeg følte at jeg ikke bidro til den
+overvåkningskulturen og sensuren som er laget for å prøve å stoppe
+kopieringen.</span>»</span> Med andre ord symboliserer bruken av CC-lisenser hans
verdensbilde.
</p><p>
- Han føler også at det finnes et solid kommersielt grunnlag for lisensiering
+ Han føler også at det finnes et solid kommersielt grunnlag for lisensiering
av sine verk med Creative Commons. Selv om han erkjenner at han ikke har
-vært i stand til å gjøre et kontrollert eksperiment for å sammenligne de
-kommersielle fordelene ved lisensiering med CC opp mot å reservere alle
-rettigheter, så mener han at han har solgt flere bøker ved å bruke en
-CC-lisens enn han ville ha gjort uten. Cory sier at hans mål er å overbevise
-folk om at de skal betale ham for arbeidet hans. <span class="quote">«<span class="quote">Jeg startet med å
-ikke kalle dem tyver</span>»</span>, sa han.
+vært i stand til å gjøre et kontrollert eksperiment for å sammenligne de
+kommersielle fordelene ved lisensiering med CC opp mot å reservere alle
+rettigheter, så mener han at han har solgt flere bøker ved å bruke en
+CC-lisens enn han ville ha gjort uten. Cory sier at hans mål er å overbevise
+folk om at de skal betale ham for arbeidet hans. <span class="quote">«<span class="quote">Jeg startet med å
+ikke kalle dem tyver</span>»</span>, sa han.
</p><p>
Cory startet bruken av CC-lisenser like etter at de ble formulert og
-publisert. Da hans første novelle kom ut, sa han at science
-fiction-sjangeren var misbrukt av folk som lastet ned og delte bøker uten
-lov. Da han i samråd med sin forlegger tok dem som gjorde dette på nett i
-nærmere øyesyn, skjønte de at det så mer ut som bokmarkedsføring. <span class="quote">«<span class="quote">Jeg
+publisert. Da hans første novelle kom ut, sa han at science
+fiction-sjangeren var misbrukt av folk som lastet ned og delte bøker uten
+lov. Da han i samråd med sin forlegger tok dem som gjorde dette på nett i
+nærmere øyesyn, skjønte de at det så mer ut som bokmarkedsføring. <span class="quote">«<span class="quote">Jeg
visste at det var en symbiose mellom en entusiastisk leserskare og suksess
-som skribent</span>»</span>, sa han. <span class="quote">«<span class="quote">På den tiden tok det åtti timer å gjøre
-en papirbok om til tekst igjen med (OCR – optical character recognition),
-noe som krever mye innsats. Jeg besluttet å spare dem tiden og energien, og
-gi ut boken min gratis i et format som var beregnet for spredning.</span>»</span>
- </p><p>
- Cory innrømmer at satsingen hans var ganske liten da han først tok i bruk
-Creative Commons-lisenser. Han måtte bare selge to tusen eksemplarer av boka
-si for å gå i null. Folk sa ofte at han kun var i stand til å nytte
-CC-lisensiering med hell på dette tidspunktet, fordi han var i
-startfasen. Nå sier de at det er som følge av hans etablerte forfatterskap.
- </p><p>
- "Faktum er", sier Cory, "at ingen har funnet en måte å hindre folk fra å
-kopiere ting de liker". Snarere enn å opptre naturstridig, gjør han sine
-verk delbare av natur. <span class="quote">«<span class="quote">Å ikke stå i veien for folk som vil dele sin
-kjærlighet til deg med andre mennesker høres opplagt ut, men det er
-oppsiktsvekkende mange som gjør det</span>»</span>, sa han.
- </p><p>
- Ved å gjøre sitt arbeid tilgjengelig med CC-lisenser kan han se på sine mest
-ihuga tilhengere som sine ambassadører. <span class="quote">«<span class="quote">Å være åpen for
-tilhenger-aktivitet gjør deg til en del av samtalen om hva tilhengere gjør
-med dine verk, og hvordan de kommuniserer med det</span>»</span>, sa han. Corys
+som skribent</span>»</span>, sa han. <span class="quote">«<span class="quote">På den tiden tok det åtti timer å gjøre
+en papirbok om til tekst igjen med (OCR – optical character recognition),
+noe som krever mye innsats. Jeg besluttet å spare dem tiden og energien, og
+gi ut boken min gratis i et format som var beregnet for spredning.</span>»</span>
+ </p><p>
+ Cory innrømmer at satsingen hans var ganske liten da han først tok i bruk
+Creative Commons-lisenser. Han måtte bare selge to tusen eksemplarer av boka
+si for å gå i null. Folk sa ofte at han kun var i stand til å nytte
+CC-lisensiering med hell på dette tidspunktet, fordi han var i
+startfasen. Nå sier de at det er som følge av hans etablerte forfatterskap.
+ </p><p>
+ "Faktum er", sier Cory, "at ingen har funnet en måte å hindre folk fra å
+kopiere ting de liker". Snarere enn å opptre naturstridig, gjør han sine
+verk delbare av natur. <span class="quote">«<span class="quote">Å ikke stå i veien for folk som vil dele sin
+kjærlighet til deg med andre mennesker høres opplagt ut, men det er
+oppsiktsvekkende mange som gjør det</span>»</span>, sa han.
+ </p><p>
+ Ved å gjøre sitt arbeid tilgjengelig med CC-lisenser kan han se på sine mest
+ihuga tilhengere som sine ambassadører. <span class="quote">«<span class="quote">Å være åpen for
+tilhenger-aktivitet gjør deg til en del av samtalen om hva tilhengere gjør
+med dine verk, og hvordan de kommuniserer med det</span>»</span>, sa han. Corys
egen nettside framhever regelmessig kule ting hans publikum har gjort med
-verkene hans. Ulikt selskaper som Disney, som tenderer til å ikke ha direkte
-kontakt med sine tilhengeres aktiviteter, har han en nær sameksistens med
-sitt publikum. <span class="quote">«<span class="quote">Å engasjerer publikumet ditt kan ikke garantere
-suksess</span>»</span>, sa han. <span class="quote">«<span class="quote">Og Disney er et eksempel å merke seg, idet
+verkene hans. Ulikt selskaper som Disney, som tenderer til å ikke ha direkte
+kontakt med sine tilhengeres aktiviteter, har han en nær sameksistens med
+sitt publikum. <span class="quote">«<span class="quote">Å engasjerer publikumet ditt kan ikke garantere
+suksess</span>»</span>, sa han. <span class="quote">«<span class="quote">Og Disney er et eksempel å merke seg, idet
det tross alt er det mest vellykkede selskapet i den kreative
-industrien. Dog regner jeg med at sannsynligheten for å bli som Disney er
-heller liten, så jeg bør ta all den hjelp jeg kan få.</span>»</span>
+industrien. Dog regner jeg med at sannsynligheten for å bli som Disney er
+heller liten, så jeg bør ta all den hjelp jeg kan få.</span>»</span>
</p><p>
- Hans første bok ble publisert med den mest restriktive Creative
+ Hans første bok ble publisert med den mest restriktive Creative
Commons-lisensen, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). Den
-tillater kun helhetlig kopiering for ikke-kommersielle formål. Hans senere
+tillater kun helhetlig kopiering for ikke-kommersielle formål. Hans senere
arbeider kom ut under Attribution-NonCommercial-ShareAlike-lisensen (CC
-BY-NC-SA), som gir folk retten til å endre hans arbeider for
-ikke-kommersielle formål, men bare hvis de deler på like lisensvilkår. Før
+BY-NC-SA), som gir folk retten til å endre hans arbeider for
+ikke-kommersielle formål, men bare hvis de deler på like lisensvilkår. Før
han utgir sitt arbeid under en CC-lisens som tillater bearbeidelser, selger
-han alltid retten til å oversette boka til andre språk til en kommersiell
-forlegger først. Han ønsker å nå nye potensielle kjøpere i andre deler av
-verden, og tror det er vanskeligere å få folk til å betale for oversettelser
+han alltid retten til å oversette boka til andre språk til en kommersiell
+forlegger først. Han ønsker å nå nye potensielle kjøpere i andre deler av
+verden, og tror det er vanskeligere å få folk til å betale for oversettelser
hvis det allerede finnes uprofesjonelle oversettelser tilgjengelig gratis.
</p><p>
- I sin bok <span class="quote">«<span class="quote">Information Doesn't Want to Be Free</span>»</span>, sammenligner
-Cory sin filosofi med løvetannen. De produserer tusener av frø hver vår, og
-de blåses for alle vinder i alle retninger. Strategien er å maksimalisere
-antall tilfeldigheter som må på plass for at den skal kunne videreføre sin
-herkomst. Likeledes sier han at det finnes mange der ute som ønsker å kjøpe
-kreative arbeider, eller kompensere forfattere for dem, på en eller annen
-måte. <span class="quote">«<span class="quote">Desto flere steder dine verk kan finne sitt publikum, desto
-større er sjansen for at en potensiell kunde skal dukke opp</span>»</span>, skrev
-han. <span class="quote">«<span class="quote">Kopiene andre lager av verkene mine koster meg ingenting, og
-gjør det mulig at jeg vil få noe tilbake.</span>»</span>
- </p><p>
- Bruken av CC-lisens på verkene sine øker sjansen for at de skal deles viden
-rundt om på nettet. Han unngår DRM (Digital rights management) – og er åpen
-på at han er mot praksisen – av lignende grunner. DRM binder et verk til én
-plattform. Denne digitale låsen medfører i sin tur at forfatterne mister
+ I sin bok <span class="quote">«<span class="quote">Information Doesn't Want to Be Free</span>»</span>, sammenligner
+Cory sin filosofi med løvetannen. De produserer tusener av frø hver vår, og
+de blåses for alle vinder i alle retninger. Strategien er å maksimalisere
+antall tilfeldigheter som må på plass for at den skal kunne videreføre sin
+herkomst. Likeledes sier han at det finnes mange der ute som ønsker å kjøpe
+kreative arbeider, eller kompensere forfattere for dem, på en eller annen
+måte. <span class="quote">«<span class="quote">Desto flere steder dine verk kan finne sitt publikum, desto
+større er sjansen for at en potensiell kunde skal dukke opp</span>»</span>, skrev
+han. <span class="quote">«<span class="quote">Kopiene andre lager av verkene mine koster meg ingenting, og
+gjør det mulig at jeg vil få noe tilbake.</span>»</span>
+ </p><p>
+ Bruken av CC-lisens på verkene sine øker sjansen for at de skal deles viden
+rundt om på nettet. Han unngår DRM (Digital rights management) – og er åpen
+på at han er mot praksisen – av lignende grunner. DRM binder et verk til én
+plattform. Denne digitale låsen medfører i sin tur at forfatterne mister
kontroll over egne verk, og levner kontrollen til plattformen. Han kaller
-det Corys første lov: <span class="quote">«<span class="quote">Hver gang noen putter en lås på noe som
-tilhører deg, og ikke ønsker å gi deg nøkkelen, er den ikke der i hensikt å
-gagne deg</span>»</span>.
+det Corys første lov: <span class="quote">«<span class="quote">Hver gang noen putter en lås på noe som
+tilhører deg, og ikke ønsker å gi deg nøkkelen, er den ikke der i hensikt å
+gagne deg</span>»</span>.
</p><p>
Cory jobber med det utgangspunkt at kunstnere har gevinst av at det er
-flere, snarere enn færre, steder der verkene deres er
-tilgjengelig. Internett har åpnet opp disse mulighetene, men DRM er utformet
-for å begrense dem. <span class="quote">«<span class="quote">På den ene siden kan vi i god tro gjøre vårt
-arbeid tilgjengelig for et bredt publikum</span>»</span>, sa han. <span class="quote">«<span class="quote">På den
-andre siden gjør formidlerne vi tradisjonelt har gått til det vanskeligere å
-unngå dem</span>»</span>. Cory ser hele tiden etter måter å nå ut til sitt publikum
-uten å måtte stole på store plattformer som ønsker å ta over kontrollen over
+flere, snarere enn færre, steder der verkene deres er
+tilgjengelig. Internett har åpnet opp disse mulighetene, men DRM er utformet
+for å begrense dem. <span class="quote">«<span class="quote">På den ene siden kan vi i god tro gjøre vårt
+arbeid tilgjengelig for et bredt publikum</span>»</span>, sa han. <span class="quote">«<span class="quote">På den
+andre siden gjør formidlerne vi tradisjonelt har gått til det vanskeligere å
+unngå dem</span>»</span>. Cory ser hele tiden etter måter å nå ut til sitt publikum
+uten å måtte stole på store plattformer som ønsker å ta over kontrollen over
verkene hans.
</p><p>
- Cory sier at hans nettbaserte e-boksalg har vært lavere enn sine
+ Cory sier at hans nettbaserte e-boksalg har vært lavere enn sine
konkurrenters, og han mener noe av det skriver seg til bruken av
-CC-lisensiering, idet det gjør arbeidene tilgjengelige gratis. Han tror dog
-at folk er villige til å betale for innhold de liker, selv når det er
-tilgjengelig gratis, så lenge det er enkelt å gjøre. Han traff helt blink i
-bruken av Humble Bundle, en plattform som tillater folk å betale det de vil,
-for DRM-frie versjoner av et knippe arbeider. Han planlegger å sette sitt
+CC-lisensiering, idet det gjør arbeidene tilgjengelige gratis. Han tror dog
+at folk er villige til å betale for innhold de liker, selv når det er
+tilgjengelig gratis, så lenge det er enkelt å gjøre. Han traff helt blink i
+bruken av Humble Bundle, en plattform som tillater folk å betale det de vil,
+for DRM-frie versjoner av et knippe arbeider. Han planlegger å sette sitt
eget betal-hva-du-vil -eksperiment ut i livet snart.
</p><p>
- Tilhengere er i særdeleshet villig til å betale når de føler seg personlig
-knyttet til artisten. Cory arbeider hardt for å knytte slike personlige
-bånd. Én måte han gjør dette på er å personlig besvare hver eneste e-post
-han får. <span class="quote">«<span class="quote">Hvis du ser på historien til artister, vil du se at de
-fleste dør i elendighet</span>»</span>, sier han. <span class="quote">«<span class="quote">Det betyr at vi artister
-selv må finne måter å forsørge oss på, når publikums smak tar en annen
-retning, når åndsverksrettigheter ikke lenger gir inntekter. Å sikre sin
-fremtidige artistiske karriére handler på mange måter om å holde kontakten
-med dem som har blitt rørt av dine verker.</span>»</span>
- </p><p>
- Corys realisme når det gjelder hvor vanskelig det er å leve av kunsten gjør
-seg ikke gjeldende som pessimisme når det gjelder internettalderen. Isteden
-sier han at det faktum at det er vanskelig å livnære seg som artist, ikke er
-noe nytt. <span class="quote">«<span class="quote">Det som er nytt</span>»</span>, skriver han i sin bok, <span class="quote">«<span class="quote">er
-hvor mange måter det går an å lage ting på, og hvordan man får dem inn i
-andre folks sinn og hender</span>»</span>.
- </p><p>
- Det har aldri vært lettere å rette tankene i løvetannens baner.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapittel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Figshare er et selskap som er basert på fortjeneste, og tilbyr et online
+ Tilhengere er i særdeleshet villig til å betale når de føler seg personlig
+knyttet til artisten. Cory arbeider hardt for å knytte slike personlige
+bånd. Én måte han gjør dette på er å personlig besvare hver eneste e-post
+han får. <span class="quote">«<span class="quote">Hvis du ser på historien til artister, vil du se at de
+fleste dør i elendighet</span>»</span>, sier han. <span class="quote">«<span class="quote">Det betyr at vi artister
+selv må finne måter å forsørge oss på, når publikums smak tar en annen
+retning, når åndsverksrettigheter ikke lenger gir inntekter. Å sikre sin
+fremtidige artistiske karriére handler på mange måter om å holde kontakten
+med dem som har blitt rørt av dine verker.</span>»</span>
+ </p><p>
+ Corys realisme når det gjelder hvor vanskelig det er å leve av kunsten gjør
+seg ikke gjeldende som pessimisme når det gjelder internettalderen. Isteden
+sier han at det faktum at det er vanskelig å livnære seg som artist, ikke er
+noe nytt. <span class="quote">«<span class="quote">Det som er nytt</span>»</span>, skriver han i sin bok, <span class="quote">«<span class="quote">er
+hvor mange måter det går an å lage ting på, og hvordan man får dem inn i
+andre folks sinn og hender</span>»</span>.
+ </p><p>
+ Det har aldri vært lettere å rette tankene i løvetannens baner.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapittel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ Figshare er et selskap som er basert på fortjeneste, og tilbyr et online
(nettbasert) oppbevaringssted der forskere kan bevare og dele resultatet av
sin forskning, inkludert tall, datasett, bilder og videoer. Grunnlagt i 2011
i Storbritannia.
</p><p>
<a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Plattform som tilbyr
-betalte tjenester til innholdsleverandører
+betalte tjenester til innholdsleverandører
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 28. januar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Mark Hahnel, grunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshares mål er å endre den vitenskapelige publiseringens fremside gjennom
+ Figshares mål er å endre den vitenskapelige publiseringens fremside gjennom
forbedret formidling, gjenkjenning og gjenbruk av akademisk
-forskning. Figshare er et oppbevaringssted hvor brukere kan gjøre alle
-resultatene av sin forskning tilgjengelig – fra plakater og presentasjoner
-til datasett og kode – på en måte som er lett å oppdage, sitere og
+forskning. Figshare er et oppbevaringssted hvor brukere kan gjøre alle
+resultatene av sin forskning tilgjengelig – fra plakater og presentasjoner
+til datasett og kode – på en måte som er lett å oppdage, sitere og
dele. Brukerne kan laste opp alle filformater, som deretter kan
-forhåndsvises i en nettleser. Forskningsresultater formidles på en måte som
+forhåndsvises i en nettleser. Forskningsresultater formidles på en måte som
den gjeldende modellen for vitenskapelig disiplinpublisering ikke tillater.
</p><p>
- Figshares grunnlegger, Mark Hahnel, får ofte spørsmål om hvordan han tjener
-penger? Hvordan vet vi at du er her om fem år? Kan du, som er for
-fortjeneste, være å stole på? Svarene har utviklet seg over tid.
+ Figshares grunnlegger, Mark Hahnel, får ofte spørsmål om hvordan han tjener
+penger? Hvordan vet vi at du er her om fem år? Kan du, som er for
+fortjeneste, være å stole på? Svarene har utviklet seg over tid.
</p><p>
Mark sporer opprinnelsen til Figshare tilbake til da han som student skulle
-ta sin Ph.D.-eksamen i stamcellebiologi. Hans forskning involverte å arbeide
+ta sin Ph.D.-eksamen i stamcellebiologi. Hans forskning involverte å arbeide
med videoer av stamceller i bevegelse. Men da han skulle publisere sin
-forskning, var det umulig for ham å også publisere videoer, figurer,
-diagrammer og datasett. Dette var frustrerende. Mark trodde at å publisere
-sin forskning fullstendig, ville føre til flere sitater, og være bedre for
+forskning, var det umulig for ham å også publisere videoer, figurer,
+diagrammer og datasett. Dette var frustrerende. Mark trodde at å publisere
+sin forskning fullstendig, ville føre til flere sitater, og være bedre for
hans karriere.
</p><p>
Mark anser seg ikke som noen avansert programmerer. Beleilig nok hadde ting
som skybasert regnekraft (databehandling) og wikier blitt allemannseie, og
-han trodde det ville vært mulig å putte sitt forskningsarbeid på nett, og
-dele det med alle. Dernest begynte han å arbeide med en løsning.
+han trodde det ville vært mulig å putte sitt forskningsarbeid på nett, og
+dele det med alle. Dernest begynte han å arbeide med en løsning.
</p><p>
- Det var to nøkkelbehov: Lisensene måtte gjøre dataene mulig å sitere, samt å
-gi dem varige identifikatorer – nettadresser som alltid peker tilbake til
-originalobjektet for å sikre at forskningen kan siteres på lang sikt.
+ Det var to nøkkelbehov: Lisensene måtte gjøre dataene mulig å sitere, samt å
+gi dem varige identifikatorer – nettadresser som alltid peker tilbake til
+originalobjektet for å sikre at forskningen kan siteres på lang sikt.
</p><p>
- Mark valgte digitale objektidentifikatorer (DOI-er) for å møte behovet for
+ Mark valgte digitale objektidentifikatorer (DOI-er) for å møte behovet for
vedvarende identifikatorer. I DOI-systemet blir et objekts metadata lagret
-som en serie nummer i DOI-navnet. Å referere til et objekt ved sitt DOI er
-mer stabilt enn å bruke nettadressen, fordi plasseringen av et objekt
+som en serie nummer i DOI-navnet. Å referere til et objekt ved sitt DOI er
+mer stabilt enn å bruke nettadressen, fordi plasseringen av et objekt
(nettsiden eller -adressen) ofte kan endre seg. Mark gikk i partnerskap med
-DataCite for å tilby DOI-er for forskningsdata.
+DataCite for å tilby DOI-er for forskningsdata.
</p><p>
- Når det gjelder lisenser, valgte Mark Creative Commons. Miljøene for åpen
+ Når det gjelder lisenser, valgte Mark Creative Commons. Miljøene for åpen
tilgang og tilsvarende forskning brukte allerede, og anbefalte Creative
-Commons. Basert på hva som skjedde i de kretsene, og Marks samtaler med sine
+Commons. Basert på hva som skjedde i de kretsene, og Marks samtaler med sine
fagfeller, gikk han for CC0 (tilsvarende offentlig eie) for datasett og CC
BY (Attribution) for figurer, videoer og datasett.
</p><p>
- Mark begynte å bruke DOI-er og Creative Commons for egen forskning. Han
+ Mark begynte å bruke DOI-er og Creative Commons for egen forskning. Han
hadde en vitenskapsblogg der han skrev om det, og gjorde all dataen
-åpen. Folk startet å kommentere på bloggen hans at de ønsket å gjøre det
-samme. Så han åpnet det opp for dem også.
+åpen. Folk startet å kommentere på bloggen hans at de ønsket å gjøre det
+samme. Så han åpnet det opp for dem også.
</p><p>
- Folk likte grensesnittet og den enkle prosessen for å laste opp. Spørsmålene
-kom så om hvorvidt avhandlinger, prosjektfinansieringssøknader og kode kunne
-deles. Innlemming av kode bød på nye spørsmål vedrørende lisensiering, siden
-Creative Commons-lisensene ikke brukes for programvare. For å tillate deling
+ Folk likte grensesnittet og den enkle prosessen for å laste opp. Spørsmålene
+kom så om hvorvidt avhandlinger, prosjektfinansieringssøknader og kode kunne
+deles. Innlemming av kode bød på nye spørsmål vedrørende lisensiering, siden
+Creative Commons-lisensene ikke brukes for programvare. For å tillate deling
av programvarekode brukte Mark MIT-lisensen, men GNU- og Apache-lisenser kan
-også brukes.
+også brukes.
</p><p>
- Mark trengte investeringer for å gjøre dette til et skalerbart
-produkt. Etter noen mislykkede forsøk på å skaffe finansiering, viste
-britiske Digital Science interesse, men insisterte på en mer levedyktig
-forretningsmodell. Digital Science bidro med en innledende investering, før
+ Mark trengte investeringer for å gjøre dette til et skalerbart
+produkt. Etter noen mislykkede forsøk på å skaffe finansiering, viste
+britiske Digital Science interesse, men insisterte på en mer levedyktig
+forretningsmodell. Digital Science bidro med en innledende investering, før
de sammen kom opp med en freemium-aktig forretningsmodell.
</p><p>
Under freemium-modellen laster akademikere gratis opp forskningen sin til
Creative Commons, og mottar en DOI-lenke (DOI: Digital object identifier). I
premium-alternativet blir forskere krevet en avgift for gigabyte med privat
lagringsplass, og for private nettsteder designet for et bestemt antall
-partnere i et forskningssamarbeid, som er ideelt for større grupper og
-geografisk spredte forskningsgrupper. Figshare oppsummerer sine verdimål for
-forskere som <span class="quote">«<span class="quote">Du beholder eierskapet. Du lisensierer det. Du
-krediteres. Vi sørger bare for at det varer</span>»</span>.
+partnere i et forskningssamarbeid, som er ideelt for større grupper og
+geografisk spredte forskningsgrupper. Figshare oppsummerer sine verdimål for
+forskere som <span class="quote">«<span class="quote">Du beholder eierskapet. Du lisensierer det. Du
+krediteres. Vi sørger bare for at det varer</span>»</span>.
</p><p>
- Figshare ble lansert i januar 2012. (Fig i Figshare står for tall.) Ved å
+ Figshare ble lansert i januar 2012. (Fig i Figshare står for tall.) Ved å
bruke investeringsfond fikk Mark til betydelige forbedringer i Figshare. For
-eksempel kan forskere raskt forhåndsvise forskningsfilene i en nettleser
-uten å laste dem ned først, eller forutsette en tredjeparts
+eksempel kan forskere raskt forhåndsvise forskningsfilene i en nettleser
+uten å laste dem ned først, eller forutsette en tredjeparts
programvare. Journaler (tidsskrifter) som fortsatt i stor grad publiserte
-artikler som statiske ikke-interaktive PDF-filer, ble interessert i å få
-Figshare til å gi dem denne funksjonaliteten.
+artikler som statiske ikke-interaktive PDF-filer, ble interessert i å få
+Figshare til å gi dem denne funksjonaliteten.
</p><p>
- Figshare utvidet sin forretningmodell til å omfatte tjenester for
-tidsskrifter. Figshare begynte å leie ut plass til store datamengder
+ Figshare utvidet sin forretningmodell til å omfatte tjenester for
+tidsskrifter. Figshare begynte å leie ut plass til store datamengder
tilknyttet tidsskriftenes nettartikler. Disse tilleggsdataene forbedret
-kvaliteten på artiklene. Å sette ut denne tjenesten til Figshare gjorde at
-utgiverne slapp å utvikle denne funksjonaliteten som en del av sin egen
-infrastruktur. Data som Figshare huser har også en lenke tilbake til
-artikkelen, noe som gir flere videreklikk og høyere lesertall – en fordel
-både for tidsskriftsutgivere og forskere. Figshare bidrar nå med
+kvaliteten på artiklene. Å sette ut denne tjenesten til Figshare gjorde at
+utgiverne slapp å utvikle denne funksjonaliteten som en del av sin egen
+infrastruktur. Data som Figshare huser har også en lenke tilbake til
+artikkelen, noe som gir flere videreklikk og høyere lesertall – en fordel
+både for tidsskriftsutgivere og forskere. Figshare bidrar nå med
infrastruktur til forskningsdata for en rekke utgivere medregnet Wiley,
-Springer Nature, PLOS, og Taylor og Francis, for å nevne noen, og har
-overbevist dem om å bruke Creative Commons-lisenser for dataene.
+Springer Nature, PLOS, og Taylor og Francis, for å nevne noen, og har
+overbevist dem om å bruke Creative Commons-lisenser for dataene.
</p><p>
Regjeringer tildeler betydelige offentlige midler til forskning. Parallelt
-med lanseringen av Figshare begynte regjeringer over hele verden å be om at
-forskning de finansierer, er åpen og tilgjengelig. De påla forskere og
-akademiske institusjoner å administrere og spre sine forskningsresultater
+med lanseringen av Figshare begynte regjeringer over hele verden å be om at
+forskning de finansierer, er åpen og tilgjengelig. De påla forskere og
+akademiske institusjoner å administrere og spre sine forskningsresultater
bedre. Institusjoner som vil overholde dette nye mandatet ble interessert i
Figshare. Figshare har igjen diversifisert (spredt) sin forretningsmodell,
og lagt til tjenester for institusjoner.
</p><p>
- Figshare tilbyr nå en rekke avgiftsbaserte tjenester til institusjoner,
+ Figshare tilbyr nå en rekke avgiftsbaserte tjenester til institusjoner,
inkludert sin egen miniutgave av Figshare for institusjoner (kalt Figshare
for Institutions) som gir et sikkert rom for institusjonenes forskningsdata
i skyen. Tjenestene inkluderer ikke utleie av plass, men databeregninger,
tjenestene de tilbyr for institusjoner, tar hensyn til behovene til
bibliotekarer og administratorer, samt av forskerne.
</p><p>
- Som med forskere og utgivere, oppmuntret Figshare-institusjoner om å dele
+ Som med forskere og utgivere, oppmuntret Figshare-institusjoner om å dele
sin forskning med CC BY (Attribution) og data med CC0 (for
offentligheten). Bidagsytere som forutsetter at forskere og institusjoner
-bruker åpen lisensiering, tror på sosialt ansvar og fordelene ved å gjøre
-forskning tilgjengelig for alle. Å publisere forskning på denne åpne måten
-er kommet til å bli kalt <span class="quote">«<span class="quote">open access</span>»</span>, åpen adgang. Men ikke
+bruker åpen lisensiering, tror på sosialt ansvar og fordelene ved å gjøre
+forskning tilgjengelig for alle. Å publisere forskning på denne åpne måten
+er kommet til å bli kalt <span class="quote">«<span class="quote">open access</span>»</span>, åpen adgang. Men ikke
alle bidragsytere spesifiserer CC BY; noen institusjoner vil tilby forskere
et valg, inkludert mindre liberale lisenser som CC BY-NC
(Attribution-NonCommercial), CC BY-SA (Attribution-ShareAlike) eller CC
BY-ND (Attribution-NoDerivs).
</p><p>
- For Mark skapte dette en konflikt. På den ene siden er prinsippene og
-fordelene av åpen vitenskap i hjertet av Figshare, og Mark mener CC BY er
-den beste lisensen for dette. På den annen side sa institusjoner at de ikke
+ For Mark skapte dette en konflikt. På den ene siden er prinsippene og
+fordelene av åpen vitenskap i hjertet av Figshare, og Mark mener CC BY er
+den beste lisensen for dette. På den annen side sa institusjoner at de ikke
ville bruke Figshare med mindre det tilbys et utvalg av lisenser. Han nektet
-i utgangspunktet å tilby noe utover CC0 og CC BY, men etter å ha sett et
-CERN-prosjekt med åpen kildekode tilby alle Creative Commons-lisensene uten
-noen negative konsekvenser, bestemte han seg å følge etter.
+i utgangspunktet å tilby noe utover CC0 og CC BY, men etter å ha sett et
+CERN-prosjekt med åpen kildekode tilby alle Creative Commons-lisensene uten
+noen negative konsekvenser, bestemte han seg å følge etter.
</p><p>
- Mark tenker på å lage en Figshare-studie, som sporer forskningsformidling
+ Mark tenker på å lage en Figshare-studie, som sporer forskningsformidling
med Creative Commons-lisens, og samle beregninger av visninger, referanser,
-og nedlastinger. Da kan du se hvilken lisens som genererer den største
+og nedlastinger. Da kan du se hvilken lisens som genererer den største
effekten. Hvis data viste at CC BY er mer slagkraftig, tror Mark at flere og
-flere forskere og institusjoner vil gjøre den til sin valgte lisens.
+flere forskere og institusjoner vil gjøre den til sin valgte lisens.
</p><p>
Figshare har et programmeringsgrensesnitt (API - Application Programming
-Interface) som gjør det mulig å hente data fra Figshare, og bruke det i
+Interface) som gjør det mulig å hente data fra Figshare, og bruke det i
andre programmer. Som eksempel delte Mark et Figshare-datasett som viste
-publiseringsabonnementskostnader betalt av høyere utdanningsinstitusjoner i
-Storbritannia til ti store publiseringsforlag.<a href="#ftn.idm1230" class="footnote" name="idm1230"><sup class="footnote">[117]</sup></a> Figshare sitt API muliggjør bruk av den dataen i et program av en
+publiseringsabonnementskostnader betalt av høyere utdanningsinstitusjoner i
+Storbritannia til ti store publiseringsforlag.<a href="#ftn.idm1230" class="footnote" name="idm1230"><sup class="footnote">[117]</sup></a> Figshare sitt API muliggjør bruk av den dataen i et program av en
helt annen forsker, som konverterer dataen til en visuelt interessant graf,
-hvilket enhver seer kan endre ved
å endre variablene.<a href="#ftn.idm1233" class="footnote" name="idm1233"><sup class="footnote">[118]</sup></a>
+hvilket enhver seer kan endre ved
å endre variablene.<a href="#ftn.idm1233" class="footnote" name="idm1233"><sup class="footnote">[118]</sup></a>
</p><p>
- Gratisversjonen av Figshare har medført et fellesskap av akademikere, som
-ved jungeltelegrafen og presentasjoner har formidlet og spredt forståelse
-for Figshare. For å forsterke og belønne fellesskapet etablerte Figshare et
-Advisor-program (rådgiverprogram), gir dem som spredte Figshare med
+ Gratisversjonen av Figshare har medført et fellesskap av akademikere, som
+ved jungeltelegrafen og presentasjoner har formidlet og spredt forståelse
+for Figshare. For å forsterke og belønne fellesskapet etablerte Figshare et
+Advisor-program (rådgiverprogram), gir dem som spredte Figshare med
hettegensere og T-skjorter, tidlig tilgang til nye funksjoner, og
-reiseutgifter, når de innledet om programmet utenfor sitt område. Disse
-rådgiverne hjalp også Mark med hvilken lisens som var aktuell til
-programvarekoder, og om universiteter skulle tilbys muligheten til å bruke
+reiseutgifter, når de innledet om programmet utenfor sitt område. Disse
+rådgiverne hjalp også Mark med hvilken lisens som var aktuell til
+programvarekoder, og om universiteter skulle tilbys muligheten til å bruke
Creative Commons-lisenser.
</p><p>
- Mark sier at suksessen handler delvis om å være på rett sted til rett
-tid. Han tror også at oppdelingen av Figshare sin modell over tid har vært
-nøkkelen til suksess. Figshare tilbyr nå et helhetlig tjenestetilbud til
+ Mark sier at suksessen handler delvis om å være på rett sted til rett
+tid. Han tror også at oppdelingen av Figshare sin modell over tid har vært
+nøkkelen til suksess. Figshare tilbyr nå et helhetlig tjenestetilbud til
forskere, forleggere, og institusjoner.<a href="#ftn.idm1238" class="footnote" name="idm1238"><sup class="footnote">[119]</sup></a>
Hvis han hadde begrenset seg til inntjening fra
-<span class="quote">«<span class="quote">premium</span>»</span>-abonnementer, tror han det ville blitt vanskelig for
-Figshare.Til å begynne med var deres hovedbrukere akademikere i starten og
-slutten av karrieren. Det har kun vært fordi kronerullerne krevde åpen
-lisensiering at Figshare nå brukes av allmenningen.
+<span class="quote">«<span class="quote">premium</span>»</span>-abonnementer, tror han det ville blitt vanskelig for
+Figshare.Til å begynne med var deres hovedbrukere akademikere i starten og
+slutten av karrieren. Det har kun vært fordi kronerullerne krevde åpen
+lisensiering at Figshare nå brukes av allmenningen.
</p><p>
I dag har Figshare over 26 millioner sidevisninger, over 7.5 millioner
nedlastninger, over 800 000 opplastninger fra brukere, over 2 millioner
artikler, over 500 000 samlinger, og over 5000 prosjekter. 60 prosent av
-trafikken deres kommer fra Google. Et søsterselskap kalt Altmetric sporer
+trafikken deres kommer fra Google. Et søsterselskap kalt Altmetric sporer
bruken av Figshare av andre, inkludert Wikipedia og nyhetskilder.
</p><p>
Figshare bruker inntektene de genererer fra sine premium-abonnenter,
-tidsskriftsutgivere og institusjoner til å finansiere og utvide det de kan
+tidsskriftsutgivere og institusjoner til å finansiere og utvide det de kan
tilby til forskere gratis. Figshare har offentlig holdt seg til sine
-prinsipper, ved å holde den gratis tjenesten gratis, og kreve bruk av CC BY
-og CC0 fra begynnelsen. Fra Marks perspektiv er det derfor folk stoler på
+prinsipper, ved å holde den gratis tjenesten gratis, og kreve bruk av CC BY
+og CC0 fra begynnelsen. Fra Marks perspektiv er det derfor folk stoler på
Figshare. Mark ser nye konkurrenter som vokser frem, og bare er der for
pengenes skyld. Hvis Figshare bare var der for pengene, ville de ikke bry
-seg om å tilby en gratis versjon. Figshares prinsipper, og forsvar for
-åpenhet, er en viktig faktor. Ser en fremover, mener Mark at Figshare ikke
-bare er en støtte for åpen tilgang til forskning, men at den gjør folk i
-stand til å samarbeide og gjøre nye funn.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1230" class="footnote"><p><a href="#idm1230" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1233" class="footnote"><p><a href="#idm1233" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1238" class="footnote"><p><a href="#idm1238" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapittel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+seg om å tilby en gratis versjon. Figshares prinsipper, og forsvar for
+åpenhet, er en viktig faktor. Ser en fremover, mener Mark at Figshare ikke
+bare er en støtte for åpen tilgang til forskning, men at den gjør folk i
+stand til å samarbeide og gjøre nye funn.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1230" class="footnote"><p><a href="#idm1230" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1233" class="footnote"><p><a href="#idm1233" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1238" class="footnote"><p><a href="#idm1238" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapittel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Figure.NZ er en veldedig bistandsorganisasjon som lager en nettbasert
-dataplattform myntet på å gjøre data gjenbrukbar og enkel å forstå seg på.
+dataplattform myntet på å gjøre data gjenbrukbar og enkel å forstå seg på.
</p><p>
<a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Plattform som tilbyr
betalte tjenester til skapere, bidragsytere, sponsing
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 3. mai 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Lillian Grace, grunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- I forskningsartikkelen <span class="quote">«<span class="quote">Harnessing the Economic and Social Power of
-Data</span>»</span>, presentert på New Zealand Data Futures Forum i
+ I forskningsartikkelen <span class="quote">«<span class="quote">Harnessing the Economic and Social Power of
+Data</span>»</span>, presentert på New Zealand Data Futures Forum i
2014,<a href="#ftn.idm1259" class="footnote" name="idm1259"><sup class="footnote">[120]</sup></a> sa Figure.NZ sin grunnlegger
Lillian Grace at det er tusenvis av verdifulle og relevante datasett fritt
-tilgjengelige for oss akkurat nå, men de fleste bruker dem ikke. Hun tenkte
-gjerne at dette betydde at folk ikke bryr seg om å være informert, men etter
-hvert har hun kommet til at hun tok feil. Nesten alle ønsker å bli informert
-om saker som betyr noe – ikke bare for dem, men også for deres familier,
+tilgjengelige for oss akkurat nå, men de fleste bruker dem ikke. Hun tenkte
+gjerne at dette betydde at folk ikke bryr seg om å være informert, men etter
+hvert har hun kommet til at hun tok feil. Nesten alle ønsker å bli informert
+om saker som betyr noe – ikke bare for dem, men også for deres familier,
deres lokalsamfunn, deres virksomheter og landet deres. Men det er stor
-forskjell mellom tilgangen og tilgjengeligheten på informasjon. Data er
+forskjell mellom tilgangen og tilgjengeligheten på informasjon. Data er
spredt over tusenvis av nettsteder, og ligger i databaser og regneark som
-det krever både tid og dyktighet å sette seg inn i. For å bruke data når det
-skal tas en beslutning må du vite hvilket spesifikt spørsmål du skal stille,
-identifisere en kilde som har samlet inn dataene, og håndtere komplekse
-verktøy for å trekke ut og vise frem informasjonen i datasettet. Lillian
-etablerte Figure.NZ for å gjøre data virkelig tilgjengelig for alle, med
-spesielt fokus på New Zealand.
- </p><p>
- Lillian fikk idéen til Figure.NZ i februar 2012 mens hun jobbet for New
-Zealand Institute, en tenketank opptatt av økt økonomisk velstand, sosial
-velferd, miljøkvalitet og miljøproduktivitet for New Zealand og for
-nyzealendere. Når hun holdt foredrag i lokalsamfunn og for næringsdrivende,
-innså Lillian at <span class="quote">«<span class="quote">hvert eneste tema vi tok opp ville vært lettere å
-håndtere, hvis flere hadde forstått de bakenforliggende fakta</span>»</span>. For å
-kunne forstå grunnleggende fakta kreves dog noen ganger data og forskning
-man gjerne må betale for.
- </p><p>
- Lillian begynte å forestille seg et nettsted som løftet frem data til
-visuell form som kunne lett forstås, og som var fritt tilgjengelig. Det ble
-innledningsvis lansert som Wiki New Zealand, da den opprinnelige idéen var
-at folk kunne bidra med sine data og bilder via en wiki. Men få personer
+det krever både tid og dyktighet å sette seg inn i. For å bruke data når det
+skal tas en beslutning må du vite hvilket spesifikt spørsmål du skal stille,
+identifisere en kilde som har samlet inn dataene, og håndtere komplekse
+verktøy for å trekke ut og vise frem informasjonen i datasettet. Lillian
+etablerte Figure.NZ for å gjøre data virkelig tilgjengelig for alle, med
+spesielt fokus på New Zealand.
+ </p><p>
+ Lillian fikk idéen til Figure.NZ i februar 2012 mens hun jobbet for New
+Zealand Institute, en tenketank opptatt av økt økonomisk velstand, sosial
+velferd, miljøkvalitet og miljøproduktivitet for New Zealand og for
+nyzealendere. Når hun holdt foredrag i lokalsamfunn og for næringsdrivende,
+innså Lillian at <span class="quote">«<span class="quote">hvert eneste tema vi tok opp ville vært lettere å
+håndtere, hvis flere hadde forstått de bakenforliggende fakta</span>»</span>. For å
+kunne forstå grunnleggende fakta kreves dog noen ganger data og forskning
+man gjerne må betale for.
+ </p><p>
+ Lillian begynte å forestille seg et nettsted som løftet frem data til
+visuell form som kunne lett forstås, og som var fritt tilgjengelig. Det ble
+innledningsvis lansert som Wiki New Zealand, da den opprinnelige idéen var
+at folk kunne bidra med sine data og bilder via en wiki. Men få personer
hadde grafer som kunne brukes og deles, og det var ingen standarder eller
-sammenheng mellom dataene og det visuelle. Da Lillian innså at wiki-modellen
+sammenheng mellom dataene og det visuelle. Da Lillian innså at wiki-modellen
ikke fungerte, tok hun prosessen med data aggregering, konservering og
-visuell presentasjon hjem, og investerte i teknologien for å automatisere
-noe av det. Wiki New Zealand ble Figure.NZ, og innsatsen ble snudd mot å gi
-tjenester til dem som ønsker å åpne sine data, og presentere dem visuelt.
+visuell presentasjon hjem, og investerte i teknologien for å automatisere
+noe av det. Wiki New Zealand ble Figure.NZ, og innsatsen ble snudd mot å gi
+tjenester til dem som ønsker å åpne sine data, og presentere dem visuelt.
</p><p>
Hvordan fungerer det? Figure.NZ datakilder fra andre organisasjoner,
inkludert bedrifter, offentlige dataarkiv, etater og akademikere. Figure.NZ
importerer og ekstraherer data, og deretter validerer og standardiserer det
-– med et klart øye for hva som vil være best for brukere. Deretter gjør de
-data tilgjengelige med en rekke standardiserte skjemaer, lesbare både for
+– med et klart øye for hva som vil være best for brukere. Deretter gjør de
+data tilgjengelige med en rekke standardiserte skjemaer, lesbare både for
mennesker og maskiner, og med innholdsinformasjon om kildene, lisensene og
-typer data. Figure.NZ har et diagramdesignverktøy som lager enkel strek-,
-linje-, og område-grafikk fra en hvilken som helst datakilde. Grafene
-posteres til Figure.NZ sitt nettområde, og de kan også eksporteres i en
-rekke formater for utskrift eller til Internett-bruk. Figure.NZ gjør sine
-data og grafer tilgjengelige med navngivelseslisens (CC BY). Dette gjør at
-andre kan bruke, endre, remikse og distribuere Figure.NZ-data og -grafer så
+typer data. Figure.NZ har et diagramdesignverktøy som lager enkel strek-,
+linje-, og område-grafikk fra en hvilken som helst datakilde. Grafene
+posteres til Figure.NZ sitt nettområde, og de kan også eksporteres i en
+rekke formater for utskrift eller til Internett-bruk. Figure.NZ gjør sine
+data og grafer tilgjengelige med navngivelseslisens (CC BY). Dette gjør at
+andre kan bruke, endre, remikse og distribuere Figure.NZ-data og -grafer så
lenge de henviser til den opprinnelige kilden og Figure.NZ.
</p><p>
- Lillian karakteriserer avgjørelsen om å bruke Creative Commons som et naivt
-hell. Det ble først anbefalt henne av en kollega. Lillian brukte tid til å
-se på hva Creative Commons tilbyr, og syntes det så bra ut, var klart, og
-appellerte til sunn fornuft. Det var lett å bruke, og enkelt for andre å
-forstå. Over tid har hun innsett hvor heldig og viktig denne beslutningen
-viste seg å bli. New Zealands regjeringen har en åpen tilgang og et
+ Lillian karakteriserer avgjørelsen om å bruke Creative Commons som et naivt
+hell. Det ble først anbefalt henne av en kollega. Lillian brukte tid til å
+se på hva Creative Commons tilbyr, og syntes det så bra ut, var klart, og
+appellerte til sunn fornuft. Det var lett å bruke, og enkelt for andre å
+forstå. Over tid har hun innsett hvor heldig og viktig denne beslutningen
+viste seg å bli. New Zealands regjeringen har en åpen tilgang og et
lisensieringsrammeverk kalt NZGOAL, som gir veiledning for etater og organer
-når de legger ut opphavsrettsbeskyttet og ikke-opphavsrettsbeskyttet arbeid
-og materiale.<a href="#ftn.idm1267" class="footnote" name="idm1267"><sup class="footnote">[121]</sup></a> Målet er å standardisere
+når de legger ut opphavsrettsbeskyttet og ikke-opphavsrettsbeskyttet arbeid
+og materiale.<a href="#ftn.idm1267" class="footnote" name="idm1267"><sup class="footnote">[121]</sup></a> Målet er å standardisere
lisensiering av arbeid regjeringen har opphavsrett til, og hvordan det kan
-gjenbrukes igjen, og det gjør den med Creative Commons-lisenser. Som et
+gjenbrukes igjen, og det gjør den med Creative Commons-lisenser. Som et
resultat er 98 prosent av alle forvaltningsorganers data Creative
Commons-lisensiert, noe som passer fint til Figure.NZs beslutning.
</p><p>
- Lillian mener gjeldende idéer om hva som er en bedrift er relativt nye, bare
-hundre år eller så. Hun er overbevist om at 20 år fra nå, vil vi se nye og
+ Lillian mener gjeldende idéer om hva som er en bedrift er relativt nye, bare
+hundre år eller så. Hun er overbevist om at 20 år fra nå, vil vi se nye og
ulike modeller for forretningsforetak. Figure.NZ er definert som en veldedig
-stiftelse. Den er formålsdrevet, men bestreber seg også å betale folk godt,
+stiftelse. Den er formålsdrevet, men bestreber seg også å betale folk godt,
og tenke som en bedrift. Lillian ser veldedig status som grunnleggende
-forutsetning for hensikten og formålet med Figure.NZ. Hun tror Wikipedia
+forutsetning for hensikten og formålet med Figure.NZ. Hun tror Wikipedia
ikke ville fungert hvis det skulle drives for fortjenesten, og tilsvarende,
-Figure.NZs ideelle status sikrer at folk som har data, og folk som ønsker å
-bruke dem, at de kan stole på motivene til Figure.NZ. Folk ser dem som
-vokter og pålitelig kilde.
+Figure.NZs ideelle status sikrer at folk som har data, og folk som ønsker å
+bruke dem, at de kan stole på motivene til Figure.NZ. Folk ser dem som
+vokter og pålitelig kilde.
</p><p>
Selv om Figure.NZ er en sosial geskjeft hvis data og diagrammer er
-lisensiert gratis i allmennhetens tjeneste, har de gjort seg flid i å ikke
+lisensiert gratis i allmennhetens tjeneste, har de gjort seg flid i å ikke
bli ansett som en gratistjeneste viden rundt. Lillian tror hundrevis av
-millioner dollar brukes av myndigheter og organisasjoner for å samle
-data. Imidlertid blir veldig lite penger brukt på å gjøre den tilgjengelig,
-forståelig og nyttig i beslutningsøyemed. Myndigheter bruker noe av dataen
-for å forme praksis, Lillian tror dog om dette at det er nyttet i for liten
-grad, og at den potensielle verdien er mye høyere. Figure.NZ fokuserer på å
-løse dette problemet. De tror at en andel av pengene avsatt til innsamling
-av data, bør gå til det formål å gjøre den nyttig og verdiskapende. Hvis
-myndighetene ønsker borgernes forståelse for hvorfor gitte beslutninger tas,
-og bli mer oppmerksomme på hva de driver med, hvorfor ikke forvandle
-innsamlet data til forståelig grafikk? Det kan sågar være en måte for
-myndighetene, eller enhver organisasjon, å finne sin posisjon i markedet,
-gjøre seg forskjellig, og knytte sin merkevare til det hele.
- </p><p>
- Figure.NZ bruker mye tid på å forsøke å forstå motivasjonen til de som
-samler inn data, og for å identifisere kanalene der de kan gi verdi. Hver
-eneste del av forretningsmodellen har vært fokusert på hvem som kommer til å
-få verdi fra dataene og de visuelle fremstillingene.
- </p><p>
- Økonomisk sett arbeider Figure.NZ flere veier. De gir kommersielle tjenester
-til organisasjoner som vil gjøre sine data offentlig tilgjengelig , ved bruk
-av Figure.NZ som publiseringsplattform. Folk som ønsker å publisere åpent,
-setter pris på Figure.NZs evne til å gjøre det raskere, enklere, og bedre
-enn de kan selv. Kunder oppfordres til å hjelpe sine brukere med å finne,
-bruke og gjøre ting med dataene som tilgjengeliggjøres på Figure.NZs
+millioner dollar brukes av myndigheter og organisasjoner for å samle
+data. Imidlertid blir veldig lite penger brukt på å gjøre den tilgjengelig,
+forståelig og nyttig i beslutningsøyemed. Myndigheter bruker noe av dataen
+for å forme praksis, Lillian tror dog om dette at det er nyttet i for liten
+grad, og at den potensielle verdien er mye høyere. Figure.NZ fokuserer på å
+løse dette problemet. De tror at en andel av pengene avsatt til innsamling
+av data, bør gå til det formål å gjøre den nyttig og verdiskapende. Hvis
+myndighetene ønsker borgernes forståelse for hvorfor gitte beslutninger tas,
+og bli mer oppmerksomme på hva de driver med, hvorfor ikke forvandle
+innsamlet data til forståelig grafikk? Det kan sågar være en måte for
+myndighetene, eller enhver organisasjon, å finne sin posisjon i markedet,
+gjøre seg forskjellig, og knytte sin merkevare til det hele.
+ </p><p>
+ Figure.NZ bruker mye tid på å forsøke å forstå motivasjonen til de som
+samler inn data, og for å identifisere kanalene der de kan gi verdi. Hver
+eneste del av forretningsmodellen har vært fokusert på hvem som kommer til å
+få verdi fra dataene og de visuelle fremstillingene.
+ </p><p>
+ Økonomisk sett arbeider Figure.NZ flere veier. De gir kommersielle tjenester
+til organisasjoner som vil gjøre sine data offentlig tilgjengelig , ved bruk
+av Figure.NZ som publiseringsplattform. Folk som ønsker å publisere åpent,
+setter pris på Figure.NZs evne til å gjøre det raskere, enklere, og bedre
+enn de kan selv. Kunder oppfordres til å hjelpe sine brukere med å finne,
+bruke og gjøre ting med dataene som tilgjengeliggjøres på Figure.NZs
nettsted. Kundene kontrollerer hva som blir lagt ut, og lisensbetingelsene
(selv om Figure.NZ anbefaler Creative Commons-lisensen). Figure.NZ betjener
-også brukere som ønsker en bestemt ansamling diagrammer som er opprettet,
-for eksempel til deres hjemmeside eller årsrapport. Å ta betaling av
-organisasjoner som vil gjøre sine data tilgjengelige, gjør det mulig for
-Figure.NZ å gjøre sitt nettsted gratis for alle brukere, og virkelig
+også brukere som ønsker en bestemt ansamling diagrammer som er opprettet,
+for eksempel til deres hjemmeside eller årsrapport. Å ta betaling av
+organisasjoner som vil gjøre sine data tilgjengelige, gjør det mulig for
+Figure.NZ å gjøre sitt nettsted gratis for alle brukere, og virkelig
demokratisere data.
</p><p>
Lillian bemerker at dagens status for de fleste data er forferdelig, og ikke
-godt forstått av folkene som sitter på dem. Dette gjør det noen ganger
-vanskelig for kunder og Figure.NZ å skjønne hva det koster å importere,
-standardisere og vise frem dataene på en formålstjenlig måte. For å hanskes
-med dette bruker Figure.NZ <span class="quote">«<span class="quote">høytillitskontrakter</span>»</span>, der kunder
-avser en viss del av budsjettet sitt til oppgaven som Figure.NZ så fritt
-disponerer, så lenge de rapporterer flittig om hva de har produsert, slik at
-kunden ser nytteverdien. Strategien har hjulpet til med å bygge tillit og
-åpenhet om hvilke ressurser som må til for å gjennomføre arbeid som aldri
-har blitt gjort før.
- </p><p>
- Et annet forretningsområde for Figure.NZ er det Figure.NZ kaller
-partnere. ASB BANK og Statistics New Zealand er partnere som støtter det
-Figure.NZ gjør. Som ett eksempel kan det nevnes at deres støtte har gjort
-Figure.NZ i stand til å opprette Business Figures, en spesiell måte for
-selskaper å finne nyttige data uten å måtte vite hvilke spørsmål de skal
+godt forstått av folkene som sitter på dem. Dette gjør det noen ganger
+vanskelig for kunder og Figure.NZ å skjønne hva det koster å importere,
+standardisere og vise frem dataene på en formålstjenlig måte. For å hanskes
+med dette bruker Figure.NZ <span class="quote">«<span class="quote">høytillitskontrakter</span>»</span>, der kunder
+avser en viss del av budsjettet sitt til oppgaven som Figure.NZ så fritt
+disponerer, så lenge de rapporterer flittig om hva de har produsert, slik at
+kunden ser nytteverdien. Strategien har hjulpet til med å bygge tillit og
+åpenhet om hvilke ressurser som må til for å gjennomføre arbeid som aldri
+har blitt gjort før.
+ </p><p>
+ Et annet forretningsområde for Figure.NZ er det Figure.NZ kaller
+partnere. ASB BANK og Statistics New Zealand er partnere som støtter det
+Figure.NZ gjør. Som ett eksempel kan det nevnes at deres støtte har gjort
+Figure.NZ i stand til å opprette Business Figures, en spesiell måte for
+selskaper å finne nyttige data uten å måtte vite hvilke spørsmål de skal
stille.<a href="#ftn.idm1277" class="footnote" name="idm1277"><sup class="footnote">[122]</sup></a>
</p><p>
- Figure.NZ har ogs
å faste bidragsytere.<a href="#ftn.idm1281" class="footnote" name="idm1281"><sup class="footnote">[123]</sup></a>
-De donerer til formål de bryr seg om, noe som gjør Figure.NZ direkte i stand
-til å samle data på akkurat disse områdene. Givere har ikke innvirkning på
+ Figure.NZ har ogs
å faste bidragsytere.<a href="#ftn.idm1281" class="footnote" name="idm1281"><sup class="footnote">[123]</sup></a>
+De donerer til formål de bryr seg om, noe som gjør Figure.NZ direkte i stand
+til å samle data på akkurat disse områdene. Givere har ikke innvirkning på
hva som tas med eller ekskluderes.
</p><p>
- Figure.NZ godtar også filantropiske donasjoner, som brukes til å tilby mer
-innhold, gjøre mer bruk av teknologi, forbedre tjenester, eller hvis mål er
-å byttehandle støttefunksjoner. Som en veldedig operasjon, er donasjoner
+ Figure.NZ godtar også filantropiske donasjoner, som brukes til å tilby mer
+innhold, gjøre mer bruk av teknologi, forbedre tjenester, eller hvis mål er
+å byttehandle støttefunksjoner. Som en veldedig operasjon, er donasjoner
skattefritatt.
</p><p>
- Figure.NZ har fått ny form og størrelse med tiden. Med datainnsamling og
+ Figure.NZ har fått ny form og størrelse med tiden. Med datainnsamling og
utrenskning av data, i visuell tjeneste, alt innomhus, har man utviklet
-dyptgående ekspertise i å standardisere tilfeldige datastiler, for å gjøre
-dem nyttige. Lillian skjønte at Figure.NZ enkelt kunne bli et varehus for
-sytti mennesker som gjør data. Hun synes vekst ikke nødvendigvis er
-bra. Størrelse går ofte ut over effektivitet. Lillian setter kunstige
-begrensninger for vekst, tvinger organisasjonen til å tenke annerledes, og
+dyptgående ekspertise i å standardisere tilfeldige datastiler, for å gjøre
+dem nyttige. Lillian skjønte at Figure.NZ enkelt kunne bli et varehus for
+sytti mennesker som gjør data. Hun synes vekst ikke nødvendigvis er
+bra. Størrelse går ofte ut over effektivitet. Lillian setter kunstige
+begrensninger for vekst, tvinger organisasjonen til å tenke annerledes, og
bli mer effektiv. Snarere enn vekst innomhus, vokser de og bygger opp
eksterne tilknytninger.
</p><p>
Nettsiden til Figure.NZ viser grafikk og data fra en rekke kategorier,
-inkludert kriminalitet, økonomi, utdanning, sysselsetting, energi, miljø,
+inkludert kriminalitet, økonomi, utdanning, sysselsetting, energi, miljø,
helse, informasjon og kommunikasjonsteknologi, industri, turisme og mange
-andre. En søkefunksjon hjelper brukere å finne tabeller og grafer. Figure.NZ
-utøver ikke analyse eller tolkning av data eller bilder. Deres mål er å lære
-folk å tenke, ikke å tenke for dem. Figure.NZ ønsker å skape intuitive
+andre. En søkefunksjon hjelper brukere å finne tabeller og grafer. Figure.NZ
+utøver ikke analyse eller tolkning av data eller bilder. Deres mål er å lære
+folk å tenke, ikke å tenke for dem. Figure.NZ ønsker å skape intuitive
opplevelser, ikke brukermanualer.
</p><p>
- Figure.NZ mener at data og bilder skal være nyttige. De gir sine kunder en
-mal for samling av data, og lærer dem hvorfor det er viktig, og hvordan den
-brukes. De har begynt å legge mer vekt på å spore hva brukerne av deres
-nettsted vil. De får også forespørsler fra sosiale medier og via e-post om å
-dele data om et bestemt emne, for eksempel <span class="quote">«<span class="quote">kan du dele dataene for
-vannkvalitet</span>»</span>? Hvis de har data, reagerer de raskt; hvis ikke, prøver
-de å identifisere organisasjonene som kan ha dem, og bygger en bro slik at
-dataene kan legges inn på Figure.NZ sitt nettsted. Samlet sett søker
-Figure.NZ å være et sted for folk der de kan være nysgjerrige, og ha tilgang
-til å tolke data om emnene de er interessert i.
- </p><p>
- Lillian har en grundig og kløktig visjon for Figure.NZ som langt overgår det
-å bare sørge for åpne datatjenester. Hun sier ting er annerledes
-nå. <span class="quote">«<span class="quote">Vi pleide å leve i en verden hvor det var veldig vanskelig å nå
-ut med informasjon. I den verdenen lå de beste framtidsutsiktene i å ha gode
-ledere som ved å ha tilgang til informasjon kunne treffe beslutninger på
-vegne av andre, om det så var på vegne av et land eller selskaper.</span>»</span>
- </p><p>
- <span class="quote">«<span class="quote">Men nå lever vi i en verden der det er enkelt å dele informasjon og
-kommunisere viden rundt. Fremtiden vi går i møte i den verdenen vi er i nå,
-er best tjent med at alle kan ta gode beslutninger basert på god
-informasjon</span>»</span>.
- </p><p>
- <span class="quote">«<span class="quote">Bruk av tall og data til å fatte gode beslutninger basert på god
-informasjon er et av områdene der manglene er størst. Vi bruker virkelig
-ikke tall som en del av vår tenkning og forståelse ennå</span>»</span>.
- </p><p>
- <span class="quote">«<span class="quote">En del av årsaken er at dataene er spredt på hundrevis av steder. I
-tillegg, for det meste, er dyp tenkning basert på data forbeholdt eksperter,
+ Figure.NZ mener at data og bilder skal være nyttige. De gir sine kunder en
+mal for samling av data, og lærer dem hvorfor det er viktig, og hvordan den
+brukes. De har begynt å legge mer vekt på å spore hva brukerne av deres
+nettsted vil. De får også forespørsler fra sosiale medier og via e-post om å
+dele data om et bestemt emne, for eksempel <span class="quote">«<span class="quote">kan du dele dataene for
+vannkvalitet</span>»</span>? Hvis de har data, reagerer de raskt; hvis ikke, prøver
+de å identifisere organisasjonene som kan ha dem, og bygger en bro slik at
+dataene kan legges inn på Figure.NZ sitt nettsted. Samlet sett søker
+Figure.NZ å være et sted for folk der de kan være nysgjerrige, og ha tilgang
+til å tolke data om emnene de er interessert i.
+ </p><p>
+ Lillian har en grundig og kløktig visjon for Figure.NZ som langt overgår det
+å bare sørge for åpne datatjenester. Hun sier ting er annerledes
+nå. <span class="quote">«<span class="quote">Vi pleide å leve i en verden hvor det var veldig vanskelig å nå
+ut med informasjon. I den verdenen lå de beste framtidsutsiktene i å ha gode
+ledere som ved å ha tilgang til informasjon kunne treffe beslutninger på
+vegne av andre, om det så var på vegne av et land eller selskaper.</span>»</span>
+ </p><p>
+ <span class="quote">«<span class="quote">Men nå lever vi i en verden der det er enkelt å dele informasjon og
+kommunisere viden rundt. Fremtiden vi går i møte i den verdenen vi er i nå,
+er best tjent med at alle kan ta gode beslutninger basert på god
+informasjon</span>»</span>.
+ </p><p>
+ <span class="quote">«<span class="quote">Bruk av tall og data til å fatte gode beslutninger basert på god
+informasjon er et av områdene der manglene er størst. Vi bruker virkelig
+ikke tall som en del av vår tenkning og forståelse ennå</span>»</span>.
+ </p><p>
+ <span class="quote">«<span class="quote">En del av årsaken er at dataene er spredt på hundrevis av steder. I
+tillegg, for det meste, er dyp tenkning basert på data forbeholdt eksperter,
fordi folk flest ikke har dataanalyseferdigheter. Det var en gang en tid da
mange innbyggere i samfunnet ikke kunne lese eller skrive. Men som samfunn,
-er vi nå kommet dit hen at lese- og skriveferdigheter bør være
-allemannseie. Vi har ennå ikke adoptert en lignende forutsetning for tall og
-ferdigheter vedrørende dataanalyse. Vi tror fortsatt at kun noen få
-spesialutdannede mennesker kan analysere og tenke med tall.</span>»</span>
- </p><p>
- <span class="quote">«<span class="quote">Figure.NZ er muligens den første organisasjonen som hevder at alle
-kan bruke tall i sin tenkning, og har bygget en teknologisk plattform på
-tillit og et nettverk av relasjoner for muliggjøring av dette. Det som er å
-se på Figure.NZ er titusenvis av grafer, kart og data.</span>»</span>
- </p><p>
- <span class="quote">«<span class="quote">Figure.NZ ser dette som et slags nytt alfabet som kan hjelpe folk å
-analysere det de ser rundt seg. En måte å bli reflektert og informert om
-samfunnet. Et middel til å delta i samtaler som former beslutningsprosesser
+er vi nå kommet dit hen at lese- og skriveferdigheter bør være
+allemannseie. Vi har ennå ikke adoptert en lignende forutsetning for tall og
+ferdigheter vedrørende dataanalyse. Vi tror fortsatt at kun noen få
+spesialutdannede mennesker kan analysere og tenke med tall.</span>»</span>
+ </p><p>
+ <span class="quote">«<span class="quote">Figure.NZ er muligens den første organisasjonen som hevder at alle
+kan bruke tall i sin tenkning, og har bygget en teknologisk plattform på
+tillit og et nettverk av relasjoner for muliggjøring av dette. Det som er å
+se på Figure.NZ er titusenvis av grafer, kart og data.</span>»</span>
+ </p><p>
+ <span class="quote">«<span class="quote">Figure.NZ ser dette som et slags nytt alfabet som kan hjelpe folk å
+analysere det de ser rundt seg. En måte å bli reflektert og informert om
+samfunnet. Et middel til å delta i samtaler som former beslutningsprosesser
som overskrider personlig erfaring. Den langsiktige verdien og effekten lar
-seg vanskelig måle, men målet er å hjelpe borgeres forståelse og få dem til
-å samarbeide på mer opplyste måter for å forme fremtiden.</span>»</span>
+seg vanskelig måle, men målet er å hjelpe borgeres forståelse og få dem til
+å samarbeide på mer opplyste måter for å forme fremtiden.</span>»</span>
</p><p>
- Lillian ser at Figure.NZs modell har et globalt potensiale. Men foreløpig er
-fokusen deres å få Figure.NZs til å fungere i New Zealand, og få
-<span class="quote">«<span class="quote">nettverkseffekten</span>»</span> til å rulle – at brukere dramatisk øker
+ Lillian ser at Figure.NZs modell har et globalt potensiale. Men foreløpig er
+fokusen deres å få Figure.NZs til å fungere i New Zealand, og få
+<span class="quote">«<span class="quote">nettverkseffekten</span>»</span> til å rulle – at brukere dramatisk øker
egen og andres nytteverdi gjennom sin bruk av tjenesten. Creative Commons er
-i kjernen av det som gjør denne nettverkseffekten mulig.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1259" class="footnote"><p><a href="#idm1259" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1267" class="footnote"><p><a href="#idm1267" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1277" class="footnote"><p><a href="#idm1277" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1281" class="footnote"><p><a href="#idm1281" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapittel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+i kjernen av det som gjør denne nettverkseffekten mulig.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1259" class="footnote"><p><a href="#idm1259" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1267" class="footnote"><p><a href="#idm1267" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1277" class="footnote"><p><a href="#idm1277" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1281" class="footnote"><p><a href="#idm1281" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapittel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Knowledge Unlatched er et veldedig samfunnsinteresseselskap som bringer
-biblioteker sammen for å finansiere utgivelser av bøker med åpen tilgang.
+biblioteker sammen for å finansiere utgivelser av bøker med åpen tilgang.
Grunnlagt 2012 i Storbritannia.
</p><p>
<a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
(spesialisert)
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 26. februar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Frances Pinter, grunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Seriegründer dr. Frances Pinter har vært helt i front når det gjelder
-nyskapning i forlagsbransjen i nesten førti år. Hun grunnla det britiske
-Knowledge Unlatched som hadde som mål å gi åpen tilgang til vitenskapelige
-bøker. Slik Frances ser det, fungerer ikke dagens system for publisering av
-vitenskaplige bøker for alle, og spesielt ikke når det gjelder monografier i
-humaniora og samfunnsvitenskap. Knowledge Unlatched har bestemt seg for å
-endre dette, og har arbeidet sammen med biblioteker for å skape en
-bærekraftig alternativ modell for publisering av vitenskapelige bøker,
+ Seriegründer dr. Frances Pinter har vært helt i front når det gjelder
+nyskapning i forlagsbransjen i nesten førti år. Hun grunnla det britiske
+Knowledge Unlatched som hadde som mål å gi åpen tilgang til vitenskapelige
+bøker. Slik Frances ser det, fungerer ikke dagens system for publisering av
+vitenskaplige bøker for alle, og spesielt ikke når det gjelder monografier i
+humaniora og samfunnsvitenskap. Knowledge Unlatched har bestemt seg for å
+endre dette, og har arbeidet sammen med biblioteker for å skape en
+bærekraftig alternativ modell for publisering av vitenskapelige bøker,
deling av kostnadene for monografier (utgitt med Creative Commons-lisens)
-og, på lang sikt, spare kostnader. Siden lanseringen, har Knowledge
+og, på lang sikt, spare kostnader. Siden lanseringen, har Knowledge
Unlatched mottatt flere priser, inkludert IFLA/Brill Open Access-prisen for
2014, og en Curtin University Commersial Innovation Award-pris for
innovasjon i utdanning i 2015.
</p><p>
- Dr. Pinter har tilhørt akademisk publisering i brorparten av sin
-karriere. Omtrent for ti år siden ble hun kjent med grunnleggeren av
+ Dr. Pinter har tilhørt akademisk publisering i brorparten av sin
+karriere. Omtrent for ti år siden ble hun kjent med grunnleggeren av
Creative Commons, (Lawrence Lessig,) og ble interessert i Creative Commons
-som verktøy for både å beskytte innhold på nettet, og spre det gratis til
+som verktøy for både å beskytte innhold på nettet, og spre det gratis til
brukere.
</p><p>
Ikke lenge etter drev hun et prosjekt i Afrika som overbeviste utgivere i
-Uganda og Sør-Afrika om å legge noe av innholdet sitt på nettet gratis med
-en Creative Commons-lisens, for å se hva som skjedde. Salget gikk opp, ikke
+Uganda og Sør-Afrika om å legge noe av innholdet sitt på nettet gratis med
+en Creative Commons-lisens, for å se hva som skjedde. Salget gikk opp, ikke
ned.
</p><p>
I 2008 valgte Bloomsbury Academic, et nytt forlag under Bloomsbury
-Publishing i Storbritannia, å la henne stå for oppstarten av dette forlaget
-i London. Som en del av lanseringen overbeviste Frances Bloomsbury om å
-differensiere ved å legge ut monografier gratis på nettet med en Creative
+Publishing i Storbritannia, å la henne stå for oppstarten av dette forlaget
+i London. Som en del av lanseringen overbeviste Frances Bloomsbury om å
+differensiere ved å legge ut monografier gratis på nettet med en Creative
Commons-lisens (BY-NC eller BY-NC-ND, dvs. Navngivelse-IkkeKommersiell
eller Navngivelse-IkkeKommersiell-IngenBearbeidelser). (ND-lisensen har
senere blitt trukket tilbake fra offisielt hold siden det ikke er en fri
-lisens, og effektivt sett gjorde begrepet "CC-lisens" fånyttes.) Dette ble
-sett på som risikabelt, ettersom den største kostnaden for utgivere er å få
+lisens, og effektivt sett gjorde begrepet "CC-lisens" fånyttes.) Dette ble
+sett på som risikabelt, ettersom den største kostnaden for utgivere er å få
en bok frem til trykningsstadiet. Hvis alle kunne lese den elektroniske
-boken gratis, ville det ikke være salg av trykte bøker i det hele, og
-kostnadene forbundet med å få boken trykket går tapt. Overraskende nok fant
-Bloomsbury at salg av trykte versjoner av disse bøkene var 10 til 20 prosent
-høyere enn normalt. Frances fant det interessant at den gratis Creative
-Commons-lisensierte boken på nettet fungerer som et markedsføringsredskap
+boken gratis, ville det ikke være salg av trykte bøker i det hele, og
+kostnadene forbundet med å få boken trykket går tapt. Overraskende nok fant
+Bloomsbury at salg av trykte versjoner av disse bøkene var 10 til 20 prosent
+høyere enn normalt. Frances fant det interessant at den gratis Creative
+Commons-lisensierte boken på nettet fungerer som et markedsføringsredskap
for det trykte formatet.
</p><p>
- Frances begynte å se på kundens interesse i tre former av boken: 1) Creative
+ Frances begynte å se på kundens interesse i tre former av boken: 1) Creative
Commons-lisensierte gratis online-bok i PDF-skjemaet, 2) den trykte boken,
-og 3) en digital versjon av boken på en aggregator-plattform med forbedrede
-funksjoner. Hun tenkte på dette som <span class="quote">«<span class="quote">iskrem model</span>»</span>: gratis PDF
+og 3) en digital versjon av boken på en aggregator-plattform med forbedrede
+funksjoner. Hun tenkte på dette som <span class="quote">«<span class="quote">iskrem model</span>»</span>: gratis PDF
var vaniljeiskrem, den trykte boken var en softis, og den forbedrede e-boken
var en iskrem sundae.
</p><p>
- Etter en stund, hadde Frances en åpenbaring: Hva hvis det var en måte å få
-biblioteker til å garantere for kostnadene ved å gjøre disse bøkene
-trykningsklare, altså dekke faste kostnader for å få frem den første
-digitale kopien? Så kan man enten få ned kostnadene for den trykte boken,
-eller gjøre en hel haug med interessante ting med den trykte boken og
+ Etter en stund, hadde Frances en åpenbaring: Hva hvis det var en måte å få
+biblioteker til å garantere for kostnadene ved å gjøre disse bøkene
+trykningsklare, altså dekke faste kostnader for å få frem den første
+digitale kopien? Så kan man enten få ned kostnadene for den trykte boken,
+eller gjøre en hel haug med interessante ting med den trykte boken og
e-boken - kjeksisen eller iskuler med pynt.
</p><p>
- Denne ideen likner betalingen for artikkelhåndteringen som tidsskifter med
-åpen publisering krever av forskere for å dekke
-publiseringskostnadene. Frances begynte å tenke på en koalisjon av
-biblioteker som betalte kostnadene frem til trykking – en
-<span class="quote">«<span class="quote">bokhåndteringsavgift</span>»</span> – og gi alle i verden en åpen
-publiseringsversjon av bøker utgitt med en Creative Commons-lisens.
+ Denne ideen likner betalingen for artikkelhåndteringen som tidsskifter med
+åpen publisering krever av forskere for å dekke
+publiseringskostnadene. Frances begynte å tenke på en koalisjon av
+biblioteker som betalte kostnadene frem til trykking – en
+<span class="quote">«<span class="quote">bokhåndteringsavgift</span>»</span> – og gi alle i verden en åpen
+publiseringsversjon av bøker utgitt med en Creative Commons-lisens.
</p><p>
- Denne idéen tok virkelig tak i henne. Hun hadde egentlig ikke et navn for
-det, men begynte å snakke om det, og lage presentasjoner for å se om det var
+ Denne idéen tok virkelig tak i henne. Hun hadde egentlig ikke et navn for
+det, men begynte å snakke om det, og lage presentasjoner for å se om det var
noe interesse. Jo mer hun snakket om det, jo mer ble folk enige om at det
-hadde appell. Hun tilbød en flaske champagne for alle som kunne komme opp
-med et godt navn for idéen. Hennes mann kom opp med Knowledge Unlatched, og
-etter to år for å opparbeide interesse, besluttet hun å gå videre og starte
-et <span class="quote">«<span class="quote">community interest company</span>»</span> (et engelsk begrep for
+hadde appell. Hun tilbød en flaske champagne for alle som kunne komme opp
+med et godt navn for idéen. Hennes mann kom opp med Knowledge Unlatched, og
+etter to år for å opparbeide interesse, besluttet hun å gå videre og starte
+et <span class="quote">«<span class="quote">community interest company</span>»</span> (et engelsk begrep for
non-profit samfunnsforetak) i 2012.
</p><p>
Hun beskriver forretningsmodellen i en artikkel med tittel Knowledge
Utgivere tilbyr utgivelser for salg som avspeiler opprinnelige kostnader
bare via Knowlegde Unlatched.
</p></li><li class="listitem"><p>
- Frittstående bibliotek velger titler enten som individuelle titler eller som
-samlinger (slik de gjør fra bibliotekleverandører i dag).
+ Frittstående bibliotek velger titler enten som individuelle titler eller som
+samlinger (slik de gjør fra bibliotekleverandører i dag).
</p></li><li class="listitem"><p>
- Utvalgene deres blir sendt til Knowledge Unlatched der de titlene som kan
-kjøpes spesifiseres og prisene angis.
+ Utvalgene deres blir sendt til Knowledge Unlatched der de titlene som kan
+kjøpes spesifiseres og prisene angis.
</p></li><li class="listitem"><p>
Prisen, kalt Title Fee (satt av utgivere og forhandlet frem av Knowlegde
-Unlatched), betales til utgivere for å dekke faste kostnader for å publisere
-hver av titlene som ble valgt av et minimumsantall biblioteker for å få
+Unlatched), betales til utgivere for å dekke faste kostnader for å publisere
+hver av titlene som ble valgt av et minimumsantall biblioteker for å få
dekket Title Fee-gebyret.
</p></li><li class="listitem"><p>
- Forlagene gjør de utvalgte titler tilgjengelige med Open Access (med en åpen
-lisens som Creative Commons eller lignende), og får så utbetalt Title
-Fee-beløpet som er den summen som er innbetalt fra bibliotekene.
+ Forlagene gjør de utvalgte titler tilgjengelige med Open Access (med en åpen
+lisens som Creative Commons eller lignende), og får så utbetalt Title
+Fee-beløpet som er den summen som er innbetalt fra bibliotekene.
</p></li><li class="listitem"><p>
- Forlag gjør trykte bøker, e-Pub og andre digitale versjoner av valgte
+ Forlag gjør trykte bøker, e-Pub og andre digitale versjoner av valgte
titler tilgjengelig for medlemsbiblioteker til rabattert pris, noe som
avspeiler deres bidrag til Title Fee, og ansporer til
medlemskap.<a href="#ftn.idm1341" class="footnote" name="idm1341"><sup class="footnote">[124]</sup></a>
</p></li></ol></div><p>
- Første runde av denne modellen resulterte i en samling på 28 gjeldende
-titler fra tretten anerkjente vitenskapelige forlag. Målet var å få med to
+ Første runde av denne modellen resulterte i en samling på 28 gjeldende
+titler fra tretten anerkjente vitenskapelige forlag. Målet var å få med to
hundre bibliotek i samarbeidet. Kostnaden av pakken pr. bibliotek hadde et
-øvre tak på 1680 amerikanske dollar, som er en gjennomsnittspris på 60
+øvre tak på 1680 amerikanske dollar, som er en gjennomsnittspris på 60
dollar pr. bok, men til slutt var det nesten tre hundre bibliotek som delte
-på utgiftene, og pr. bok kom de ned i under 43 dollar pr. bok.
+på utgiftene, og pr. bok kom de ned i under 43 dollar pr. bok.
</p><p>
- Creative Commons-versjoner av alle 28 bøker er fremdeles fritt tilgjengelig
-på nett.<a href="#ftn.idm1346" class="footnote" name="idm1346"><sup class="footnote">[125]</sup></a> De fleste bøker er lisensiert
+ Creative Commons-versjoner av alle 28 bøker er fremdeles fritt tilgjengelig
+på nett.<a href="#ftn.idm1346" class="footnote" name="idm1346"><sup class="footnote">[125]</sup></a> De fleste bøker er lisensiert
med CC BY-NC eller CC BY-NC-ND. Forfatterne har kopiretten, ikke
forleggeren, og forhandler valg av lisens som del av
-publiseringsavtalen. Frances har merket seg at de fleste forfattere ønsker å
+publiseringsavtalen. Frances har merket seg at de fleste forfattere ønsker å
beholde kontroll over kommersiell og videre bruk av deres arbeid. Forleggere
-lister opp bøkene i sine kataloger, og tillegg av ikke-kommersiell
-begrensning i Creative Commons-lisens betyr at forfatterne fortsetter å
-motta salær (royalty) for salg av fysiske kopier.
+lister opp bøkene i sine kataloger, og tillegg av ikke-kommersiell
+begrensning i Creative Commons-lisens betyr at forfatterne fortsetter å
+motta salær (royalty) for salg av fysiske kopier.
</p><p>
- Det er tre kostnadsvariabler å ta høyde for i hver runde: Den sammenlagte
-kostnaden pålagt av forleggerne, total kostnad for ervervelse av alle bøkene
+ Det er tre kostnadsvariabler å ta høyde for i hver runde: Den sammenlagte
+kostnaden pålagt av forleggerne, total kostnad for ervervelse av alle bøkene
for bibliotekene, og individuell pris pr. bok. Avgiften forleggerne tar for
-hver tittel er fast, og Knowledge Unlatched beregner totalbeløpet for alle
-bøkene samtidig. Kostnaden for én ordre for hvert bibliotek er satt
-<span class="quote">«<span class="quote">i verste fall</span>»</span>, basert på et minimum av deltagende
+hver tittel er fast, og Knowledge Unlatched beregner totalbeløpet for alle
+bøkene samtidig. Kostnaden for én ordre for hvert bibliotek er satt
+<span class="quote">«<span class="quote">i verste fall</span>»</span>, basert på et minimum av deltagende
biblioteker. Kostnaden reduserer deretter for hvert ekstra bibliotek som
deltar.
</p><p>
- Den andre runden, som også har latt seg gjennomføre, åpnet tilgangen til 78
-bøker fra 26 forleggere. I denne runden eksperimenterte Frances med
-størrelsen og formen på det som ble tilbudt. Bøker ble pakket i åtte pakker,
+ Den andre runden, som også har latt seg gjennomføre, åpnet tilgangen til 78
+bøker fra 26 forleggere. I denne runden eksperimenterte Frances med
+størrelsen og formen på det som ble tilbudt. Bøker ble pakket i åtte pakker,
delt inn pr. emne (inkludert antropologi, historie, litteratur, media og
-kommunikasjon, og politikk), på omkring 10 bøker pr. pakke. Tre hundre
-biblioteker verden over må forplikte seg til minst seks av åtte pakker for
-at det skulle bli åpen tilgang. Gjennomsnittskostnaden pr. bok var snaut 50
-dollar. Denne prosessen for å gi åpen tilgang tok omtrent ti måneder. Det
-startet med en rekke telefonsamtaler til forleggerne for å få rede på
-titler, dernest forming av en ansvarsgruppe fra bibliotekhold for å velge
+kommunikasjon, og politikk), på omkring 10 bøker pr. pakke. Tre hundre
+biblioteker verden over må forplikte seg til minst seks av åtte pakker for
+at det skulle bli åpen tilgang. Gjennomsnittskostnaden pr. bok var snaut 50
+dollar. Denne prosessen for å gi åpen tilgang tok omtrent ti måneder. Det
+startet med en rekke telefonsamtaler til forleggerne for å få rede på
+titler, dernest forming av en ansvarsgruppe fra bibliotekhold for å velge
titler, innhenting av forfattersamtykke, avtaleskriving med bibliotekene,
-tilhørende fakturering, og til sist, gjøre tilgjengelig.
+tilhørende fakturering, og til sist, gjøre tilgjengelig.
</p><p>
- Mest langtrekkende var prosessen med å få bibliotekene til å love og å sende
-avgårde midler. Det tar omkring fem måneder, da bibliotekets innkjøp må
-passe inn i kjøpssykluser, budsjettrunder, og bibliotekkomiteers møter.
+ Mest langtrekkende var prosessen med å få bibliotekene til å love og å sende
+avgårde midler. Det tar omkring fem måneder, da bibliotekets innkjøp må
+passe inn i kjøpssykluser, budsjettrunder, og bibliotekkomiteers møter.
</p><p>
- Knowledge Unlatched informerer og rekrutterer biblioteker på sosiale media,
+ Knowledge Unlatched informerer og rekrutterer biblioteker på sosiale media,
e-postlister, listetjenere, og bibliotekforbund. Av de tre hundre
-bibliotekene som deltok i første runde, fant 80 prosent av dem veien i runde
+bibliotekene som deltok i første runde, fant 80 prosent av dem veien i runde
to, og det er anslagsvis 80 nye som deltar. Knowledge Unlatched arbeider
-ikke bare med enkeltstående biblioteker, men også konsortier, noe som har
-fått enda flere biblioteker med i laget.
+ikke bare med enkeltstående biblioteker, men også konsortier, noe som har
+fått enda flere biblioteker med i laget.
</p><p>
Knowledge Unlatched utvider tilbudet, til 150 nye titler i andre halvdel av
-2016. Tidligere innlemmelser er også med, og i 2017 vil journaler komme til
-også, med fri tilgang på alt.
+2016. Tidligere innlemmelser er også med, og i 2017 vil journaler komme til
+også, med fri tilgang på alt.
</p><p>
- De (Knowledge Unlatched) har aktivt valgt, som første boktype, å gjøre
+ De (Knowledge Unlatched) har aktivt valgt, som første boktype, å gjøre
monografier tilgjengelig. Monografier er grunnleggende og viktige, men det
-er også vanskelig å fortsette i den lukkede standard publiseringsmodellen.
+er også vanskelig å fortsette i den lukkede standard publiseringsmodellen.
</p><p>
- Kostnaden for utgiveren for ervervelse av første digitale kopi av en
-monografi er mellom 5000 dollar til 50 000 dollar. En god monografi beløper
+ Kostnaden for utgiveren for ervervelse av første digitale kopi av en
+monografi er mellom 5000 dollar til 50 000 dollar. En god monografi beløper
seg til mellom 10 000 til 15 000 dollar. Monografier selger vanligvis ikke
mange eksemplarer. Hvis tallene i tidligere tider var 3000, kan man som
-motsats regne 300 i vår tid. Det gjør unnfanging, tilgjengeliggjøring, av
-monografier til lavrisikosport for forleggere. I første runde tok det fem
-måneder å få med 13 av dem, i andre runde gikk det ikke mer enn en måned for
-å få 26.
+motsats regne 300 i vår tid. Det gjør unnfanging, tilgjengeliggjøring, av
+monografier til lavrisikosport for forleggere. I første runde tok det fem
+måneder å få med 13 av dem, i andre runde gikk det ikke mer enn en måned for
+å få 26.
</p><p>
- Forfatterne tjener vanligvis ikke mye i godtgjørelse for bruk fra
+ Forfatterne tjener vanligvis ikke mye i godtgjørelse for bruk fra
monografier. Royalty varierer fra ingenting, til 5 til 10 prosent av det
-som kommer inn. Verdien for forfatteren er oppmerksomheten de får. Når boken
-deres blir lest, øker omtalen. Åpen tilgang gjennom frikjøpsunnfangelse
-genererer mange flere nedlastinger og derfor mer oppmerksomhet. (På
-hjemmesiden til Knowledge Unlatched, finner du intervjuer med de tjueåtte
-forfatterne fra den første omgangen i beskrivelsen av erfaring og fordelene
-ved
å delta.)<a href="#ftn.idm1358" class="footnote" name="idm1358"><sup class="footnote">[126]</sup></a>
- </p><p>
- Bibliotekenes budsjetter blir stadig presset, delvis på grunn av veksten i
+som kommer inn. Verdien for forfatteren er oppmerksomheten de får. Når boken
+deres blir lest, øker omtalen. Åpen tilgang gjennom frikjøpsunnfangelse
+genererer mange flere nedlastinger og derfor mer oppmerksomhet. (På
+hjemmesiden til Knowledge Unlatched, finner du intervjuer med de tjueåtte
+forfatterne fra den første omgangen i beskrivelsen av erfaring og fordelene
+ved
å delta.)<a href="#ftn.idm1358" class="footnote" name="idm1358"><sup class="footnote">[126]</sup></a>
+ </p><p>
+ Bibliotekenes budsjetter blir stadig presset, delvis på grunn av veksten i
journalabonnementer. Selv uten budsjettbegrensninger, beveger akademiske
-biblioteker seg vekk fra å kjøpe fysiske kopier. Katalogoppføringen i et
-akademisk bibliotek er vanligvis en lenke til dit boken måte ligge. Eller,
+biblioteker seg vekk fra å kjøpe fysiske kopier. Katalogoppføringen i et
+akademisk bibliotek er vanligvis en lenke til dit boken måte ligge. Eller,
hvis de har nok elektronisk lagringsplass, kan de laste ned den digitale
-filen til sin digitale kildebrønn. Bare som et neste alternativ vurderer de
-å anskaffe en trykt bok, og hvis de gjør det, kjøper de den separat fra den
+filen til sin digitale kildebrønn. Bare som et neste alternativ vurderer de
+å anskaffe en trykt bok, og hvis de gjør det, kjøper de den separat fra den
digitale versjonen.
</p><p>
- Knowlegde Unlatched tilbyr biblioteker et overbevisende økonomisk
-argument. Mange av de deltakende bibliotekene ville ha kjøpt en kopi av
-monografien uansett, men istedenfor å betale 95 dollar for en trykket bok
-eller 150 dollar for en digital flerbrukskopi, betaler de 50 dollar for åpen
-tilgang. Det koster dem mindre, og det åpner boken ikke bare for de
+ Knowlegde Unlatched tilbyr biblioteker et overbevisende økonomisk
+argument. Mange av de deltakende bibliotekene ville ha kjøpt en kopi av
+monografien uansett, men istedenfor å betale 95 dollar for en trykket bok
+eller 150 dollar for en digital flerbrukskopi, betaler de 50 dollar for åpen
+tilgang. Det koster dem mindre, og det åpner boken ikke bare for de
deltakende bibliotekene, men for hele verden.
</p><p>
- Ikke bare er økonomien fornuftig, men det er helt på linje med bibliotekets
+ Ikke bare er økonomien fornuftig, men det er helt på linje med bibliotekets
oppgaver. De deltakende bibliotekene betaler mindre enn de ville ha gjort i
-den lukkede modellen, og boken med åpen tilgang er tilgjengelig for alle
-biblioteker. Mens dette betyr at biblioteker som ikke deltar kan bli sett på
-som gratispassasjerer i bibliotekverdenen, er velstående biblioteker vant
-til å betale mer enn fattigere biblioteker, og aksepterer at en del av
-pengene deres brukes til å støtte åpen
-tilgang. <span class="quote">«<span class="quote">Gratispassasjer</span>»</span> er mer som et samfunnsansvar. Ved
-utgangen av mars 2016 ble bøkene i førsterunden lastet ned nesten åtti
+den lukkede modellen, og boken med åpen tilgang er tilgjengelig for alle
+biblioteker. Mens dette betyr at biblioteker som ikke deltar kan bli sett på
+som gratispassasjerer i bibliotekverdenen, er velstående biblioteker vant
+til å betale mer enn fattigere biblioteker, og aksepterer at en del av
+pengene deres brukes til å støtte åpen
+tilgang. <span class="quote">«<span class="quote">Gratispassasjer</span>»</span> er mer som et samfunnsansvar. Ved
+utgangen av mars 2016 ble bøkene i førsterunden lastet ned nesten åtti
tusen ganger i 175 land.
</p><p>
For utgivere, forfattere og bibliotekarer er Knowledge Unlatched-modellen
for monografier en vinn-vinn-situasjon.
</p><p>
- I første runde ble Knowledge Unlatcheds kostnader dekket av eksterne
-prosjektmidler. I andre runde tar de sikte på å vise at modellen er
-bærekraftig. Biblioteker og utgivere betale hver en serviceavgift på 7,5
-prosent som går til Knowlegde Unlatcheds driftskostnader. Med planer om å
-utvide i senere omganger, regner Frances med at de kan få dekket kostnadene
-fullt ut når de frikjøper to hundre bøker om gangen. I fortsettelsen vil
+ I første runde ble Knowledge Unlatcheds kostnader dekket av eksterne
+prosjektmidler. I andre runde tar de sikte på å vise at modellen er
+bærekraftig. Biblioteker og utgivere betale hver en serviceavgift på 7,5
+prosent som går til Knowlegde Unlatcheds driftskostnader. Med planer om å
+utvide i senere omganger, regner Frances med at de kan få dekket kostnadene
+fullt ut når de frikjøper to hundre bøker om gangen. I fortsettelsen vil
Knowledge Unlatched investere i teknologi og prosesser. Fremtidige planer
-inkluderer frikjøp av tidsskifter og eldre bøker.
+inkluderer frikjøp av tidsskifter og eldre bøker.
</p><p>
- Frances mener at Knowlegde Unlatched finner nye måter å sette pris på faglig
-innhold på. Det handler om å vurdere hvor mange mennesker som kan finne, få
+ Frances mener at Knowlegde Unlatched finner nye måter å sette pris på faglig
+innhold på. Det handler om å vurdere hvor mange mennesker som kan finne, få
tilgang til og bruke innholdet uten at betaling kommer i veien. Knowledge
-Unlatched åpner nye muligheter og atferd i den digitale verden. I Knowlegde
+Unlatched åpner nye muligheter og atferd i den digitale verden. I Knowlegde
Unlatched-modellen er den innholdsskapende prosessen akkurat det samme som
-den alltid har vært, men økonomien er forskjellig. For Frances er Knowledge
-Unlatched knyttet til fortiden, men på vei inn i fremtiden, en utvikling
+den alltid har vært, men økonomien er forskjellig. For Frances er Knowledge
+Unlatched knyttet til fortiden, men på vei inn i fremtiden, en utvikling
snarere enn en revolusjon.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1341" class="footnote"><p><a href="#idm1341" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1346" class="footnote"><p><a href="#idm1346" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1358" class="footnote"><p><a href="#idm1358" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapittel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Lumen Learning, et selskap til inntekts ervervelse, er myntet på opplæring
-av utdanningsinstitusjoner i bruk av åpne pedagogiske ressurser (OER - open
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1341" class="footnote"><p><a href="#idm1341" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1346" class="footnote"><p><a href="#idm1346" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1358" class="footnote"><p><a href="#idm1358" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapittel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ Lumen Learning, et selskap til inntekts ervervelse, er myntet på opplæring
+av utdanningsinstitusjoner i bruk av åpne pedagogiske ressurser (OER - open
educational resources). Grunnlagt 2013 i USA.
</p><p>
<a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 21. desember 2015
</p><p><span class="strong"><strong>Intervjuet</strong></span>: David Wiley og Kim Thanos,
medgrunnleggere
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Etablert av den åpne utdanningsvisjonære dr. David Wiley og
+ Etablert av den åpne utdanningsvisjonære dr. David Wiley og
utdanningsteknologistrateg Kim Thanos, skal Lumen Learning forbedre
-studieresultater, bringe nye ideer til pedagogikken, samt gjøre utdanning
-rimeligere ved å tilrettelegge det å ta i bruk åpne pedagogiske ressurser. I
+studieresultater, bringe nye ideer til pedagogikken, samt gjøre utdanning
+rimeligere ved å tilrettelegge det å ta i bruk åpne pedagogiske ressurser. I
2012 slo David og Kim seg sammen om et ekstern prosjektfinansiert prosjekt
-kalt Kaleidoscope Open Course Initiative.<a href="#ftn.idm1382" class="footnote" name="idm1382"><sup class="footnote">[127]</sup></a> Det involverte en rekke helt åpne generelle utdanningskurs, fordelt
-på åtte videregående skoler, hovedsakelig med elever i risikosonen. Målet
-var å redusere lærebokskostnadene, og samarbeide for å forbedre kursene for
-å hjelpe elevene å lykkes. David og Kim overskred disse målene: Kostnaden
-for nødvendige lærebøker erstattet med OER, ble redusert til null dollar, og
-gjennomsnittlig studentsuksess økte med fra 5 til 10 prosent, sammenlignet
-med tidligere år. Etter en ny runde med finansiering, deltok til sammen mer
+kalt Kaleidoscope Open Course Initiative.<a href="#ftn.idm1382" class="footnote" name="idm1382"><sup class="footnote">[127]</sup></a> Det involverte en rekke helt åpne generelle utdanningskurs, fordelt
+på åtte videregående skoler, hovedsakelig med elever i risikosonen. Målet
+var å redusere lærebokskostnadene, og samarbeide for å forbedre kursene for
+å hjelpe elevene å lykkes. David og Kim overskred disse målene: Kostnaden
+for nødvendige lærebøker erstattet med OER, ble redusert til null dollar, og
+gjennomsnittlig studentsuksess økte med fra 5 til 10 prosent, sammenlignet
+med tidligere år. Etter en ny runde med finansiering, deltok til sammen mer
enn tjuefem institusjoner som alle nyttiggjorde seg av dette prosjektet. Det
-endret yrkesfremtiden for David og Kim å se den virkningen dette initiativet
-hadde for lavinntektselever. David og Kim søkte ytterligere finansiering fra
-Bill og Melinda Gates Foundation, som ba dem om å lage en plan for å utvikle
-sitt arbeid, slik at det ble økonomisk bærekraftig. Det ble da besluttet å
+endret yrkesfremtiden for David og Kim å se den virkningen dette initiativet
+hadde for lavinntektselever. David og Kim søkte ytterligere finansiering fra
+Bill og Melinda Gates Foundation, som ba dem om å lage en plan for å utvikle
+sitt arbeid, slik at det ble økonomisk bærekraftig. Det ble da besluttet å
opprette Lumen Learning.
</p><p>
- David og Kim vekslet mellom hvorvidt dette skulle organiseres basert på
-nonprofit eller fortjeneste. Nonprofit ville gjøre det mer tilpasset
-utdanningssektoren, men betydde at de i tilfelle stadig måtte være på jakt
-etter penger, og søke tilskudd fra velgjørere. Slike donasjoner krever også
-at pengene brukes på bestemte måter for bestemte resultater. Hvis du lærer
+ David og Kim vekslet mellom hvorvidt dette skulle organiseres basert på
+nonprofit eller fortjeneste. Nonprofit ville gjøre det mer tilpasset
+utdanningssektoren, men betydde at de i tilfelle stadig måtte være på jakt
+etter penger, og søke tilskudd fra velgjørere. Slike donasjoner krever også
+at pengene brukes på bestemte måter for bestemte resultater. Hvis du lærer
ting underveis som endrer forutsetningen for hvordan du tenker donasjonen
-skal brukes, er det ofte ikke mye fleksibilitet til å gjøre det.
- </p><p>
- Men bygd på fortjeneste, vil de måtte overbevise utdanningsinstitusjoner om
-å betale for hva Lumen hadde å tilby. På den positive siden ville de har mer
-kontroll over hva de skal gjøre med inntekter og investeringspenger; de
-kunne ta avgjørelser om å investere eller bruke dem på forskjellig måte
-basert på situasjonen og skiftende muligheter. Til slutt valgte de
-fortjenestemodellen, en annen modell og tilnærming til en økonomisk
-bærekraftig utvikling.
- </p><p>
- Helt fra starten posisjonerte David og Kim Lumen Learning som en måte å
-hjelpe institusjoner til å bruke åpne pedagogiske ressurser eller OER. OER
-er undervisning, læring og forskningsressurser, alle i forskjellige medier i
-det offentlige rom, eller er utgitt med en åpen lisens som tillater andres
+skal brukes, er det ofte ikke mye fleksibilitet til å gjøre det.
+ </p><p>
+ Men bygd på fortjeneste, vil de måtte overbevise utdanningsinstitusjoner om
+å betale for hva Lumen hadde å tilby. På den positive siden ville de har mer
+kontroll over hva de skal gjøre med inntekter og investeringspenger; de
+kunne ta avgjørelser om å investere eller bruke dem på forskjellig måte
+basert på situasjonen og skiftende muligheter. Til slutt valgte de
+fortjenestemodellen, en annen modell og tilnærming til en økonomisk
+bærekraftig utvikling.
+ </p><p>
+ Helt fra starten posisjonerte David og Kim Lumen Learning som en måte å
+hjelpe institusjoner til å bruke åpne pedagogiske ressurser eller OER. OER
+er undervisning, læring og forskningsressurser, alle i forskjellige medier i
+det offentlige rom, eller er utgitt med en åpen lisens som tillater andres
frie bruk og gjenbruk.
</p><p>
Opprinnelig inngikk Lumen egendefinerte kontrakter med hver
-institusjon. Dette var komplisert og utfordrende å administrere. Men gjennom
-denne prosessen oppsto det mønstre som tillot dem å skalere opp en rekke
-tilnærminger og tilbud. I dag tilpasser de ikke så mye som de pleide, og i
-stedet pleier de å jobbe med kunder som kan bruke hyllevaren deres. Lumen
-erfarer at institusjoner og lærere generelt er veldig flinke til å se
-verdien i det som Lumen bidrar med, og er villig til å betale for den. Å
+institusjon. Dette var komplisert og utfordrende å administrere. Men gjennom
+denne prosessen oppsto det mønstre som tillot dem å skalere opp en rekke
+tilnærminger og tilbud. I dag tilpasser de ikke så mye som de pleide, og i
+stedet pleier de å jobbe med kunder som kan bruke hyllevaren deres. Lumen
+erfarer at institusjoner og lærere generelt er veldig flinke til å se
+verdien i det som Lumen bidrar med, og er villig til å betale for den. Å
hjelpe vanskeligstilte elevgrupper har gjort Lumen veldig pragmatisk: De
-beskriver hva de tilbyr i kvantitative termer - med tall og fakta, og på en
-måte som er svært elev-fokusert. Lumens Learning hjelper høyskoler og
-universiteter –
+beskriver hva de tilbyr i kvantitative termer - med tall og fakta, og på en
+måte som er svært elev-fokusert. Lumens Learning hjelper høyskoler og
+universiteter –
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- å erstatte dyre lærebøker i kurs med mange påmeldinger med OER;
+ å erstatte dyre lærebøker i kurs med mange påmeldinger med OER;
</p></li><li class="listitem"><p>
- og fra første dag gi lærestedets studenter tilgang til Lumens helt
+ og fra første dag gi lærestedets studenter tilgang til Lumens helt
tilpassbare OER kursmateriell gjennom institusjonens system for
-læringshåndtering;
+læringshåndtering;
</p></li><li class="listitem"><p>
- måle forbedringer i studentsuksess med beregninger som gjennomstrømning,
-utholdenhet, og kursfullførelse; og
+ måle forbedringer i studentsuksess med beregninger som gjennomstrømning,
+utholdenhet, og kursfullførelse; og
</p></li><li class="listitem"><p>
- samarbeide med fakultetet for å gjøre kontinuerlige forbedringer i OER
-basert på kunnskap om studentens studiefremgang.
+ samarbeide med fakultetet for å gjøre kontinuerlige forbedringer i OER
+basert på kunnskap om studentens studiefremgang.
</p></li></ul></div><p>
- Lumen har utviklet en rekke åpne, Creative Commons-lisensierte kursopplegg
+ Lumen har utviklet en rekke åpne, Creative Commons-lisensierte kursopplegg
for mer enn seksti fag. Alle kurs er fritt og offentlig tilgjengelig rett
-fra deres hjemmeside. De kan kopieres og brukes av andre så lenge de gir
-henvisning til Lumen Learning, og følger betingelsene i Creative
+fra deres hjemmeside. De kan kopieres og brukes av andre så lenge de gir
+henvisning til Lumen Learning, og følger betingelsene i Creative
Commons-lisensen.
</p><p>
- Så finnes det også tre typer medfølgende tjenester som koster penger. Ett
-alternativ, som Lumen kaller Candela courseware, tilbyr å bli knyttet sammen
-med institusjonens læringsbehandligssystem, teknisk og pedagogisk støtte, og
+ Så finnes det også tre typer medfølgende tjenester som koster penger. Ett
+alternativ, som Lumen kaller Candela courseware, tilbyr å bli knyttet sammen
+med institusjonens læringsbehandligssystem, teknisk og pedagogisk støtte, og
sporing av effektivitetsgrad. Candela courseware koster institusjonene ti
dollar pr. deltagende student.
</p><p>
Et andre alternativ er Waymaker, som tilbyr tjenestene i Candela, men
-utvider med personaliserte læringsteknologier, som studieplaner,
-automatiserte meldinger, og vurderinger, og hjelper instruktører med å finne
-og støtte studentene som trenger det mest. Waymaker-utdanningsløp koster 25
+utvider med personaliserte læringsteknologier, som studieplaner,
+automatiserte meldinger, og vurderinger, og hjelper instruktører med å finne
+og støtte studentene som trenger det mest. Waymaker-utdanningsløp koster 25
dollar pr. deltagende student.
</p><p>
- Den tredje forretningsførselen i emning er tilbud om støtte og veiledning
-for institusjoner og offentlige systemer som søker å utvikle fullstendige
+ Den tredje forretningsførselen i emning er tilbud om støtte og veiledning
+for institusjoner og offentlige systemer som søker å utvikle fullstendige
OER-grader. Ofte kalles de Z-grader, disse programmene som eliminerer
-læringsmiddelskostnader for studenter i alle tilknyttede (både påkrevde og
-valgfrie) fag som utgjør graden ved å erstatte kommersielle skolebøker og
+læringsmiddelskostnader for studenter i alle tilknyttede (både påkrevde og
+valgfrie) fag som utgjør graden ved å erstatte kommersielle skolebøker og
andre dyre ressurser med OER.
</p><p>
- Lumen tjener penger ved å ta betalt for sine verdiøkende verktøy og
-tjenester på toppen av gratiskursene deres, akkurat som solenergiselskaper
-tilbyr verktøy og tjenester som hjelper folk å bruke en kilde som er
-gratis. Lumens forretningsmodell fokuserer på å få institusjonene til å
-betale, ikke studentene. Med prosjekter før Lumens tid, lærte David og Kim
-at studenter som har tilgang til alt skolemateriell fra dag én, lykkes
-bedre. Hvis studentene skulle ha betalt, ville Lumen måtte ha begrenset
+ Lumen tjener penger ved å ta betalt for sine verdiøkende verktøy og
+tjenester på toppen av gratiskursene deres, akkurat som solenergiselskaper
+tilbyr verktøy og tjenester som hjelper folk å bruke en kilde som er
+gratis. Lumens forretningsmodell fokuserer på å få institusjonene til å
+betale, ikke studentene. Med prosjekter før Lumens tid, lærte David og Kim
+at studenter som har tilgang til alt skolemateriell fra dag én, lykkes
+bedre. Hvis studentene skulle ha betalt, ville Lumen måtte ha begrenset
tilgangen. Helt fra starten var deres holdning at de ikke ville putte
materialet bak en betalingsmur. Lumen investerer ingenting i teknologier og
-prosesser for å begrense tilgangen — ingen digitale rettighetsbegrensninger,
-ingen tidsbomber. Selv om dette har vært en utfordring fra et
+prosesser for å begrense tilgangen — ingen digitale rettighetsbegrensninger,
+ingen tidsbomber. Selv om dette har vært en utfordring fra et
forretningsmessig perspektiv, har det, sett i forhold til fri tilgang,
generert masse godvilje i samfunnet.
</p><p>
- Som oftest finansieres utviklingen av fagene deres av læringsinstitusjonen
+ Som oftest finansieres utviklingen av fagene deres av læringsinstitusjonen
Lumen har kontakt med. Ved konstruksjon av nye fag, jobber Lumen typisk med
-fakultetet som etter hvert vil stå for opplæringen i de nye kurset. De er
-ofte del av institusjonen som betaler Lumen, men noen ganger må Lumen utvide
-staben og kontakte fakultetet fra andre institusjoner. Først identifiserer
-fakultetet læringsverdien av faget. Lumen søker så opp, ordner og rensker
-den beste OER de kan finne i så henseende, som fakultetet så vurderer.
+fakultetet som etter hvert vil stå for opplæringen i de nye kurset. De er
+ofte del av institusjonen som betaler Lumen, men noen ganger må Lumen utvide
+staben og kontakte fakultetet fra andre institusjoner. Først identifiserer
+fakultetet læringsverdien av faget. Lumen søker så opp, ordner og rensker
+den beste OER de kan finne i så henseende, som fakultetet så vurderer.
</p><p>
Noen ganger liker fakultetet den OER som finnes, men ikke presentasjonen av
-den. Den åpne lisensieringen lar Lumen plukke og velge blant bilder, videoer
-og andre medier for å tilpasse og skreddersy faget. Lumen lager nytt innhold
-for å dekke svakheter i det som finnes der allerede. Kartotekførsel av
-elementer og tilbakemelding for studenter om fremgangen er områder der
-innhold ofte må lages. Når et fag først er laget, putter Lumen det på sin
+den. Den åpne lisensieringen lar Lumen plukke og velge blant bilder, videoer
+og andre medier for å tilpasse og skreddersy faget. Lumen lager nytt innhold
+for å dekke svakheter i det som finnes der allerede. Kartotekførsel av
+elementer og tilbakemelding for studenter om fremgangen er områder der
+innhold ofte må lages. Når et fag først er laget, putter Lumen det på sin
plattform med alle henvisninger og lenker til opprinnelige kilder, og alt av
-Lumens innhold blir gitt en henvisning – Attribusjon (CC BY)-lisens.
+Lumens innhold blir gitt en henvisning – Attribusjon (CC BY)-lisens.
</p><p>
- Å kun bruke OER bidro til førstehåndserfaring med hvordan forskjellige
-lisenser fungerer sammen. En vanlig strategi med OER er å plassere Creative
+ Å kun bruke OER bidro til førstehåndserfaring med hvordan forskjellige
+lisenser fungerer sammen. En vanlig strategi med OER er å plassere Creative
Commons-lisens og henvisningsinformasjon i nettsidens bunntekst, som er den
-samme på alle sider. Dette fungerer dog ikke helt ved sammenblanding av
+samme på alle sider. Dette fungerer dog ikke helt ved sammenblanding av
forskjellig OER.
</p><p>
- Å remikse OER fører ofte med seg flere henvisninger, på hver side av hvert
-fag – tekst fra ett sted, bilder fra et annet, og videoer fra et
+ Å remikse OER fører ofte med seg flere henvisninger, på hver side av hvert
+fag – tekst fra ett sted, bilder fra et annet, og videoer fra et
tredje. Noen er lisensert som henvisning (CC BY) (Attribution (CC BY)),
-andre ting som Henvisning-På-Like-Vilkår (CC BY-SA) (Attribution-ShareAlike
+andre ting som Henvisning-På-Like-Vilkår (CC BY-SA) (Attribution-ShareAlike
(CC BY-SA)) . Hvis informasjonen legges i selve fagteksten, finner man det
-fra fakultetshold ofte vanskelig å endre, og studentene ser på det som en
-distraksjon. Lumen har håndtert denne utfordringen ved å samle lisens og
-henvisninger som metadata, for å få det til å vises på slutten av hver side.
+fra fakultetshold ofte vanskelig å endre, og studentene ser på det som en
+distraksjon. Lumen har håndtert denne utfordringen ved å samle lisens og
+henvisninger som metadata, for å få det til å vises på slutten av hver side.
</p><p>
- Lumens engasjement for åpen lisensiering og lavinntektsstudenter har ført
-til sterke relasjoner med institusjoner, åpen-utdanningsentusiaster og
-donatorer. Personer i nettverket deres økte generøst Lumens synlighet ved
+ Lumens engasjement for åpen lisensiering og lavinntektsstudenter har ført
+til sterke relasjoner med institusjoner, åpen-utdanningsentusiaster og
+donatorer. Personer i nettverket deres økte generøst Lumens synlighet ved
presentasjoner, jungeltelegrafen, og anbefalinger. Noen ganger overstiger
antall generelle henvendelser Lumens salgskapasitet.
</p><p>
- For å styre etterspørselen og lykkes med prosjekter er strategien deres å
-være proaktiv og fokusere på hva som skjer i høyere utdanning i ulike
-regioner i USA, og følge med på hva som skjer på systemnivå, og som passer
+ For å styre etterspørselen og lykkes med prosjekter er strategien deres å
+være proaktiv og fokusere på hva som skjer i høyere utdanning i ulike
+regioner i USA, og følge med på hva som skjer på systemnivå, og som passer
til hva Lumen kan tilby. Et godt eksempel er Virginias offentlige
college-system, som bygger opp Z-grader. David og Kim sier det er ni andre
-amerikanske stater med lignende aktivitet på systemnivå, der Lumen satser
-strategisk med fokus på sin innsats. Der det er prosjekter som krever mange
-ressurser for Lumens del, prioriterer de dem som vil ha innvirkning på
-størst antall elever.
+amerikanske stater med lignende aktivitet på systemnivå, der Lumen satser
+strategisk med fokus på sin innsats. Der det er prosjekter som krever mange
+ressurser for Lumens del, prioriterer de dem som vil ha innvirkning på
+størst antall elever.
</p><p>
- Som bedrift er Lumen forpliktet til åpenhet. Det er to hovedanliggender det
+ Som bedrift er Lumen forpliktet til åpenhet. Det er to hovedanliggender det
ikke forhandles om: Lumens bruk av CC BY, den frieste av Creative
-Commons-lisensene, for alt materiale de lager; og tilgang fra første dag for
-elever. Å ha klare vilkår gjør det også mulig å samarbeide med
-utdanningssektoren for å løse andre utfordringer, og arbeide med
-institusjoner for å identifisere nye forretningsmodeller som realiserer
-institusjonens mål, mens bærekraften i Lumen beholdes.
- </p><p>
- Åpenhet betyr også at Lumens åpne undervisningsressurser (OER) nødvendigvis
-må være ikke-eksklusive og ikke-rivaliserende. Dette representerer flere
+Commons-lisensene, for alt materiale de lager; og tilgang fra første dag for
+elever. Å ha klare vilkår gjør det også mulig å samarbeide med
+utdanningssektoren for å løse andre utfordringer, og arbeide med
+institusjoner for å identifisere nye forretningsmodeller som realiserer
+institusjonens mål, mens bærekraften i Lumen beholdes.
+ </p><p>
+ Åpenhet betyr også at Lumens åpne undervisningsressurser (OER) nødvendigvis
+må være ikke-eksklusive og ikke-rivaliserende. Dette representerer flere
store utfordringer for forretningsmodellen: Hvorfor skulle en investere i
-noe som folk ville være forbeholdne med å betale for? Hvordan sikrer man at
+noe som folk ville være forbeholdne med å betale for? Hvordan sikrer man at
investeringen i den mangfoldige utdanningssektoren lager i OER, ikke blir
-utnyttet? Lumen mener at vi alle trenger å være klar over hvordan vi drar
-nytte av, og bidrar til dette åpne samfunnet.
+utnyttet? Lumen mener at vi alle trenger å være klar over hvordan vi drar
+nytte av, og bidrar til dette åpne samfunnet.
</p><p>
- I OER-sektoren er det eksempler på organisasjoner, og til og med
+ I OER-sektoren er det eksempler på organisasjoner, og til og med
institusjoner, som fungerer som gratispassasjerer. Noen bare tar og bruker
-åpne ressurser uten å betale noe eller bidrar med noe tilbake. Andre gir
-tilbake minimumsbeløpet så de kan redde ansikt. Bærekraft vil kreve at de
-som bruker åpne ressurser, gir tilbake et beløp som synes rimelig, eller til
-og med gir tilbake generøst.
+åpne ressurser uten å betale noe eller bidrar med noe tilbake. Andre gir
+tilbake minimumsbeløpet så de kan redde ansikt. Bærekraft vil kreve at de
+som bruker åpne ressurser, gir tilbake et beløp som synes rimelig, eller til
+og med gir tilbake generøst.
</p><p>
- Lumen sporer institusjoner som går inn og bruker det gratis innholdet. De
+ Lumen sporer institusjoner som går inn og bruker det gratis innholdet. De
kontakter disse institusjonene i forkant med et anslag over hvor mye elevene
-sparer, og oppmuntrer dem til å bytte til en betalt modell. Lumen forklarer
+sparer, og oppmuntrer dem til å bytte til en betalt modell. Lumen forklarer
fordelene med en betalt modell: Et mer interaktivt forhold til Lumen;
-integrasjon med institusjonens læringsplattform; garantert støtte for
-fakultet og studenter; og fremtidig bærekraft med finansiert støtte til
+integrasjon med institusjonens læringsplattform; garantert støtte for
+fakultet og studenter; og fremtidig bærekraft med finansiert støtte til
utvikling og forbedring av den OER-en de bruker.
</p><p>
- Lumen arbeider hardt for å være en god deltaker i OER-samfunnet. For David
+ Lumen arbeider hardt for å være en god deltaker i OER-samfunnet. For David
og Kim er en god deltaker en som gir mer enn man tar, legger til ting av
unik verdi, og er veldig gjennomsiktig for hva de tar fra dette samfunnet,
hva de gir tilbake, og hva de tar penger for. Lumen mener dette er
-byggesteinene i en bærekraftig modell, og tilstreber en riktig balanse av
+byggesteinene i en bærekraftig modell, og tilstreber en riktig balanse av
alle disse faktorene.
</p><p>
- Lisensiering med CC BY av alt innholdet de produserer er en viktig del av å
-gi mer verdi enn de tar. De har også jobbet hardt for å finne den rette
-strukturen for deres verdiøkning, og hvordan de skal pakkes på en måte som
-er forståelig, og som kan gjentas.
+ Lisensiering med CC BY av alt innholdet de produserer er en viktig del av å
+gi mer verdi enn de tar. De har også jobbet hardt for å finne den rette
+strukturen for deres verdiøkning, og hvordan de skal pakkes på en måte som
+er forståelig, og som kan gjentas.
</p><p>
- I høstesemesteret 2016 hadde Lumen åttiseks ulike åpne kurs, samarbeid med
+ I høstesemesteret 2016 hadde Lumen åttiseks ulike åpne kurs, samarbeid med
nittito institusjoner, og hadde mer enn syttifem tusen elev- og
-student-påmeldinger. Lumen fikk tidlig oppstartsfinansiering fra Bill og
+student-påmeldinger. Lumen fikk tidlig oppstartsfinansiering fra Bill og
Melinda Gates Foundation, Hewlett Foundation, og Shuttleworth
-Foundation. Siden da har Lumen også trukket til seg investorfinansiering. De
-siste tre årene har Lumen vært omtrent 60 prosent donasjonsfinansiert, 20
+Foundation. Siden da har Lumen også trukket til seg investorfinansiering. De
+siste tre årene har Lumen vært omtrent 60 prosent donasjonsfinansiert, 20
prosent med inntekter og 20 prosent finansiert av engelinvestorer. Fremover
-er strategien deres å erstatte donasjoner med inntekter.
- </p><p>
- Ved å lage Lumen Learning, sier David og Kim at de har landet på løsninger
-de aldri hadde forestilt seg, og det er fortsatt mye læring. For dem er åpne
-forretningsmodeller et voksende felt, der vi alle lærer gjennom
-deling. Deres viktigste anbefalinger for andre som ønsker å basere seg på
-åpne modeller, er å forplikte seg til å åpne ressursene offentlig, og la
-folk vite hvor du står, og ikke vike tilbake. Det er et spørsmål om tillit.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1382" class="footnote"><p><a href="#idm1382" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapittel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Jonathan Mann er en sanger og låtskriver som er mest kjent som
-<span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>-fyren. Han holder til i USA.
+er strategien deres å erstatte donasjoner med inntekter.
+ </p><p>
+ Ved å lage Lumen Learning, sier David og Kim at de har landet på løsninger
+de aldri hadde forestilt seg, og det er fortsatt mye læring. For dem er åpne
+forretningsmodeller et voksende felt, der vi alle lærer gjennom
+deling. Deres viktigste anbefalinger for andre som ønsker å basere seg på
+åpne modeller, er å forplikte seg til å åpne ressursene offentlig, og la
+folk vite hvor du står, og ikke vike tilbake. Det er et spørsmål om tillit.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1382" class="footnote"><p><a href="#idm1382" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapittel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ Jonathan Mann er en sanger og låtskriver som er mest kjent som
+<span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>-fyren. Han holder til i USA.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> og <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for tilpassede
tjenester, Betal-hva-du-vil, folkefinansiering (abonnementsbasert), betaling
for personlige versjoner (inntekter fra foredrag og musikalske opptredener)
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 22. februar 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Jonathan Mann tenker på sin forretningsmodell som <span class="quote">«<span class="quote">luring</span>»</span> – å
-gripe nesten enhver anledning han ser for å tjene penger. Hoveddelen av
-inntekten hans kommer fra å skrive sanger på oppdrag for folk og bedrifter,
-men han har en rekke inntektskilder. Han har tilhengere på (den ufrie)
-folkefinansieringssiden Patreon. Han får annonseinntekter fra (de ufrie)
-tjenestene YouTube og Bandcamp, der han legger ut all sin musikk. Han får
-inntekter fra å holde foredrag om kreativitet og motivasjon. Han er blitt
-engasjert til større konferanser for å skrive sanger som oppsummerer hva
+ Jonathan Mann tenker på sin forretningsmodell som <span class="quote">«<span class="quote">luring</span>»</span> – å
+gripe nesten enhver anledning han ser for å tjene penger. Hoveddelen av
+inntekten hans kommer fra å skrive sanger på oppdrag for folk og bedrifter,
+men han har en rekke inntektskilder. Han har tilhengere på (den ufrie)
+folkefinansieringssiden Patreon. Han får annonseinntekter fra (de ufrie)
+tjenestene YouTube og Bandcamp, der han legger ut all sin musikk. Han får
+inntekter fra å holde foredrag om kreativitet og motivasjon. Han er blitt
+engasjert til større konferanser for å skrive sanger som oppsummerer hva
innlederne har sagt i konferansens program.
</p><p>
- Hans gründeregenskaper er kombinert med en vilje til å handle raskt. En
-perfekt illustrasjon på hans evne til å handle raskt kom i 2010 da han leste
-at Apple hadde en konferanse dagen etter for å rette opp i et rot knyttet
-til iPhone 4. Han besluttet å skrive og sende en sang om iPhone 4 den dagen,
+ Hans gründeregenskaper er kombinert med en vilje til å handle raskt. En
+perfekt illustrasjon på hans evne til å handle raskt kom i 2010 da han leste
+at Apple hadde en konferanse dagen etter for å rette opp i et rot knyttet
+til iPhone 4. Han besluttet å skrive og sende en sang om iPhone 4 den dagen,
og dagen etter fikk han en telefon fra de PR-ansvarlige hos Apple som ville
-bruke og fremme hans video på Apple-konferansen. Sangen gikk viralt, og
+bruke og fremme hans video på Apple-konferansen. Sangen gikk viralt, og
erfaringen ga ham oppslag i Time magazine.
</p><p>
- Jonathans vellykkede <span class="quote">«<span class="quote">luring</span>»</span> handler også om god gammeldags
-utholdenhet. Han holder på i det åttende året på rad med å skrive en sang
+ Jonathans vellykkede <span class="quote">«<span class="quote">luring</span>»</span> handler også om god gammeldags
+utholdenhet. Han holder på i det åttende året på rad med å skrive en sang
hver dag. Han holder Guinness verdensrekord for sammenhengende daglig
-låtskriving, og han er viden kjent som
-<span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>-fyren.
- </p><p>
- Han falt inn i denne rollen, helt naturlig, ved å gripe en tilfeldig
-mulighet en venn varslet ham om for syv år siden, en hendelse kalt Fun-A-Day
-(Moro-hver-dag), der folk forventes å skape et kunstverk hver dag i trettien
-dager i strekk. Han hadde behov for et nytt prosjekt, så han bestemte seg
-for å skrive og legge ut en sang hver dag. Han la til en videokomponent til
-sangene fordi han visste at det var mer sannsynlig at folk så på en video på
+låtskriving, og han er viden kjent som
+<span class="quote">«<span class="quote">en-sang-om-dagen</span>»</span>-fyren.
+ </p><p>
+ Han falt inn i denne rollen, helt naturlig, ved å gripe en tilfeldig
+mulighet en venn varslet ham om for syv år siden, en hendelse kalt Fun-A-Day
+(Moro-hver-dag), der folk forventes å skape et kunstverk hver dag i trettien
+dager i strekk. Han hadde behov for et nytt prosjekt, så han bestemte seg
+for å skrive og legge ut en sang hver dag. Han la til en videokomponent til
+sangene fordi han visste at det var mer sannsynlig at folk så på en video på
nettet enn bare lyttet til lydfiler.
</p><p>
Han hadde en virkelig en god tid da han tok utfordringen med
-tretti-en-dager. Så han bestemte seg for å se om han kunne fortsette med det
-i ett år. Han har aldri stoppet. Han har skrevet og lagt ut en ny sang
+tretti-en-dager. Så han bestemte seg for å se om han kunne fortsette med det
+i ett år. Han har aldri stoppet. Han har skrevet og lagt ut en ny sang
bokstavelig talt hver dag, syv dager i uken, siden han startet prosjektet i
-2009. Når han ikke skriver sanger som oppdrag for klienter, skriver han
+2009. Når han ikke skriver sanger som oppdrag for klienter, skriver han
sanger om hva han har i tankene den dagen. Sangene hans er fengende og mest
muntre, men inneholder ofte minst en undertone av et dypere tema eller
-mening. Noen ganger er de svært personlige, som sangen han skrev sammen med
-den forrige kjæresten for å kunngjøre bruddet. Regn eller solskinn, syk
+mening. Noen ganger er de svært personlige, som sangen han skrev sammen med
+den forrige kjæresten for å kunngjøre bruddet. Regn eller solskinn, syk
eller frisk, Jonathan skriver og legger ut en sang hver eneste dag. Hvis han
-er på et fly, eller ellers uten tilgang til Internett innen tidsfristen,
-forbereder han seg, og får noen andre til å legge ut sangen for ham.
- </p><p>
- Over tid ble en-sang-om-dagen-jobben grunnlaget for levebrødet hans. I
-begynnelsen tjente han pengene på to måter. Først ved å delta på et bredt
-spekter av konkurranser, og vinne en håndfull. Dernest ved at sporadiske
-gikk sangene og videoene i varierende grad viralt, noe som sørget for flere
-seere ,og igjen til flere mennesker som ønsket at han skulle skrive sanger
-for dem. I dag tjener han mesteparten av pengene sine på den måten.
- </p><p>
- Hans nettsted forklarer hans opptreden som <span class="quote">«<span class="quote">å ta ethvert budskap fra
-superenkelt til det helt kompliserte, og formidle budskapet til en dyptfølt,
-morsom og uvanlig sang</span>»</span>. Han tar 500 dollar for å produsere en sang
-og 300 dollar for en akustisk sang. Han har vært leid inn for
+er på et fly, eller ellers uten tilgang til Internett innen tidsfristen,
+forbereder han seg, og får noen andre til å legge ut sangen for ham.
+ </p><p>
+ Over tid ble en-sang-om-dagen-jobben grunnlaget for levebrødet hans. I
+begynnelsen tjente han pengene på to måter. Først ved å delta på et bredt
+spekter av konkurranser, og vinne en håndfull. Dernest ved at sporadiske
+gikk sangene og videoene i varierende grad viralt, noe som sørget for flere
+seere ,og igjen til flere mennesker som ønsket at han skulle skrive sanger
+for dem. I dag tjener han mesteparten av pengene sine på den måten.
+ </p><p>
+ Hans nettsted forklarer hans opptreden som <span class="quote">«<span class="quote">å ta ethvert budskap fra
+superenkelt til det helt kompliserte, og formidle budskapet til en dyptfølt,
+morsom og uvanlig sang</span>»</span>. Han tar 500 dollar for å produsere en sang
+og 300 dollar for en akustisk sang. Han har vært leid inn for
produktlanseringer, bryllup, konferanser og til og med oppstartskampanjer
som den som finansierte produksjonen av denne boken.
</p><p>
- Jonathan kan ikke huske når akkurat han først hørte om Creative Commons, men
-han begynte å bruke CC-lisenser til sine sanger og videoer så snart han
-oppdaget dette alternativet. <span class="quote">«<span class="quote">CC virker som et så åpenbart
-valg</span>»</span>, sier Jonathan. <span class="quote">«<span class="quote">Jeg forstår ikke hvordan noe annet kunne
-være fornuftig. Det virker så åpenbart at du skulle ønske at ditt arbeid
-skulle kunne deles.</span>»</span>
- </p><p>
- Sangene hans er i hovedsak markedsføring av tjenestene hans, og det er
-åpenbart at jo mere sangene spres, jo bedre. Å bruke CC-lisenser hjelper til
-med å smøre hjulene, lar folk få vite at Jonathan både tillater, og
-oppfordrer dem til å kopiere og samhandle med, og remikse musikk han
-lager. <span class="quote">«<span class="quote">Hvis du lar noen lage en coverlåt, remikse låten, eller bruke
-deler av låten, så er det akkurat slik musikk skal fungere</span>»</span>, sier
-Jonathan. <span class="quote">«<span class="quote">Det er slik musikk har fungert helt fra starten. Vår
-meg-meg, min-min-kultur har undergravd det.</span>»</span>
+ Jonathan kan ikke huske når akkurat han først hørte om Creative Commons, men
+han begynte å bruke CC-lisenser til sine sanger og videoer så snart han
+oppdaget dette alternativet. <span class="quote">«<span class="quote">CC virker som et så åpenbart
+valg</span>»</span>, sier Jonathan. <span class="quote">«<span class="quote">Jeg forstår ikke hvordan noe annet kunne
+være fornuftig. Det virker så åpenbart at du skulle ønske at ditt arbeid
+skulle kunne deles.</span>»</span>
+ </p><p>
+ Sangene hans er i hovedsak markedsføring av tjenestene hans, og det er
+åpenbart at jo mere sangene spres, jo bedre. Å bruke CC-lisenser hjelper til
+med å smøre hjulene, lar folk få vite at Jonathan både tillater, og
+oppfordrer dem til å kopiere og samhandle med, og remikse musikk han
+lager. <span class="quote">«<span class="quote">Hvis du lar noen lage en coverlåt, remikse låten, eller bruke
+deler av låten, så er det akkurat slik musikk skal fungere</span>»</span>, sier
+Jonathan. <span class="quote">«<span class="quote">Det er slik musikk har fungert helt fra starten. Vår
+meg-meg, min-min-kultur har undergravd det.</span>»</span>
</p><p>
Det er noen folk som lager sin egen variant av sangene hans ganske
regelmessig, og han ville aldri be dem slutte med det. Men han innser at det
-er mye mer han kunne gjort for å bygge et fellesskap. <span class="quote">«<span class="quote">Det er jo godt
-kjent hvordan bygge sitt publikum på nettet, og generelt sett gjør jeg
-ingenting av dette</span>»</span>, sa Jonathan.
- </p><p>
- Han har en fangruppe som han har kontakt med på Bandcamp, men det er ikke
-hans hovedfokus. <span class="quote">«<span class="quote">Jeg har et kjernepublikum som har hengt rundt veldig
-lenge, noen fra før jeg har laget en sang om dagen</span>»</span>, sa
-han. <span class="quote">«<span class="quote">Det endrer seg også litt over tid, der noen kommer innom og får
-det de trenger, før de går videre.</span>»</span> Å fokusere mindre på å bygge et
-fellesskap enn andre artister er fornuftig, gitt at Jonathans primære
-inntektskilde er å skrive egendefinerte sanger for klienter.
+er mye mer han kunne gjort for å bygge et fellesskap. <span class="quote">«<span class="quote">Det er jo godt
+kjent hvordan bygge sitt publikum på nettet, og generelt sett gjør jeg
+ingenting av dette</span>»</span>, sa Jonathan.
+ </p><p>
+ Han har en fangruppe som han har kontakt med på Bandcamp, men det er ikke
+hans hovedfokus. <span class="quote">«<span class="quote">Jeg har et kjernepublikum som har hengt rundt veldig
+lenge, noen fra før jeg har laget en sang om dagen</span>»</span>, sa
+han. <span class="quote">«<span class="quote">Det endrer seg også litt over tid, der noen kommer innom og får
+det de trenger, før de går videre.</span>»</span> Å fokusere mindre på å bygge et
+fellesskap enn andre artister er fornuftig, gitt at Jonathans primære
+inntektskilde er å skrive egendefinerte sanger for klienter.
</p><p>
Jonathan vet hva som er enkelt for ham, og utnytter disse ferdighetene. Ved
-å skrive nye låter hver dag, innså han at han hadde evner for å gjøre
+å skrive nye låter hver dag, innså han at han hadde evner for å gjøre
kompliserte temaer om til enkle begreper, og ta dem i bruk i musikk. I hans
-sang <span class="quote">«<span class="quote">Hvordan velge et hovedpassord</span>»</span> forklarte Jonathan
-prosessen med å lage et trygt passord i en dum, enkel sang. Han ble ansatt
-for å skrive sangen av en klient som ga ham et langt teknisk blogginnlegg
+sang <span class="quote">«<span class="quote">Hvordan velge et hovedpassord</span>»</span> forklarte Jonathan
+prosessen med å lage et trygt passord i en dum, enkel sang. Han ble ansatt
+for å skrive sangen av en klient som ga ham et langt teknisk blogginnlegg
der han kunne hente informasjon. Som en god (og sjelden) journalist
-oversatte han tekniske begreper til noe forståelig.
- </p><p>
- Når han har fått i oppdrag å skrive en sang for en klient, ber han dem først
-om å sende en liste med samtalepunkter og annen informasjon som de ønsker å
-ha med i sangen. Han legger alt dette inn i en tekstfil, og begynner å
-flytte rundt på ting, klippe og lime, til budskapet begynner å komme frem.
-Det første han prøver å få taket på er kjernen i budskapet og å utvikle
-refrenget. Så ser han etter koblinger eller deler som kan rime. Hele
-arbeidsprosessen ligner på god journalistikk, men sluttproduktet er
-selvfølgelig en sang og ikke nyheter. <span class="quote">«<span class="quote">Det er noe med å bli utfordret
-og tvunget til å ta informasjon som ikke ser ut som om den skal synges om,
-eller ser ut til å passe i en sang</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg synes at
-denne kreative utfordringen er veldig tilfredsstillende. Jeg liker å fordype
-meg i den prosessen.</span>»</span>
- </p><p>
- Jonathan innrømmer at i en ideell verden ville han bare skrive musikken han
-ønsket å skrive, heller enn hva kunder ansetter ham for å skrive. Men hans
-forretningsmodell handler om å utnytte sin styrke som låtskriver, og han har
-funnet en måte å holde det interessant for seg selv.
- </p><p>
- Jonathan bruker nesten hver eneste mulighet han har til å tjene penger på
+oversatte han tekniske begreper til noe forståelig.
+ </p><p>
+ Når han har fått i oppdrag å skrive en sang for en klient, ber han dem først
+om å sende en liste med samtalepunkter og annen informasjon som de ønsker å
+ha med i sangen. Han legger alt dette inn i en tekstfil, og begynner å
+flytte rundt på ting, klippe og lime, til budskapet begynner å komme frem.
+Det første han prøver å få taket på er kjernen i budskapet og å utvikle
+refrenget. Så ser han etter koblinger eller deler som kan rime. Hele
+arbeidsprosessen ligner på god journalistikk, men sluttproduktet er
+selvfølgelig en sang og ikke nyheter. <span class="quote">«<span class="quote">Det er noe med å bli utfordret
+og tvunget til å ta informasjon som ikke ser ut som om den skal synges om,
+eller ser ut til å passe i en sang</span>»</span>, sa han. <span class="quote">«<span class="quote">Jeg synes at
+denne kreative utfordringen er veldig tilfredsstillende. Jeg liker å fordype
+meg i den prosessen.</span>»</span>
+ </p><p>
+ Jonathan innrømmer at i en ideell verden ville han bare skrive musikken han
+ønsket å skrive, heller enn hva kunder ansetter ham for å skrive. Men hans
+forretningsmodell handler om å utnytte sin styrke som låtskriver, og han har
+funnet en måte å holde det interessant for seg selv.
+ </p><p>
+ Jonathan bruker nesten hver eneste mulighet han har til å tjene penger på
kunsten sin, men han har grenser han ikke vil overskride. Han vil ikke
-skrive sanger om ting han fundamentalt ikke tror på, og det prinsippet har
-til tider ført til at han har avslått jobber. Han vil heller ikke gå for
-langt fra sin naturlige stil. <span class="quote">«<span class="quote">Min stil er tullete, så jeg kan
-egentlig ikke hjelpe folk som ønsker noe superseriøst</span>»</span>, sier
-Jonathan. <span class="quote">«<span class="quote">Jeg gjør det jeg gjør veldig lett, og det er en del av hvem
-jeg er</span>»</span>. Jonathan har av samme grunn latt være å ta på seg å skrive
-reklamesnutter. Han er best på å bruke sin egen unike stil i stedet for å
+skrive sanger om ting han fundamentalt ikke tror på, og det prinsippet har
+til tider ført til at han har avslått jobber. Han vil heller ikke gå for
+langt fra sin naturlige stil. <span class="quote">«<span class="quote">Min stil er tullete, så jeg kan
+egentlig ikke hjelpe folk som ønsker noe superseriøst</span>»</span>, sier
+Jonathan. <span class="quote">«<span class="quote">Jeg gjør det jeg gjør veldig lett, og det er en del av hvem
+jeg er</span>»</span>. Jonathan har av samme grunn latt være å ta på seg å skrive
+reklamesnutter. Han er best på å bruke sin egen unike stil i stedet for å
etterligne andres.
</p><p>
Jonathans forpliktelse til en-sang-om-dagen eksemplifiserer kraften i vanens
-makt og vedvarende pågangsmot. Etablert visdom om kreativ produktivitet,
-medregnet råd i bøker som bestselgeren The Creative Habit av Twyla Tharp,
+makt og vedvarende pågangsmot. Etablert visdom om kreativ produktivitet,
+medregnet råd i bøker som bestselgeren The Creative Habit av Twyla Tharp,
understreker rutinemessig hvor viktig ritual og handling er. Ingen
-planlegging kan erstatte verdien av enkel praksis og det å bare
-gjøre. Jonathan Manns arbeid er en levende legemliggjøring av disse
+planlegging kan erstatte verdien av enkel praksis og det å bare
+gjøre. Jonathan Manns arbeid er en levende legemliggjøring av disse
prinsippene.
</p><p>
- Når han snakker om sitt arbeid, snakker han om hvor mye
-en-sang-om-dagen-prosessen har endret ham. Mer enn å se et hvilket som helst
-arbeid som edelt, og bli sittende fast i å gjøre det perfekt, har han blitt
-komfortabel med bare å gjøre det. Hvis sangen i dag er en miss, kan
+ Når han snakker om sitt arbeid, snakker han om hvor mye
+en-sang-om-dagen-prosessen har endret ham. Mer enn å se et hvilket som helst
+arbeid som edelt, og bli sittende fast i å gjøre det perfekt, har han blitt
+komfortabel med bare å gjøre det. Hvis sangen i dag er en miss, kan
morgendagens sang bli bedre.
</p><p>
- Jonathan synes å ha inntatt denne mentaliteten om sin karrière på mer
-generelt plan. Han eksperimenterer stadig med måter å leve på, mens han
-deler sitt arbeid så mye som mulig, og ser hva som holder vann. Mens han har
-prestasjoner han er stolt av, som å være i Guinness rekordbok, eller å ha
-fått sin sang brukt av Steve Jobs, vedkjenner han seg å aldri føle seg
+ Jonathan synes å ha inntatt denne mentaliteten om sin karrière på mer
+generelt plan. Han eksperimenterer stadig med måter å leve på, mens han
+deler sitt arbeid så mye som mulig, og ser hva som holder vann. Mens han har
+prestasjoner han er stolt av, som å være i Guinness rekordbok, eller å ha
+fått sin sang brukt av Steve Jobs, vedkjenner han seg å aldri føle seg
virkelig vellykket.
- </p><p><span class="quote">«<span class="quote">Suksess føles som om det er slutt</span>»</span>, sa han. <span class="quote">«<span class="quote">Til en viss
-grad vil en kreativ person aldri noensinne føle seg helt fornøyd, fordi da
-vil så mye av det vedkommende driver med være borte.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapittel 15. Noun-prosjektet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><p><span class="quote">«<span class="quote">Suksess føles som om det er slutt</span>»</span>, sa han. <span class="quote">«<span class="quote">Til en viss
+grad vil en kreativ person aldri noensinne føle seg helt fornøyd, fordi da
+vil så mye av det vedkommende driver med være borte.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapittel 15. Noun-prosjektet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Noun-prosjektet er et kommersielt selskap som tilbyr en nettplattform som
viser visuelle ikoner fra et globalt nettverk av designere. Stiftet i 2010 i
USA.
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 6. oktober 2015
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Edward Boatman,
medgrunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Noun-prosjektet oppretter og deler visuelt språk. Det er millioner som
-bruker symboler fra Noun-prosjektet til å forenkle kommunikasjon på tvers av
-grenser, språk og kulturer.
- </p><p>
- Den opprinnelige idéen til Noun-prosjektet fikk medgrunnlegger Edward
-Boatman da han var student på skolen for arkitekturdesign. Han hadde alltid
-laget mange skisser, og begynte å trekke på det som fascinerte ham som barn;
-som tog, redwood-trær (kjempesequoiatrær) og bulldosere. Han begynte å tenke
-på hvor flott det ville være om han hadde et enkelt bilde eller lite ikon
+ Noun-prosjektet oppretter og deler visuelt språk. Det er millioner som
+bruker symboler fra Noun-prosjektet til å forenkle kommunikasjon på tvers av
+grenser, språk og kulturer.
+ </p><p>
+ Den opprinnelige idéen til Noun-prosjektet fikk medgrunnlegger Edward
+Boatman da han var student på skolen for arkitekturdesign. Han hadde alltid
+laget mange skisser, og begynte å trekke på det som fascinerte ham som barn;
+som tog, redwood-trær (kjempesequoiatrær) og bulldosere. Han begynte å tenke
+på hvor flott det ville være om han hadde et enkelt bilde eller lite ikon
for hvert enkelt objekt eller begrep i verden.
</p><p>
- Når Edward dro til jobben i et arkitektfirma, måtte han lage en mengde
-presentasjonsoppsett for klienter. Men å finne høykvalitetskilder for
+ Når Edward dro til jobben i et arkitektfirma, måtte han lage en mengde
+presentasjonsoppsett for klienter. Men å finne høykvalitetskilder for
symboler og ikoner var vanskelig. Han kunne ikke finne noe nettsted som
-kunne skaffe dem. Kanskje kunne hans idé om å lage et ikon-bibliotek faktisk
+kunne skaffe dem. Kanskje kunne hans idé om å lage et ikon-bibliotek faktisk
hjelpe dem som var i lignende situasjoner.
</p><p>
- Med sin partner, Sofya Polyakov, begynte han å samle symboler til et
+ Med sin partner, Sofya Polyakov, begynte han å samle symboler til et
nettsted, og skrive en forretningsplan. Inspirasjonen kom fra boken
-<span class="quote">«<span class="quote">Professoren og galningen</span>»</span>, som nedtegner bruken av
-folkefinansiering for å lage Oxford English Dictionary i 1870. Edward
-begynte å forestille seg folkefinansiering av ikoner og symboler fra
+<span class="quote">«<span class="quote">Professoren og galningen</span>»</span>, som nedtegner bruken av
+folkefinansiering for å lage Oxford English Dictionary i 1870. Edward
+begynte å forestille seg folkefinansiering av ikoner og symboler fra
frivillige designere over hele verden.
</p><p>
- Så ble Edward permittert i nedgangstiden, noe som viste seg å være en viktig
-katalysator. Han bestemte seg å gi sin idé en sjanse, og i 2010 lanserte
+ Så ble Edward permittert i nedgangstiden, noe som viste seg å være en viktig
+katalysator. Han bestemte seg å gi sin idé en sjanse, og i 2010 lanserte
Edward og Sofya Noun-prosjektet med en Kickstarter-kampanje, den gang
Kickstarter var i sin barndom.<a href="#ftn.idm1486" class="footnote" name="idm1486"><sup class="footnote">[128]</sup></a> De
-trodde det ville være en god måte å introdusere deres idé for det globale
-nettsamfunnet. Målet var å få inn 1 500 dollar, men på tjue dager de fikk
-over 14 000 dollar. Da skjønte de at idéen deres hadde potensiale til å bli
-noe mye større.
+trodde det ville være en god måte å introdusere deres idé for det globale
+nettsamfunnet. Målet var å få inn 1 500 dollar, men på tjue dager de fikk
+over 14 000 dollar. Da skjønte de at idéen deres hadde potensiale til å bli
+noe mye større.
</p><p>
De laget en plattform der symboler og ikoner kan lastes opp, og Edward
-begynte å rekruttere talentfulle designere til å bidra med sine utforminger,
-en prosess som han beskriver som relativt lett å selge. Mange designere har
-gamle tegninger som bare samlet <span class="quote">«<span class="quote">digitalt støv</span>»</span> på harddiskene
-sine. Det er lett å overbevise designerne om endelig å dele dem med verden.
+begynte å rekruttere talentfulle designere til å bidra med sine utforminger,
+en prosess som han beskriver som relativt lett å selge. Mange designere har
+gamle tegninger som bare samlet <span class="quote">«<span class="quote">digitalt støv</span>»</span> på harddiskene
+sine. Det er lett å overbevise designerne om endelig å dele dem med verden.
</p><p>
Noun-prosjektet har i dag om lag syv tusen designere fra hele verden. Men
ikke alle innleveringer er tillatt. Noun-prosjektet har en kvalitetskontroll
-som betyr at bare de beste arbeidene blir en del av samlingen. De sørger for
-å gi oppmuntrende, konstruktive tilbakemeldinger når de avviser et arbeid,
-som bibeholder og bygger videre på forholdet de har med sitt globale
+som betyr at bare de beste arbeidene blir en del av samlingen. De sørger for
+å gi oppmuntrende, konstruktive tilbakemeldinger når de avviser et arbeid,
+som bibeholder og bygger videre på forholdet de har med sitt globale
fellesskap av designere.
</p><p>
Creative Commons er en integrert del i Noun-prosjektet sin
forretningsmodell; denne beslutningen ble inspirert av Chris Andersons bok
-Free: The Future of Radical Price, som ga Edward idéen om at du kan bygge en
+Free: The Future of Radical Price, som ga Edward idéen om at du kan bygge en
forretningsmodell rundt gratis innhold.
</p><p>
- Edward visste at han ønsket å tilby et gratis visuelt språk samtidig som det
-ble gitt noe beskyttelse og belønning for bidragsytere. Det er en spenning
-mellom disse to målene. For Edward bringer Creative Commons-lisensene denne
+ Edward visste at han ønsket å tilby et gratis visuelt språk samtidig som det
+ble gitt noe beskyttelse og belønning for bidragsytere. Det er en spenning
+mellom disse to målene. For Edward bringer Creative Commons-lisensene denne
idealismen og forretningsmuligheten elegant sammen. Han valgte Attribution
(CC BY)-lisensen, som betyr at folk kan laste ned ikoner gratis, og endre
-dem, og også bruke dem kommersielt. Kravet om å henvise til den opprinnelige
-kreative personen sikrer at skaperen kan bygge et omdømme, og få global
+dem, og også bruke dem kommersielt. Kravet om å henvise til den opprinnelige
+kreative personen sikrer at skaperen kan bygge et omdømme, og få global
anerkjennelse for sitt arbeid. Hvis de bare vil tilby et ikon som folk kan
-bruke uten å gi noen kreditt for det, kan de bruke CC0 til å legge arbeidet
+bruke uten å gi noen kreditt for det, kan de bruke CC0 til å legge arbeidet
ut i det offentlige rom.
</p><p>
- Noun-prosjektets forretningsmodell og hvordan de får inntekter har utviklet
-seg veldig over tid. Deres opprinnelige plan var å selge T-skjorter med
-ikoner, som Edward i ettertid sier var en forferdelig idé. De fikk en masse
-e-post fra folk som sa de elsket ikonene, men som lurte på om de kunne
-betale et gebyr i stedet for å oppgi kilde. Reklamebyråer ønsket (blant
-andre) å holde markedsføring og presentasjonsmateriale rent og uten
-kildereferanse. <span class="quote">«<span class="quote">Det var da vi så lyset</span>»</span>, sa Edward.
- </p><p>
- De spurte sitt globale nettverk av designere om de ville være åpne for å
-motta en beskjeden godtgjørelse i stedet for referanse. Designere så det som
-en vinn-vinn-situasjon. Idéen om at du kan tilby design gratis og ha et
+ Noun-prosjektets forretningsmodell og hvordan de får inntekter har utviklet
+seg veldig over tid. Deres opprinnelige plan var å selge T-skjorter med
+ikoner, som Edward i ettertid sier var en forferdelig idé. De fikk en masse
+e-post fra folk som sa de elsket ikonene, men som lurte på om de kunne
+betale et gebyr i stedet for å oppgi kilde. Reklamebyråer ønsket (blant
+andre) å holde markedsføring og presentasjonsmateriale rent og uten
+kildereferanse. <span class="quote">«<span class="quote">Det var da vi så lyset</span>»</span>, sa Edward.
+ </p><p>
+ De spurte sitt globale nettverk av designere om de ville være åpne for å
+motta en beskjeden godtgjørelse i stedet for referanse. Designere så det som
+en vinn-vinn-situasjon. Idéen om at du kan tilby design gratis og ha et
globalt publikum, og kanskje til og med tjene litt penger, var ganske
spennende for de fleste designere.
</p><p>
- Noun-prosjektet adopterte først en modell der å bruke et symbol uten å gi
-referanse ville koste 1,99 dollar per ikon. Modellens andre trinn er å legge
-til en abonnementskomponent, der det vil være en månedlig avgift opp til et
+ Noun-prosjektet adopterte først en modell der å bruke et symbol uten å gi
+referanse ville koste 1,99 dollar per ikon. Modellens andre trinn er å legge
+til en abonnementskomponent, der det vil være en månedlig avgift opp til et
visst antall ikoner - ti, femti, hundre eller fem hundre. Imidlertid likte
-ikke brukere disse skarpe telle-alternativene. De foretrakk å prøve ut mange
-lignende ikoner for å se hva som fungerte best før de til slutt velger den
-de ville bruke. Så Noun-prosjektet flyttet over til en ubegrenset modell,
+ikke brukere disse skarpe telle-alternativene. De foretrakk å prøve ut mange
+lignende ikoner for å se hva som fungerte best før de til slutt velger den
+de ville bruke. Så Noun-prosjektet flyttet over til en ubegrenset modell,
der brukerne har ubegrenset tilgang til hele biblioteket for en fast
-månedsavgift. Denne tjenesten kalles NounPro og koster 9,99 dollar per
-måned. Edward sier denne modellen fungerer bra: Bra for kunder, bra for
+månedsavgift. Denne tjenesten kalles NounPro og koster 9,99 dollar per
+måned. Edward sier denne modellen fungerer bra: Bra for kunder, bra for
skapere, og bra for plattformen.
</p><p>
- Kundene begynte så å be om en maskinelt forståelig grensesnitt (API -
-Application Programming Interface), som ville la andre programmer få direkte
+ Kundene begynte så å be om en maskinelt forståelig grensesnitt (API -
+Application Programming Interface), som ville la andre programmer få direkte
tilgang til Noun-prosjektets ikoner og symboler. Edward visste at ikonene og
-symbolene ville være verdifulle i mange ulike sammenhenger, og at det var
-umulig på forhånd å vite hvilke, så de bygde et API med mye
-fleksibilitet. De visste at de fleste API-klientprogrammene ønsker å bruke
-ikonene uten navngiving, og API-et ble derfor bygget med mål om å ta betalt
-for bruk. Du kan gratis bruke det som kalles <span class="quote">«<span class="quote">Playgound API</span>»</span>
-for å teste hvordan det passer med det du skal bruke det til, men for å ta
-det i bruk i et produksjonsmiljø vil kreve kjøp av API Pro-utgaven.
+symbolene ville være verdifulle i mange ulike sammenhenger, og at det var
+umulig på forhånd å vite hvilke, så de bygde et API med mye
+fleksibilitet. De visste at de fleste API-klientprogrammene ønsker å bruke
+ikonene uten navngiving, og API-et ble derfor bygget med mål om å ta betalt
+for bruk. Du kan gratis bruke det som kalles <span class="quote">«<span class="quote">Playgound API</span>»</span>
+for å teste hvordan det passer med det du skal bruke det til, men for å ta
+det i bruk i et produksjonsmiljø vil kreve kjøp av API Pro-utgaven.
</p><p>
Noun-prosjektet deler inntektene med sine internasjonale designere. For
-engangskjøp deles inntektene 70 prosent til designer og 30 prosent til
+engangskjøp deles inntektene 70 prosent til designer og 30 prosent til
Noun-prosjektet.
</p><p>
- Inntektene fra premiumkjøp (abonnement og API-alternativene) deles litt
-annerledes. På slutten av hver måned, deles den totale inntekten fra
-abonnementer på Noun-prosjektets samlede antall nedlastinger, noe som gir
+ Inntektene fra premiumkjøp (abonnement og API-alternativene) deles litt
+annerledes. På slutten av hver måned, deles den totale inntekten fra
+abonnementer på Noun-prosjektets samlede antall nedlastinger, noe som gir
en pris pr. nedlasting; - for eksempel kan det bli 0,13 dollar
-pr. nedlasting for denne måneden. For hver nedlasting deles inntektene 40
+pr. nedlasting for denne måneden. For hver nedlasting deles inntektene 40
prosent til designer og 60 prosent til Noun-prosjektet. (For API-bruk er
-det pr. bruk, i stedet for pr. nedlasting.) Noun-prosjektets andel er høyere
-denne gangen, ettersom det stiller opp med en større andel av tjenesten til
+det pr. bruk, i stedet for pr. nedlasting.) Noun-prosjektets andel er høyere
+denne gangen, ettersom det stiller opp med en større andel av tjenesten til
brukeren.
</p><p>
- Noun-prosjektet prøver å være helt åpne om hvilken struktur godtgjøringen
-har.<a href="#ftn.idm1503" class="footnote" name="idm1503"><sup class="footnote">[129]</sup></a> De pleier å overkommunisere dette
-overfor innholdsleverandørene da tillitsbygging har høyeste prioritet.
+ Noun-prosjektet prøver å være helt åpne om hvilken struktur godtgjøringen
+har.<a href="#ftn.idm1503" class="footnote" name="idm1503"><sup class="footnote">[129]</sup></a> De pleier å overkommunisere dette
+overfor innholdsleverandørene da tillitsbygging har høyeste prioritet.
</p><p>
- For de fleste innholdsleverandører som bidrar til Noun-prosjektet er det
+ For de fleste innholdsleverandører som bidrar til Noun-prosjektet er det
ikke en fulltidsjobb, men noe som kommer i tillegg. Edward kategoriserer
-månedslønnen for leverandørene i tre hovedkategorier: Nok penger til å kjøpe
-øl, nok til å betale regningene, og de mest vellykkede av alle, nok til å
+månedslønnen for leverandørene i tre hovedkategorier: Nok penger til å kjøpe
+øl, nok til å betale regningene, og de mest vellykkede av alle, nok til å
betale husleien.
</p><p>
Noun-prosjektet lanserte nylig en ny app kalt Lingo. Designere kan bruke
-Lingo til å organisere ikke bare sine egne ikoner og symboler i
-Noun-prosjektet, men også sine egne bilder, illustrasjoner,
-brukergrensesnittutforminger, og så videre. Du bare drar visuelle elementer
-direkte inn i Lingo og lagrer dem. Lingo fungerer også for team slik at
-folk kan dele bilder med hverandre og søke gjennom sine kombinerte
+Lingo til å organisere ikke bare sine egne ikoner og symboler i
+Noun-prosjektet, men også sine egne bilder, illustrasjoner,
+brukergrensesnittutforminger, og så videre. Du bare drar visuelle elementer
+direkte inn i Lingo og lagrer dem. Lingo fungerer også for team slik at
+folk kan dele bilder med hverandre og søke gjennom sine kombinerte
samlinger. Lingo er gratis til personlig bruk. I en pro-versjon for 9,99
-dollar pr. måned kan du legge til gjester. En team-versjon til 49,95 dollar
-pr. måned lar opptil til tjuefem gruppemedlemmer samarbeide - og vise,
+dollar pr. måned kan du legge til gjester. En team-versjon til 49,95 dollar
+pr. måned lar opptil til tjuefem gruppemedlemmer samarbeide - og vise,
bruke, redigere og legge til nye ressurser i andres samlinger. Og hvis du
-abonnerer på NounPro, kan du åpne Noun-prosjektet direkte fra Lingo.
+abonnerer på NounPro, kan du åpne Noun-prosjektet direkte fra Lingo.
</p><p>
- Noun-prosjektet gir massevis av verdi bort gratis. En svært stor andel av
+ Noun-prosjektet gir massevis av verdi bort gratis. En svært stor andel av
deres omtrent en million medlemmer har en gratis konto, men det er fortsatt
-mange betalte kontoer fra digital designere, reklame- og designbyråer,
-lærere og andre som trenger å kommunisere idéer visuelt.
+mange betalte kontoer fra digital designere, reklame- og designbyråer,
+lærere og andre som trenger å kommunisere idéer visuelt.
</p><p>
- For Edward er <span class="quote">«<span class="quote">å lage, dele og feire verdens visuelle språk</span>»</span>
-det viktigste ved hva de gjør; det er deres uttalte formål. Det skiller dem
+ For Edward er <span class="quote">«<span class="quote">å lage, dele og feire verdens visuelle språk</span>»</span>
+det viktigste ved hva de gjør; det er deres uttalte formål. Det skiller dem
fra andre som tilbyr grafikk, ikoner eller bildesamling.
</p><p>
- Noun-prosjektets designere er enige. Når det kartlegges hvorfor de deltar i
-Noun-prosjektet, rangerer designere sine grunner slik: 1) for å støtte
-Noun-prosjektets hovedoppgave, 2) for å fremme sin egen personlige
-merkevare, og 3) for å tjene penger. Det er påfallende å se at pengene
-kommer på tredjeplass og hovedoppgaven først. Hvis du ønsker å engasjere et
-globalt nettverk av bidragsytere, er det viktig å ha et oppdrag utover det å
+ Noun-prosjektets designere er enige. Når det kartlegges hvorfor de deltar i
+Noun-prosjektet, rangerer designere sine grunner slik: 1) for å støtte
+Noun-prosjektets hovedoppgave, 2) for å fremme sin egen personlige
+merkevare, og 3) for å tjene penger. Det er påfallende å se at pengene
+kommer på tredjeplass og hovedoppgaven først. Hvis du ønsker å engasjere et
+globalt nettverk av bidragsytere, er det viktig å ha et oppdrag utover det å
tjene penger.
</p><p>
- Etter Edvards syn er Creative Commons sentral i deres hovedoppgave med å
-dele og gi sosial nytte. Å bruke Creative Commons gjør Noun-prosjektets
+ Etter Edvards syn er Creative Commons sentral i deres hovedoppgave med å
+dele og gi sosial nytte. Å bruke Creative Commons gjør Noun-prosjektets
oppdrag genuint, og innledningsvis genererte det mye trekkraft og
troverdighet. CC kommer med et innebygd fellesskap med brukere og
tilhengere.
</p><p>
- Som Edward fortalte oss: <span class="quote">«<span class="quote">Undervurder ikke kraften i et engasjert
-fellesskap rundt produktet eller firmaet ditt. De vil kjempe for deg når du
-blir hengt ut i media. Hvis du velger å ta i bruk Creative Commons, så tar
-du første steg for å bygge et flott fellesskap og få kontakt med et virkelig
-fantastisk fellesskap som kommer med på kjøpet. Men du må fortsette å
-fremme dette fellesskapet med andre initiativer, og fortsette å gi det
-næring.</span>»</span>
+ Som Edward fortalte oss: <span class="quote">«<span class="quote">Undervurder ikke kraften i et engasjert
+fellesskap rundt produktet eller firmaet ditt. De vil kjempe for deg når du
+blir hengt ut i media. Hvis du velger å ta i bruk Creative Commons, så tar
+du første steg for å bygge et flott fellesskap og få kontakt med et virkelig
+fantastisk fellesskap som kommer med på kjøpet. Men du må fortsette å
+fremme dette fellesskapet med andre initiativer, og fortsette å gi det
+næring.</span>»</span>
</p><p>
- Noun-prosjektet fremmer den andre motivasjonen til dem som laget det; å
-fremme en personlig merkevare – ved å koble hvert ikon og symbol til
+ Noun-prosjektet fremmer den andre motivasjonen til dem som laget det; å
+fremme en personlig merkevare – ved å koble hvert ikon og symbol til
designerens navn og profilside. Hver profil viser hele samlingen
-deres. Brukerne kan også søke i ikonene etter designerens navn.
+deres. Brukerne kan også søke i ikonene etter designerens navn.
</p><p>
- Noun-prosjektet bygger også fellesskap gjennom Iconathoner –
-hackathon/utviklersamlinger med fokus p
å ikoner.<a href="#ftn.idm1517" class="footnote" name="idm1517"><sup class="footnote">[130]</sup></a> I samarbeid med en sponsororganisasjon kommer Noun-prosjektet opp
-med et tema (f.eks. bærekraftig energi, matbank, gerilja-dyrking,
-menneskerettigheter) og en liste over ikoner som trengs. Designere blir så
-invitert til å lage ikoner på arrangementet, og resultatet gjøres om til
+ Noun-prosjektet bygger også fellesskap gjennom Iconathoner –
+hackathon/utviklersamlinger med fokus p
å ikoner.<a href="#ftn.idm1517" class="footnote" name="idm1517"><sup class="footnote">[130]</sup></a> I samarbeid med en sponsororganisasjon kommer Noun-prosjektet opp
+med et tema (f.eks. bærekraftig energi, matbank, gerilja-dyrking,
+menneskerettigheter) og en liste over ikoner som trengs. Designere blir så
+invitert til å lage ikoner på arrangementet, og resultatet gjøres om til
vektortegninger og legges til Noun-prosjektet med CC0-lisens slik at de kan
brukes gratis av alle.
</p><p>
- Å gi en gratis produktversjon som tilfredsstiller mange kunders behov, har
-faktisk gjort det mulig for Noun-prosjektet å bygge en betalt versjon med en
-serviceorientert modell. Noun-prosjektets suksess ligger i å skape tjenester
+ Å gi en gratis produktversjon som tilfredsstiller mange kunders behov, har
+faktisk gjort det mulig for Noun-prosjektet å bygge en betalt versjon med en
+serviceorientert modell. Noun-prosjektets suksess ligger i å skape tjenester
og innhold som er en strategisk blanding av gratis og betalt,og samtidig
-være tro mot sitt oppdrag – å skape, dele og feire verdens visuelle språk. Å
-integrere Creative Commons i modellen har vært nøkkelen til å nå dette
-målet.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1486" class="footnote"><p><a href="#idm1486" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1503" class="footnote"><p><a href="#idm1503" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1517" class="footnote"><p><a href="#idm1517" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapittel 16. Open Data-instituttet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+være tro mot sitt oppdrag – å skape, dele og feire verdens visuelle språk. Å
+integrere Creative Commons i modellen har vært nøkkelen til å nå dette
+målet.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1486" class="footnote"><p><a href="#idm1486" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1503" class="footnote"><p><a href="#idm1503" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1517" class="footnote"><p><a href="#idm1517" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapittel 16. Open Data-instituttet</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Open Data Institute er et uavhengig nonprofit foretak som kobler, utstyrer
-og inspirerer folk rundt om i verden til å innovere med data. Grunnlagt i
+og inspirerer folk rundt om i verden til å innovere med data. Grunnlagt i
2012 i Storbritannia.
</p><p>
<a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
finansiering, betaling for tilpassede tjenester, donasjoner
</p><p><span class="strong"><strong>Intervjudato</strong></span>: 11. november 2015
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Jeni Tennison, teknisk
-direktør
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+direktør
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
Det London-baserte Open Data Institute (ODI) ble etablert av Sir Tim
Berners-Lee og Sir Nigel Shadbolt i 2012, og tilbyr datatrening,
arrangementer, konsulenttjenester og forskning. For ODI er Creative
-Commons-lisenser sentrale både når de lager sin egen forretningsmodell og de
+Commons-lisenser sentrale både når de lager sin egen forretningsmodell og de
kundene deres lager. CC BY (Attribution), CC BY-SA (Attribution-ShareAlike),
-og CC0 (plassert i det offentlige rom), alle har en avgjørende rolle i ODIs
-oppgave å hjelpe folk rundt om i verden å innovere med data.
- </p><p>
- Data underbygger planlegging og beslutningsprosesser på alle
-samfunnsområder. Værdata hjelper bønder til å å vite når de skal plante sine
-avlinger, flytidsdata fra flyselskaper hjelper oss å planlegge vår reise,
-data om lokale boliger informerer om byplanleggingen. Når disse dataene ikke
-bare er nøyaktige og i rett tid, men er åpne og tilgjengelige, åpnes nye
-muligheter. Åpne data kan være en ressurs for bedrifter til å bygge nye
-produkter og tjenester. De kan hjelpe regjeringer til å måle fremgang,
-forbedre effektiviteten og målrette investeringer. Det kan hjelpe borgere
-til å forbedre sine liv ved å bedre forstå hva som skjer rundt dem.
- </p><p>
- Open Data Institute sin forretningsplan for 2012 – 2017 starter med å
-beskrive visjonen om å etablere seg som et verdensledende senter, og å
-forske og være nyskapende med mulighetene som åpner seg med den britiske
-regjeringens åpne datapolitikk. (Regjeringen var en pioner i åpen politikk
-og åpne-data-initiativer.) Den fortsetter med å si at ODI vil –
+og CC0 (plassert i det offentlige rom), alle har en avgjørende rolle i ODIs
+oppgave å hjelpe folk rundt om i verden å innovere med data.
+ </p><p>
+ Data underbygger planlegging og beslutningsprosesser på alle
+samfunnsområder. Værdata hjelper bønder til å å vite når de skal plante sine
+avlinger, flytidsdata fra flyselskaper hjelper oss å planlegge vår reise,
+data om lokale boliger informerer om byplanleggingen. Når disse dataene ikke
+bare er nøyaktige og i rett tid, men er åpne og tilgjengelige, åpnes nye
+muligheter. Åpne data kan være en ressurs for bedrifter til å bygge nye
+produkter og tjenester. De kan hjelpe regjeringer til å måle fremgang,
+forbedre effektiviteten og målrette investeringer. Det kan hjelpe borgere
+til å forbedre sine liv ved å bedre forstå hva som skjer rundt dem.
+ </p><p>
+ Open Data Institute sin forretningsplan for 2012 – 2017 starter med å
+beskrive visjonen om å etablere seg som et verdensledende senter, og å
+forske og være nyskapende med mulighetene som åpner seg med den britiske
+regjeringens åpne datapolitikk. (Regjeringen var en pioner i åpen politikk
+og åpne-data-initiativer.) Den fortsetter med å si at ODI vil –
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- demonstrere den kommersielle verdien av åpne offentlige data, og hvordan
-åpen data-politikk berører dette;
+ demonstrere den kommersielle verdien av åpne offentlige data, og hvordan
+åpen data-politikk berører dette;
</p></li><li class="listitem"><p>
- utvikle eksempler på de økonomiske fordelene – og forretningsmodeller for
-åpne data;
+ utvikle eksempler på de økonomiske fordelene – og forretningsmodeller for
+åpne data;
</p></li><li class="listitem"><p>
- hjelpe britiske bedrifter å bruke åpne data; og
+ hjelpe britiske bedrifter å bruke åpne data; og
</p></li><li class="listitem"><p>
- vise hvordan
åpne data kan forbedre offentlige tjenester.<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[131]</sup></a>
+ vise hvordan
åpne data kan forbedre offentlige tjenester.<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[131]</sup></a>
</p></li></ul></div><p>
- ODI er veldig klar på hvordan de ønsker å lage åpne forretningsmodeller, og
-definere hva dette betyr. Jeni Tennison, ODIs tekniske direktør, sier det
-slik: <span class="quote">«<span class="quote">Det er et helt åpent økosystem – fri programvare, åpen
-regjering, åpen tilgang til forskning – og et helt økosystem av data. ODIs
-arbeid dekker begge, med vekten på der de overlapper – med åpen
-data</span>»</span>. ODIs særlige fokus er å vise åpne datas potensiale til å gi
+ ODI er veldig klar på hvordan de ønsker å lage åpne forretningsmodeller, og
+definere hva dette betyr. Jeni Tennison, ODIs tekniske direktør, sier det
+slik: <span class="quote">«<span class="quote">Det er et helt åpent økosystem – fri programvare, åpen
+regjering, åpen tilgang til forskning – og et helt økosystem av data. ODIs
+arbeid dekker begge, med vekten på der de overlapper – med åpen
+data</span>»</span>. ODIs særlige fokus er å vise åpne datas potensiale til å gi
inntekter.
</p><p>
Som et uavhengig ikkekommersielt foretak sikret ODI seg 10 millioner
-britiske pund over fem år fra den britiske regjeringen via Innovate UK, et
-byrå som fremmer innovasjon innen vitenskap og teknologi. Med denne
-finansiering må ODI sikre seg tilsvarende midler fra andre kilder, der noen
-ble oppnådd ved en investering fra Omidyar Network på 4,75 millioner dollar.
+britiske pund over fem år fra den britiske regjeringen via Innovate UK, et
+byrå som fremmer innovasjon innen vitenskap og teknologi. Med denne
+finansiering må ODI sikre seg tilsvarende midler fra andre kilder, der noen
+ble oppnådd ved en investering fra Omidyar Network på 4,75 millioner dollar.
</p><p>
Jeni startet som utvikler og teknisk arkitekt for data.gov.uk, den britiske
-regjeringens banebrytende åpne-data-initiativ. Hun hjalp til med å gjøre
-datasett fra regjeringens avdelinger tilgjengelige som åpne data. Hun
-begynte i ODI i 2012 i oppstartfasen, som en av seks personer. Nå er det
+regjeringens banebrytende åpne-data-initiativ. Hun hjalp til med å gjøre
+datasett fra regjeringens avdelinger tilgjengelige som åpne data. Hun
+begynte i ODI i 2012 i oppstartfasen, som en av seks personer. Nå er det
rundt seksti ansatte.
</p><p>
- ODI bestreber seg på at halvdelen av det årlige budsjett skal komme fra UKs
+ ODI bestreber seg på at halvdelen av det årlige budsjett skal komme fra UKs
regjering og donasjoner fra Omidyar, og den andre halvdelen fra
prosjekt-basert forskning og kommersielle oppdrag. Etter Jenis syn, har
denne balansen i inntektskilder gitt noe stabilitet, men den holder dem
-også motivert til å gå ut og generere tilsvarende inntekter som svar på
+også motivert til å gå ut og generere tilsvarende inntekter som svar på
behov i markedet.
</p><p>
- På den kommersielle siden genererer ODI inntekter ved medlemskap, opplæring
-og rådgivning.
+ På den kommersielle siden genererer ODI inntekter ved medlemskap, opplæring
+og rådgivning.
</p><p>
Du kan delta i ODI som personlig eller kommersielt medlem. Individuelle
-medlemskap er betal-hva-du-kan, med alternativer fra £ 1 til £
-100. Medlemmer mottar nyhetsbrev og relatert kommunikasjon, og rabatt på
-ODIs kurs og årssamling, og de kan vise et ODI-tilhengermerke på sin
-hjemmeside. Kommersielle medlemskap er delt inn i to klasser: Små og
-mellomstore bedrifter og ideelle organisasjoner som betaler £ 720 pr. år, og
-selskaper og offentlige organisasjoner som betaler £ 2200 året.
-Kommersielle medlemmer har større muligheter til å koble seg til og
-samarbeide, utnytte fordelene med åpne data, og åpne opp for nye
-forretningsmuligheter. (Alle medlemmer er listet på nettsiden
+medlemskap er betal-hva-du-kan, med alternativer fra £ 1 til £
+100. Medlemmer mottar nyhetsbrev og relatert kommunikasjon, og rabatt på
+ODIs kurs og årssamling, og de kan vise et ODI-tilhengermerke på sin
+hjemmeside. Kommersielle medlemskap er delt inn i to klasser: Små og
+mellomstore bedrifter og ideelle organisasjoner som betaler £ 720 pr. år, og
+selskaper og offentlige organisasjoner som betaler £ 2200 året.
+Kommersielle medlemmer har større muligheter til å koble seg til og
+samarbeide, utnytte fordelene med åpne data, og åpne opp for nye
+forretningsmuligheter. (Alle medlemmer er listet på nettsiden
deres.)<a href="#ftn.idm1556" class="footnote" name="idm1556"><sup class="footnote">[132]</sup></a>
</p><p>
- ODI gir standardiserte opplæringskurs i åpne data der alle kan melde seg
-på. Den opprinnelige idéen var å tilby et intensivt og akademisk kurs i åpne
+ ODI gir standardiserte opplæringskurs i åpne data der alle kan melde seg
+på. Den opprinnelige idéen var å tilby et intensivt og akademisk kurs i åpne
data, men det ble raskt klart at det ikke var noe marked for det. I stedet
-tilbød de fem dagers lange opplæringskurs som var tilgjengelig for alle, og
-som senere er redusert til tre dager. Nå varer det mest populære kurset én
-dag. Kursavgiften, i tillegg til tiden det tar, kan være en barriere for
-deltakelse. Jeni sier: <span class="quote">«<span class="quote">De fleste av dem som har råd vet ikke at de
+tilbød de fem dagers lange opplæringskurs som var tilgjengelig for alle, og
+som senere er redusert til tre dager. Nå varer det mest populære kurset én
+dag. Kursavgiften, i tillegg til tiden det tar, kan være en barriere for
+deltakelse. Jeni sier: <span class="quote">«<span class="quote">De fleste av dem som har råd vet ikke at de
trenger det. De fleste som vet at de trenger det, har ikke
-råd</span>»</span>. Offentlige organisasjoner gir noen ganger rabattkuponger til
+råd</span>»</span>. Offentlige organisasjoner gir noen ganger rabattkuponger til
sine ansatte, slik at de kan delta som en form for faglig utvikling.
</p><p>
- ODI tilpasser opplæring for klienter også, som det er større etterspørsel
-etter. Tilpasset opplæring oppstår vanligvis gjennom et etablert forhold til
-en organisasjon. Treningsprogrammet er basert på en definisjon av
-åpen-datakunnskap som gjelder for organisasjonen, og ferdighetene som trengs
-av de øverste ledere, administrasjon og teknisk personale. Opplæringen har
-en tendens til å generere stor interesse og engasjement.
+ ODI tilpasser opplæring for klienter også, som det er større etterspørsel
+etter. Tilpasset opplæring oppstår vanligvis gjennom et etablert forhold til
+en organisasjon. Treningsprogrammet er basert på en definisjon av
+åpen-datakunnskap som gjelder for organisasjonen, og ferdighetene som trengs
+av de øverste ledere, administrasjon og teknisk personale. Opplæringen har
+en tendens til å generere stor interesse og engasjement.
</p><p>
- Opplæring om åpne data er også en del av ODIS årssamling, der foredrag og
+ Opplæring om åpne data er også en del av ODIS årssamling, der foredrag og
presentasjoner viser frem resultater fra ODI og medlemmer fra hele
-økosystemet. Billetter til arrangementet er offentlig tilgjengelig, og
-hundrevis av besøkende og organisasjoner er til stede og deltar. I 2014 var
-det fire tematiske spor (fagområder) og over 750 deltakere.
- </p><p>
- I tillegg til medlemskap og trening utfører ODI rådgiving og bistand med
-teknisk datastøtte, teknologiutvikling, endringsledelse, politikk og på
-andre områder. ODI har gitt råd til store kommersielle organisasjoner, små
-bedrifter og internasjonale myndigheter. I øyeblikket er fokus på
-regjeringen, men ODI arbeider med å skifte mer til kommersielle
+økosystemet. Billetter til arrangementet er offentlig tilgjengelig, og
+hundrevis av besøkende og organisasjoner er til stede og deltar. I 2014 var
+det fire tematiske spor (fagområder) og over 750 deltakere.
+ </p><p>
+ I tillegg til medlemskap og trening utfører ODI rådgiving og bistand med
+teknisk datastøtte, teknologiutvikling, endringsledelse, politikk og på
+andre områder. ODI har gitt råd til store kommersielle organisasjoner, små
+bedrifter og internasjonale myndigheter. I øyeblikket er fokus på
+regjeringen, men ODI arbeider med å skifte mer til kommersielle
organisasjoner.
</p><p>
- I kommersiell forstand syntes følgende verdistandpunkter å gi gjenklang:
+ I kommersiell forstand syntes følgende verdistandpunkter å gi gjenklang:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- Data-drevet innsikt. Bedrifter trenger data utenfra for å få mer
-innsikt. Bedrifter kan generere verdi, og mer effektivt følge sine egne mål
-når de også åpner opp sine egne data. Store data er et hett tema.
+ Data-drevet innsikt. Bedrifter trenger data utenfra for å få mer
+innsikt. Bedrifter kan generere verdi, og mer effektivt følge sine egne mål
+når de også åpner opp sine egne data. Store data er et hett tema.
</p></li><li class="listitem"><p>
- Åpen nyskapning. Mange store bedrifter er klar over at de ikke innoverer
-godt. En måte de kan skape noe nytt på er å åpne opp sine data. ODI
-oppmuntrer dem til å gjøre det, selv om det avdekker problemer og
-utfordringer. Nøkkelen er å invitere andre til å hjelpe, og samtidig
+ Åpen nyskapning. Mange store bedrifter er klar over at de ikke innoverer
+godt. En måte de kan skape noe nytt på er å åpne opp sine data. ODI
+oppmuntrer dem til å gjøre det, selv om det avdekker problemer og
+utfordringer. Nøkkelen er å invitere andre til å hjelpe, og samtidig
opprettholde organisatorisk uavhengighet.
</p></li><li class="listitem"><p>
- Samfunnsansvar. Mens dette klinger for bedrifter, advarer ODI mot å ha det
-som den eneste grunnen for å gjøre data åpne. Hvis en virksomhet bare tenker
-åpne som en måte å være gjennomsiktig og ansvarlig på, kan de gå glipp av
+ Samfunnsansvar. Mens dette klinger for bedrifter, advarer ODI mot å ha det
+som den eneste grunnen for å gjøre data åpne. Hvis en virksomhet bare tenker
+åpne som en måte å være gjennomsiktig og ansvarlig på, kan de gå glipp av
effektivitet og muligheter.
</p></li></ul></div><p>
- I sine første år ønsket ODI å fokusere utelukkende på Storbritannia. Men i
-sitt første år ønsket store delegasjoner med besøkende myndigheter, fra over
-50 land, å lære mer om den britiske regjeringens åpen-datapraksis, og
-hvordan ODI mente denne kunne omdannes til økonomiske verdier. De ble leid
-inn som en tjenesteleverandør for internasjonale organisasjoner, som førte
-til behovet om å sette opp internasjonale ODI-<span class="quote">«<span class="quote">avleggere</span>»</span>.
- </p><p>
- Noder er linsensiering av ODI regionalt eller på bynivå. Arrangert av
+ I sine første år ønsket ODI å fokusere utelukkende på Storbritannia. Men i
+sitt første år ønsket store delegasjoner med besøkende myndigheter, fra over
+50 land, å lære mer om den britiske regjeringens åpen-datapraksis, og
+hvordan ODI mente denne kunne omdannes til økonomiske verdier. De ble leid
+inn som en tjenesteleverandør for internasjonale organisasjoner, som førte
+til behovet om å sette opp internasjonale ODI-<span class="quote">«<span class="quote">avleggere</span>»</span>.
+ </p><p>
+ Noder er linsensiering av ODI regionalt eller på bynivå. Arrangert av
eksisterende (for-fortjeneste eller ideelle) organisasjoner, opererer de
lokalt, men er en del av det globale nettverket. Hver ODI-node vedtar et
charter, et sett med styrende prinsipper og regler som ODI driver. De
-utvikler og leverer opplæring, kobler mennesker og virksomheter gjennom
-medlemskap og arrangementer, og kommuniserer åpen-datahistorier fra sin del
+utvikler og leverer opplæring, kobler mennesker og virksomheter gjennom
+medlemskap og arrangementer, og kommuniserer åpen-datahistorier fra sin del
av verden. Det er tjuesju ulike noder i nitten land. ODI-noder betaler en
-liten avgift for å være en del av nettverket, og bruke varemerket.
+liten avgift for å være en del av nettverket, og bruke varemerket.
</p><p>
- ODI driver også programmer for å bistå gründerforetak i Storbritannia og
-Europa for å utvikle bærekraftig virksomhet rundt åpne data, der de tilbyr
-veiledning, gir råd,opplæring, og til og med skaffer
+ ODI driver også programmer for å bistå gründerforetak i Storbritannia og
+Europa for å utvikle bærekraftig virksomhet rundt åpne data, der de tilbyr
+veiledning, gir råd,opplæring, og til og med skaffer
kontorlokaler. <a href="#ftn.idm1576" class="footnote" name="idm1576"><sup class="footnote">[133]</sup></a>
</p><p>
- En stor del av ODIs forretningsmodell dreier seg om å bygge
-fellesskap. Medlemskap, opplæring, konferanser, konsulenttjenester, noder og
+ En stor del av ODIs forretningsmodell dreier seg om å bygge
+fellesskap. Medlemskap, opplæring, konferanser, konsulenttjenester, noder og
oppstartsprogrammer oppretter et stadig voksende nettverk av
-åpne-databrukere og -ledere. (Faktisk har ODI selv noe som kalles Open Data
-Leaders Network.) For ODI er fellesskapet nøkkelen til suksess. De vier mye
-tid og krefter til å bygge det ut, ikke bare på Internett, men gjennom det
+åpne-databrukere og -ledere. (Faktisk har ODI selv noe som kalles Open Data
+Leaders Network.) For ODI er fellesskapet nøkkelen til suksess. De vier mye
+tid og krefter til å bygge det ut, ikke bare på Internett, men gjennom det
som skjer ansikt til ansikt.
</p><p>
- ODI har laget et nettbasert verktøy som organisasjoner kan bruke til å
-vurdere de juridiske, praktiske, tekniske og sosiale aspektene av deres åpne
-data. Hvis det er av høy kvalitet, kan organisasjonen oppnå ODIs Open Data
-Certificate, et globalt anerkjent merke som signaliserer at deres åpne data
-er nyttige, p
ålitelige, tilgjengelige, synlige og støttet.<a href="#ftn.idm1582" class="footnote" name="idm1582"><sup class="footnote">[134]</sup></a>
+ ODI har laget et nettbasert verktøy som organisasjoner kan bruke til å
+vurdere de juridiske, praktiske, tekniske og sosiale aspektene av deres åpne
+data. Hvis det er av høy kvalitet, kan organisasjonen oppnå ODIs Open Data
+Certificate, et globalt anerkjent merke som signaliserer at deres åpne data
+er nyttige, p
ålitelige, tilgjengelige, synlige og støttet.<a href="#ftn.idm1582" class="footnote" name="idm1582"><sup class="footnote">[134]</sup></a>
</p><p>
Atskilt fra kommersielle aktiviteter, genererer ODI finansiering med
-forskningsmidler. Forskning omfatter å dokumentere virkningen av åpne data,
-å utvikle åpne-dataverktøy og standarder, og hvordan du skalerer opp
-utplasseringen av åpne data.
+forskningsmidler. Forskning omfatter å dokumentere virkningen av åpne data,
+å utvikle åpne-dataverktøy og standarder, og hvordan du skalerer opp
+utplasseringen av åpne data.
</p><p>
Creative Commons 4.0-lisenser dekker databaserettigheter, og ODI anbefaler
CC BY, CC BY-SA, og CC0 for datautgivelser. ODI oppfordrer utgivere av data
-å bruke Creative Commons-lisenser i stedet for å lage nye egne <span class="quote">«<span class="quote">åpne
-lisenser</span>»</span>.
+å bruke Creative Commons-lisenser i stedet for å lage nye egne <span class="quote">«<span class="quote">åpne
+lisenser</span>»</span>.
</p><p>
- For ODI er åpenhet kjernen i det de gjør. De legger i tillegg ut med fri
+ For ODI er åpenhet kjernen i det de gjør. De legger i tillegg ut med fri
programvarelisens, programkoden til ethvert program de skriver, og
publikasjoner og rapporter gis ut med CC BY eller CC BY-SA-lisenser. ODIs
-oppgave er å koble sammen og utstyre folk verden over slik at de kan skape
-noe nytt med data. Å spre historier, forskning, veiledning og kode med åpne
-lisenser er avgjørende for å klare den oppgaven. Det viser også at det er
-fullt mulig å generere bærekraftige inntektsstrømmer som ikke er avhengig av
-restriktiv lisensiering av innhold, data eller kode. Folk betaler for å få
-opplæring av ODI-eksperter, ikke for innholdet av opplæringen; folk betaler
-for råd ODI gir dem, ikke for metodikken de bruker. Å produsere åpent
-innhold, data og kildekode hjelper til med å etablere troverdighet, og fører
-videre til de betalte tjenestene som tilbys. Ifølge Jeni er <span class="quote">«<span class="quote">den
-største lærdommen vi har fått, er at det er fullt ut mulig å være åpen, få
-kunder og tjene penger</span>»</span>.
- </p><p>
- For å tjene som bevis for en vellykket åpen forretningsmodell og avkastning
-på investeringer, har ODI et offentlig skjermbilde med nøkkelindikatorer for
+oppgave er å koble sammen og utstyre folk verden over slik at de kan skape
+noe nytt med data. Å spre historier, forskning, veiledning og kode med åpne
+lisenser er avgjørende for å klare den oppgaven. Det viser også at det er
+fullt mulig å generere bærekraftige inntektsstrømmer som ikke er avhengig av
+restriktiv lisensiering av innhold, data eller kode. Folk betaler for å få
+opplæring av ODI-eksperter, ikke for innholdet av opplæringen; folk betaler
+for råd ODI gir dem, ikke for metodikken de bruker. Å produsere åpent
+innhold, data og kildekode hjelper til med å etablere troverdighet, og fører
+videre til de betalte tjenestene som tilbys. Ifølge Jeni er <span class="quote">«<span class="quote">den
+største lærdommen vi har fått, er at det er fullt ut mulig å være åpen, få
+kunder og tjene penger</span>»</span>.
+ </p><p>
+ For å tjene som bevis for en vellykket åpen forretningsmodell og avkastning
+på investeringer, har ODI et offentlig skjermbilde med nøkkelindikatorer for
leveranse. Her er noen beregninger fra 27. April 2016:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- Totalsummen kontantinvesteringer åpnet opp som direkte investeringer i ODI,
+ Totalsummen kontantinvesteringer åpnet opp som direkte investeringer i ODI,
konkurransefinansiering, direkte kontrakter, partnerskap og inntekt som
-ODI-noder og ODI-oppstart har generert siden de ble med i ODI-programmet: £
+ODI-noder og ODI-oppstart har generert siden de ble med i ODI-programmet: £
44,5 millioner (pund)
</p></li><li class="listitem"><p>
Antall aktive medlemmer og noder over hele verden: 1350
</p></li><li class="listitem"><p>
- Totalt salg siden ODI startet: £ 7.44 millioner (pund)
+ Totalt salg siden ODI startet: £ 7.44 millioner (pund)
</p></li><li class="listitem"><p>
- Totalt antall unike personer nådd siden ODI startet, personlig og på nettet:
+ Totalt antall unike personer nådd siden ODI startet, personlig og på nettet:
2,2 millioner
</p></li><li class="listitem"><p>
- Totalt antall åpne datasertifikater opprettet: 151 000
+ Totalt antall åpne datasertifikater opprettet: 151 000
</p></li><li class="listitem"><p>
Totalt antall personer trent av ODI og nodene siden ODI startet: 5
080<a href="#ftn.idm1604" class="footnote" name="idm1604"><sup class="footnote">[135]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1556" class="footnote"><p><a href="#idm1556" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1576" class="footnote"><p><a href="#idm1576" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1582" class="footnote"><p><a href="#idm1582" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1604" class="footnote"><p><a href="#idm1604" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapittel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1556" class="footnote"><p><a href="#idm1556" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1576" class="footnote"><p><a href="#idm1576" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1582" class="footnote"><p><a href="#idm1582" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1604" class="footnote"><p><a href="#idm1604" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapittel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Opendesk er et inntektsbasert selskap som tilbyr en nettplattform som kobler
-sammen møbeldesignere verden over med kunder og lokale beslutningstakere som
-virkeliggjør designene. Grunnlagt i 2014 i Storbritannia.
+sammen møbeldesignere verden over med kunder og lokale beslutningstakere som
+virkeliggjør designene. Grunnlagt i 2014 i Storbritannia.
</p><p>
<a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling med et
</p><p><span class="strong"><strong> Intervjudato</strong></span>: 4. november 2015
</p><p><span class="strong"><strong> Intervjuet</strong></span>: Nick Ierodiaconou og Joni
Steiner, medgrunnleggere
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Opendesk er en nettplattform som kobler møbeldesignere verden over ikke bare
-med kunder, men også med lokale registrerte produsenter som bringer
-designene til liv. Opendesk og designeren får en del av hvert salg fra
+ Opendesk er en nettplattform som kobler møbeldesignere verden over ikke bare
+med kunder, men også med lokale registrerte produsenter som bringer
+designene til liv. Opendesk og designeren får en del av hvert salg fra
produsentene.
</p><p>
Medgrunnlegger Nick Ierodiaconou og Joni Steiner studerte og arbeidet sammen
-som arkitekter. De laget også produkter. Den første klienten deres var Mint
-Digital, som var interessert i åpne lisenser. Nick og Joni utforsket digital
-fabrikasjon, og Mints interesse for åpen lisensiering fikk dem til å tenke
-på hvordan friprogramvareverden kan samhandle og anvendes for fysiske
-varer. De forsøkte å utforme noe for sin klient som også var
-reproduserbart. Som de sa, besluttet de å <span class="quote">«<span class="quote">tilby oppskriften, men ikke
-varene</span>»</span>. De brukte fri programvare til utformingen, ga den en fri
-lisens, og fikk den produsert lokalt, nær klienten. Dette var starten på
-idéen om Opendesk. Idéen til Wikihouse – et annet åpent prosjekt rettet mot
-tilgjengelig bolig for alle – startet som diskusjoner rundt det samme
+som arkitekter. De laget også produkter. Den første klienten deres var Mint
+Digital, som var interessert i åpne lisenser. Nick og Joni utforsket digital
+fabrikasjon, og Mints interesse for åpen lisensiering fikk dem til å tenke
+på hvordan friprogramvareverden kan samhandle og anvendes for fysiske
+varer. De forsøkte å utforme noe for sin klient som også var
+reproduserbart. Som de sa, besluttet de å <span class="quote">«<span class="quote">tilby oppskriften, men ikke
+varene</span>»</span>. De brukte fri programvare til utformingen, ga den en fri
+lisens, og fikk den produsert lokalt, nær klienten. Dette var starten på
+idéen om Opendesk. Idéen til Wikihouse â\80\93 et annet Ã¥pent prosjekt rettet mot
+tilgjengelig bolig for alle – startet som diskusjoner rundt det samme
bordet. De to prosjektene gikk til slutt separate veier, Wikihouse ble
ideell stiftelse, og Opendesk, et kommersielt selskap.
</p><p>
- Da Nick og Joni startet arbeidet med å opprette Opendesk, var det mange
-spørsmål om distribuert produksjon hadde livets rett. Ingen gjorde det på en
-måte som engang var nær å være realistisk eller
-konkurransedyktig. Designfellesskapet hadde intensjonen, men å oppfylle
+ Da Nick og Joni startet arbeidet med å opprette Opendesk, var det mange
+spørsmål om distribuert produksjon hadde livets rett. Ingen gjorde det på en
+måte som engang var nær å være realistisk eller
+konkurransedyktig. Designfellesskapet hadde intensjonen, men å oppfylle
denne visjonen var fortsatt langt unna.
</p><p>
- Og nå vokser denne sektoren, og Nick og Joni er svært interessert i
-kommersialiseringsaspektene ved den. Som en del av å finne en
-forretningsmodell, begynte de å undersøke immaterielle rettigheter og
-alternativer for lisensiering. Det var et tornefullt område, spesielt for
-design. Akkurat hvilke deler av et design er det mulig å beskytte som
-åndsverk opphavsrettslig? Hva er patenterbart? Hvordan kan tillatelse for
-digital deling og distribusjon veies mot designerens ønske om å fortsatt
-beholde eierskap? Til slutt bestemte de at det ikke var nødvendig å
-gjenoppfinne hjulet, og avgjorde å bruke Creative Commons.
- </p><p>
- Da de utformet Opendesk-systemet, hadde de to mål. De ønsket at alle, hvor
-som helst i verden, skulle kunne laste ned design slik at det kunne gjøres
-lokalt, og de ønsket en levedyktig modell som var til fordel for designere
-når deres design ble solgt. Det viste seg innfløkt å etablere en
+ Og nå vokser denne sektoren, og Nick og Joni er svært interessert i
+kommersialiseringsaspektene ved den. Som en del av å finne en
+forretningsmodell, begynte de å undersøke immaterielle rettigheter og
+alternativer for lisensiering. Det var et tornefullt område, spesielt for
+design. Akkurat hvilke deler av et design er det mulig å beskytte som
+åndsverk opphavsrettslig? Hva er patenterbart? Hvordan kan tillatelse for
+digital deling og distribusjon veies mot designerens ønske om å fortsatt
+beholde eierskap? Til slutt bestemte de at det ikke var nødvendig å
+gjenoppfinne hjulet, og avgjorde å bruke Creative Commons.
+ </p><p>
+ Da de utformet Opendesk-systemet, hadde de to mål. De ønsket at alle, hvor
+som helst i verden, skulle kunne laste ned design slik at det kunne gjøres
+lokalt, og de ønsket en levedyktig modell som var til fordel for designere
+når deres design ble solgt. Det viste seg innfløkt å etablere en
forretningsmodell.
</p><p>
De brukte mye tankvirksomhet i tre retninger; potensialet for sosial deling,
-å tillate designere å velge sin lisens, og effekten disse valgene ville ha
-på forretningsmodellen.
- </p><p>
- I støtten for sosiale deling, argumenterte Opendesk aktivt for (men krever
-ikke) åpen lisensiering. Og Nick og Joni er bryr seg ikke om hvilken
-Creative Commons-lisens som brukes. Det er opp til designeren. De kan være
-proprietære eller valgt fra hele pakken med Creative Commons-lisenser, og
-selv bestemme seg for hvor åpen eller lukket de ønsker å være.
- </p><p>
- For det meste elsker designere tanken på å dele innhold. De forstår at du
-får positive tilbakemeldinger når du blir referert til, det Nick og Joni
-kalte <span class="quote">«<span class="quote">omdømme-glød</span>»</span>. Og Opendesk gjør en fantastisk jobb med å
+å tillate designere å velge sin lisens, og effekten disse valgene ville ha
+på forretningsmodellen.
+ </p><p>
+ I støtten for sosiale deling, argumenterte Opendesk aktivt for (men krever
+ikke) åpen lisensiering. Og Nick og Joni er bryr seg ikke om hvilken
+Creative Commons-lisens som brukes. Det er opp til designeren. De kan være
+proprietære eller valgt fra hele pakken med Creative Commons-lisenser, og
+selv bestemme seg for hvor åpen eller lukket de ønsker å være.
+ </p><p>
+ For det meste elsker designere tanken på å dele innhold. De forstår at du
+får positive tilbakemeldinger når du blir referert til, det Nick og Joni
+kalte <span class="quote">«<span class="quote">omdømme-glød</span>»</span>. Og Opendesk gjør en fantastisk jobb med å
profilere designere.<a href="#ftn.idm1630" class="footnote" name="idm1630"><sup class="footnote">[136]</sup></a>
</p><p>
Mens designere i hovedsak synes personlig deling er greit, er det et problem
-at noen tar design og produksjon av møbler i bulk, mens designeren ikke
-sitter igjen med noen fordeler. Så de fleste Opendesk-designere velger
+at noen tar design og produksjon av møbler i bulk, mens designeren ikke
+sitter igjen med noen fordeler. Så de fleste Opendesk-designere velger
Attribution-NonCommercial-lisensen (CC BY-NC).
</p><p>
Alle kan laste ned et design og lage produktet selv, forutsatt at det ikke
-er for kommersielt bruk, og det har vært mange nedlastinger. Eller brukere
-kan kjøpe produktet fra Opendesk, eller fra en registrert produsent i
-Opendesks nettverk, på forespørsel. Nettverket av Opendesks produsenter
-består for tiden av dem som benytter digital fabrikasjon med en datastyrt
+er for kommersielt bruk, og det har vært mange nedlastinger. Eller brukere
+kan kjøpe produktet fra Opendesk, eller fra en registrert produsent i
+Opendesks nettverk, på forespørsel. Nettverket av Opendesks produsenter
+består for tiden av dem som benytter digital fabrikasjon med en datastyrt
CNC-maskin (Computer Numeric Control) som lager former av treplater etter
spesifikasjonene i designfilen.
</p><p>
- Skapere drar nytte av å være en del av nettverket til Opendesk. Å lage
-møbler for lokale kunder er betalt arbeid, og Opendesk genererer oppdrag for
-dem. Joni sa: <span class="quote">«<span class="quote">Å finne et helt nettverk og et fellesskap av skapere
+ Skapere drar nytte av å være en del av nettverket til Opendesk. Å lage
+møbler for lokale kunder er betalt arbeid, og Opendesk genererer oppdrag for
+dem. Joni sa: <span class="quote">«<span class="quote">Å finne et helt nettverk og et fellesskap av skapere
var ganske enkelt fordi vi bygget en hjemmeside hvor folk kunne skrive inn
-hva de var i stand til å gjøre. Vi har virkelig hatt fremdrift ved å bygge
-fellesskapet ved å lære av skaperfellesskapet</span>»</span>. Opendesk har nå
+hva de var i stand til å gjøre. Vi har virkelig hatt fremdrift ved å bygge
+fellesskapet ved å lære av skaperfellesskapet</span>»</span>. Opendesk har nå
samarbeid med hundrevis av skapere i land over hele verden.<a href="#ftn.idm1637" class="footnote" name="idm1637"><sup class="footnote">[137]</sup></a>
</p><p>
Produsentene er en viktig del av Opendesks forretningsmodell. Modellen
-deres bygger på sitater fra produsentene. Her er hvordan det vises på
+deres bygger på sitater fra produsentene. Her er hvordan det vises på
Opendesks nettsted:
</p><p>
- Når kundene kjøper et Opendesk-produkt direkte fra en registrert produsent,
+ Når kundene kjøper et Opendesk-produkt direkte fra en registrert produsent,
betaler de:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Produksjonskostnadene som angitt av produsenten (som dekker materiale og
-lønnskostnader slik at produktet kan bli produsert, og mulige ekstra
+lønnskostnader slik at produktet kan bli produsert, og mulige ekstra
monteringskostnader)
</p></li><li class="listitem"><p>
en designavgift til designeren (en designavgift som betales til designeren
hver gang designet deres brukes)
</p></li><li class="listitem"><p>
- en prosentsats avgift til Opendesk-plattformen (den støtter infrastrukturen
-og den kontinuerlige utviklingen av plattformen som trengs for å bygge ut
-markedsplassen vår)
+ en prosentsats avgift til Opendesk-plattformen (den støtter infrastrukturen
+og den kontinuerlige utviklingen av plattformen som trengs for å bygge ut
+markedsplassen vår)
</p></li><li class="listitem"><p>
- en prosentsats til kanalen der salget er gjort (for øyeblikket er dette
-Opendesk, men i fremtiden ønsker vi å åpne denne opp for tredjeparts selgere
+ en prosentsats til kanalen der salget er gjort (for øyeblikket er dette
+Opendesk, men i fremtiden ønsker vi å åpne denne opp for tredjeparts selgere
som kan selge Opendesk-produkter gjennom egne kanaler. Dette dekker salgs-
-og markedsføringsavgifter for den kanalen det gjelder)
+og markedsføringsavgifter for den kanalen det gjelder)
</p></li><li class="listitem"><p>
en lokal leveransekostand (levering er vanligvis belastet fra produsenten,
-men i noen tilfeller kan den bli betalt til en tredjepart som står for
+men i noen tilfeller kan den bli betalt til en tredjepart som står for
leveringen)
</p></li><li class="listitem"><p>
- kostnader for eventuelle tilleggstjenester kunden velger, som montering på
-stedet (tilleggstjenester er skjønnsmessige – i mange tilfeller vil
-produsentene gjerne ha med montering på stedet, og designere kan tilby
+ kostnader for eventuelle tilleggstjenester kunden velger, som montering på
+stedet (tilleggstjenester er skjønnsmessige – i mange tilfeller vil
+produsentene gjerne ha med montering på stedet, og designere kan tilby
skreddersydde designalternativer)
</p></li><li class="listitem"><p>
lokale merverdiavgifter (avhengig av hvor kunden og produsenten
er)<a href="#ftn.idm1657" class="footnote" name="idm1657"><sup class="footnote">[138]</sup></a>
</p></li></ul></div><p>
- De går så i detalj om hvordan produsentens tilbud settes sammen:
+ De går så i detalj om hvordan produsentens tilbud settes sammen:
</p><p>
- Når en kunde ønsker å kjøpe en Opendesk, får de et åpent oppsett av avgifter
+ Når en kunde ønsker å kjøpe en Opendesk, får de et åpent oppsett av avgifter
inkludert produksjonskostnadene, designgebyr, Opendesk-plattformavgift og
-kanalavgifter. Hvis en kunde velger å kjøpe ved å komme i direkte kontakt
+kanalavgifter. Hvis en kunde velger å kjøpe ved å komme i direkte kontakt
med en registrert lokal produsent som bruker en nedlastet Opendesk-fil, er
produsenten ansvarlig for at designgebyret, Opendesks plattformavgift og
-kanalavgifter er inkludert i alle tilbud på salgstidspunktet.
-Prosentavgifter er alltid basert på de underliggende produksjonskostnadene,
-og er vanligvis fordelt som følger:
+kanalavgifter er inkludert i alle tilbud på salgstidspunktet.
+Prosentavgifter er alltid basert på de underliggende produksjonskostnadene,
+og er vanligvis fordelt som følger:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
produksjonskostnader: fabrikasjon, etterbehandling, og andre kostnader som
angitt av produsenten (unntatt eventuelle tjenester som levering eller
-montering på stedet)
+montering på stedet)
</p></li><li class="listitem"><p>
designavgift: 8 prosent av produksjonskostnadene
</p></li><li class="listitem"><p>
</p></li><li class="listitem"><p>
merverdiavgift (mva.): gjeldende (avhenger av produkt og hvor salget skjer)
</p></li></ul></div><p>
- Opendesk deler inntektene med fellesskapets designere. Ifølge Nick og Joni,
-er en typisk designeravgift på rundt 2,5 prosent, så Opendesks 8 prosent er
-mer generøs, og gir en høyere verdi til designeren.
+ Opendesk deler inntektene med fellesskapets designere. Ifølge Nick og Joni,
+er en typisk designeravgift på rundt 2,5 prosent, så Opendesks 8 prosent er
+mer generøs, og gir en høyere verdi til designeren.
</p><p>
Opendesks nettsted har bakgrunnshistorier om designere og
beslutningstakere. Denis Fuzii publiserte design for Valovi Chair fra sitt
-studio i São Paulo. Hans design er lastet ned over fem tusen ganger i
+studio i São Paulo. Hans design er lastet ned over fem tusen ganger i
nittifem land. I.J. CNC Services er Ian Jinks, en profesjonell produsent med
base i Storbritannia. En stor andel av hans virksomhet kommer fra Opendesk.
</p><p>
- For å administrere ressurser og forbli effektiv har Opendesk så langt
-fokusert på en svært smal nisje – hovedsakelig kontormøbler med en estetikk
-preget av enkelhet, og som bruker bare én type materiale og én
-produksjonsteknikk. Dette tillater dem å være mer strategiske, og gi mer
-forstyrrelse i markedet ved å få ting i salg raskt med konkurransedyktige
-priser. Det gjenspeiler også deres visjon om å skape reproduserbare og
+ For å administrere ressurser og forbli effektiv har Opendesk så langt
+fokusert på en svært smal nisje – hovedsakelig kontormøbler med en estetikk
+preget av enkelhet, og som bruker bare én type materiale og én
+produksjonsteknikk. Dette tillater dem å være mer strategiske, og gi mer
+forstyrrelse i markedet ved å få ting i salg raskt med konkurransedyktige
+priser. Det gjenspeiler også deres visjon om å skape reproduserbare og
funksjonelle produkter .
</p><p>
- På sin hjemmeside beskriver Opendesk hva de gjør som <span class="quote">«<span class="quote">åpen
-produksjon</span>»</span>: <span class="quote">«<span class="quote">Designere får en global
-distribusjonskanal. Produsenter får lønnsomme jobber og nye kunder. Du får
-designprodukter uten designerprislapp, et mer sosialt og miljøvennlig
-alternativ til masseproduksjon, og en rimelig måte å kjøpe skreddersydde
-produkter på</span>»</span>.
+ På sin hjemmeside beskriver Opendesk hva de gjør som <span class="quote">«<span class="quote">åpen
+produksjon</span>»</span>: <span class="quote">«<span class="quote">Designere får en global
+distribusjonskanal. Produsenter får lønnsomme jobber og nye kunder. Du får
+designprodukter uten designerprislapp, et mer sosialt og miljøvennlig
+alternativ til masseproduksjon, og en rimelig måte å kjøpe skreddersydde
+produkter på</span>»</span>.
</p><p>
- Nick og Joni sier at kunder liker det faktum at møblene har et kjent
-opphav. Folk liker at møblene deres er designet av en viss internasjonal
+ Nick og Joni sier at kunder liker det faktum at møblene har et kjent
+opphav. Folk liker at møblene deres er designet av en viss internasjonal
designer, men er laget av en produsent i lokalsamfunnet. Det er en fin
-historie å fortelle. Den skiller absolutt Opendesks møbler fra vanlige
+historie å fortelle. Den skiller absolutt Opendesks møbler fra vanlige
masseproduserte varer fra en butikk.
</p><p>
- Nick og Joni har en fellesskapsbasert tilnærming til å definere og utvikle
-Opendesk, og forretningsmodellen for <span class="quote">«<span class="quote">åpen produksjon</span>»</span>. De er
-de engasjerende strategene og utøverne som kjennetegner denne nye
+ Nick og Joni har en fellesskapsbasert tilnærming til å definere og utvikle
+Opendesk, og forretningsmodellen for <span class="quote">«<span class="quote">åpen produksjon</span>»</span>. De er
+de engasjerende strategene og utøverne som kjennetegner denne nye
bevegelsen. De har et eget Open Making-nettsted, som omfatter et manifest,
-en feltveiledning og en invitasjon til å bli involvert i Open
+en feltveiledning og en invitasjon til å bli involvert i Open
Making-fellesskapet.<a href="#ftn.idm1682" class="footnote" name="idm1682"><sup class="footnote">[139]</sup></a> Folk kan sende inn
-idéer og diskutere prinsipper og forretningspraksis de ønsker å se brukt.
+idéer og diskutere prinsipper og forretningspraksis de ønsker å se brukt.
</p><p>
- Nick og Joni snakket mye med oss om åndsverk (Intellectual Property (IP)) og
-kommersialisering. Mange av designerne deres frykter tanken på at noen
+ Nick og Joni snakket mye med oss om åndsverk (Intellectual Property (IP)) og
+kommersialisering. Mange av designerne deres frykter tanken på at noen
skulle ta en av deres design-filer, og lage og selge et uendelig antall
-møbler med den. Som en konsekvens, velger de fleste Opendesk-designere
+møbler med den. Som en konsekvens, velger de fleste Opendesk-designere
Attribution-NonCommercial lisensen (CC BY-NC).
</p><p>
Opendesk etablerte et sett av prinsipper for hva fellesskapet vurderer som
-kommersiell og ikke-kommersiell bruk. Deres hjemmeside fastslår:
+kommersiell og ikke-kommersiell bruk. Deres hjemmeside fastslår:
</p><p>
- Det er en utvetydig kommersiell bruk når noen:
+ Det er en utvetydig kommersiell bruk når noen:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- krever en avgift eller får en fortjeneste når man lager en Opendesk
+ krever en avgift eller får en fortjeneste når man lager en Opendesk
</p></li><li class="listitem"><p>
- selger (eller baserer en kommersiell tjeneste på) en Opendesk
+ selger (eller baserer en kommersiell tjeneste på) en Opendesk
</p></li></ul></div><p>
- Det følger av dette at ikke-kommersiell bruk er når du lager et
-Opendesk-produkt selv, uten å få en kommersiell fordel eller en økonomisk
+ Det følger av dette at ikke-kommersiell bruk er når du lager et
+Opendesk-produkt selv, uten å få en kommersiell fordel eller en økonomisk
kompensasjon. For eksempel kvalifiserer disse som ikke-kommersielle:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
du er en med din egen CNC-maskin, eller har tilgang til en delt CNC-maskin,
-og vil personlig kutte til og lage noen få møbler selv
+og vil personlig kutte til og lage noen få møbler selv
</p></li><li class="listitem"><p>
- du er en student (eller lærer) og bruker design-filer til pedagogiske formål
-eller opplæring (og har ikke tenkt å selge de som blir laget)
+ du er en student (eller lærer) og bruker design-filer til pedagogiske formål
+eller opplæring (og har ikke tenkt å selge de som blir laget)
</p></li><li class="listitem"><p>
- du jobber ideelt og får møbler skåret ut av frivillige, eller av ansatte i
-digitale verktøyrom, eller i åpne brukerrom
+ du jobber ideelt og får møbler skåret ut av frivillige, eller av ansatte i
+digitale verktøyrom, eller i åpne brukerrom
</p></li></ul></div><p>
- Hvorvidt folk teknisk sett gjør ting som impliserer immaterielle
-rettigheter, har Nick og Joni funnet at folk har en tendens til å etterkomme
-ønskene til skaperne basert på rettferdighetsfølelse. De har funnet ut at
-atferdsøkonomi kan erstatte noen av de vanskelige juridiske spørsmålene. I
-sin forretningsmodell prøver Nick og Joni å redusere fokuset på immaterielle
-rettigheter, og bygge en åpen forretningsmodell som fungerer for alle
-interessenter – designere, kanaler, produsenter og forbrukere. For dem
-ligger verdien Opendesk skaper i <span class="quote">«<span class="quote">åpenhet</span>»</span>, ikke i immaterielle
+ Hvorvidt folk teknisk sett gjør ting som impliserer immaterielle
+rettigheter, har Nick og Joni funnet at folk har en tendens til å etterkomme
+ønskene til skaperne basert på rettferdighetsfølelse. De har funnet ut at
+atferdsøkonomi kan erstatte noen av de vanskelige juridiske spørsmålene. I
+sin forretningsmodell prøver Nick og Joni å redusere fokuset på immaterielle
+rettigheter, og bygge en åpen forretningsmodell som fungerer for alle
+interessenter – designere, kanaler, produsenter og forbrukere. For dem
+ligger verdien Opendesk skaper i <span class="quote">«<span class="quote">åpenhet</span>»</span>, ikke i immaterielle
rettigheter.
</p><p>
- Oppgaven til Opendesk er å relokalisere produksjonen, noe som endrer måten
-vi tenker på om hvordan varer blir laget. Kommersialisering er integrert i
-formålet deres, og de har startet beregningen av hvor vellykket det er, ved
-å spore hvor mange produsenter og designere som får inntektsgivende arbeid
+ Oppgaven til Opendesk er å relokalisere produksjonen, noe som endrer måten
+vi tenker på om hvordan varer blir laget. Kommersialisering er integrert i
+formålet deres, og de har startet beregningen av hvor vellykket det er, ved
+å spore hvor mange produsenter og designere som får inntektsgivende arbeid
gjennom Opendesk.
</p><p>
- Som en global plattform for å produsere lokalt, har Opendesks
-forretningsmodell vært bygd på ærlighet, åpenhet og inkludering. Som Nick og
-Joni beskriver det, legger de ut idéer som får trekkraft - og deretter
-stoler de på folk.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1630" class="footnote"><p><a href="#idm1630" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1637" class="footnote"><p><a href="#idm1637" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1657" class="footnote"><p><a href="#idm1657" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1682" class="footnote"><p><a href="#idm1682" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapittel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- OpenStax er en ideell organisasjon som gir gratis, åpent lisensierte
-lærebøker for innledende collegekurs med mange innregistrerte, og Advanced
+ Som en global plattform for å produsere lokalt, har Opendesks
+forretningsmodell vært bygd på ærlighet, åpenhet og inkludering. Som Nick og
+Joni beskriver det, legger de ut idéer som får trekkraft - og deretter
+stoler de på folk.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1630" class="footnote"><p><a href="#idm1630" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1637" class="footnote"><p><a href="#idm1637" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1657" class="footnote"><p><a href="#idm1657" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1682" class="footnote"><p><a href="#idm1682" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapittel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ OpenStax er en ideell organisasjon som gir gratis, åpent lisensierte
+lærebøker for innledende collegekurs med mange innregistrerte, og Advanced
Placement-kurs. Grunnlagt i 2012 i USA.
</p><p>
<a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
</p><p><span class="strong"><strong>Inntjeningsmodell</strong></span>: Donasjonfinansiering,
-betaling for tilpassede tjenester, betaling for fysiske kopier (læreboksalg)
+betaling for tilpassede tjenester, betaling for fysiske kopier (læreboksalg)
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 16. desember 2015
- </p><p><span class="strong"><strong> Intervjuet</strong></span>: David Harris, sjefsredaktør
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><p><span class="strong"><strong> Intervjuet</strong></span>: David Harris, sjefsredaktør
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- OpenStax er en fortsettelse på et program kalt Connexions, som ble startet i
+ OpenStax er en fortsettelse på et program kalt Connexions, som ble startet i
1999 av dr. Richard Baraniuk, Victor E. Cameron-professor i elektonikk og
datavitenskap ved Rice University i Houston, Texas. Frustrert av
-begrensningene til tradisjonelle lærebøker og kurs, ønsket dr. Baraniuk å gi
-forfattere og elever en måte å dele og fritt tilpasse pedagogisk materiell,
-det vil si kurs, bøker og rapporter. I dag er Connexions (nå kalt OpenStax
-CNX) et av verdens beste biblioteker med læremidler som kan tilpasses, alle
+begrensningene til tradisjonelle lærebøker og kurs, ønsket dr. Baraniuk å gi
+forfattere og elever en måte å dele og fritt tilpasse pedagogisk materiell,
+det vil si kurs, bøker og rapporter. I dag er Connexions (nå kalt OpenStax
+CNX) et av verdens beste biblioteker med læremidler som kan tilpasses, alle
lisensiert med Creative Commons og tilgjengelig for alle, hvor som helst,
-når som helst – gratis.
- </p><p>
- I 2008, i en topplederrolle på WebAssign mens han så på måter å redusere
-risikoen som fulgte med å stole på utgivere, begynte David Harris å
-undersøke åpne pedagogiske ressurser (OER), og oppdaget Connexions. Et og et
-halvt år senere mottok Connexions en donasjon for å øke bruken av OER slik
-at den kunne oppfylle behovene til elever som ikke hadde råd til
-lærebøker. David gikk om bord for på være spydspiss i dette
-arbeidet. Connexions ble OpenStax CNX; oppgaven å lage åpne lærebøker ble
-OpenStax College, nå ganske enkelt kalt OpenStax.
- </p><p>
- David hadde med seg en dyp forståelse av den beste praksisen for å
+når som helst – gratis.
+ </p><p>
+ I 2008, i en topplederrolle på WebAssign mens han så på måter å redusere
+risikoen som fulgte med å stole på utgivere, begynte David Harris å
+undersøke åpne pedagogiske ressurser (OER), og oppdaget Connexions. Et og et
+halvt år senere mottok Connexions en donasjon for å øke bruken av OER slik
+at den kunne oppfylle behovene til elever som ikke hadde råd til
+lærebøker. David gikk om bord for på være spydspiss i dette
+arbeidet. Connexions ble OpenStax CNX; oppgaven å lage åpne lærebøker ble
+OpenStax College, nå ganske enkelt kalt OpenStax.
+ </p><p>
+ David hadde med seg en dyp forståelse av den beste praksisen for å
publisere, sammen med hvor utgivere var ineffektive. Etter Davids syn er
-fagfellevurdering og høye standarder for kvalitet, kritisk viktig om du
-enkelt vil skalere. Bøkene må ha en logisk innretning og rekkefølge, de må
-eksistere som en helhet og ikke som stykker, og de må være lett å
-finne. Arbeidsgruppehypotesen for lanseringen av OpenStax var å produsere en
-nøkkelferdig lærebok profesjonelt, ved å investere i innsats først, med en
-forventning om at dette ville føre til rask vekst gjennom enkel nedstrøms
+fagfellevurdering og høye standarder for kvalitet, kritisk viktig om du
+enkelt vil skalere. Bøkene må ha en logisk innretning og rekkefølge, de må
+eksistere som en helhet og ikke som stykker, og de må være lett å
+finne. Arbeidsgruppehypotesen for lanseringen av OpenStax var å produsere en
+nøkkelferdig lærebok profesjonelt, ved å investere i innsats først, med en
+forventning om at dette ville føre til rask vekst gjennom enkel nedstrøms
tilpasninger av fakulteter og studenter.
</p><p>
- I 2012 ble OpenStax College lansert som et ideelt foretak med mål å
-produsere høy kvalitets, fagfellevurderte fullfarge lærebøker som skulle
-være tilgjengelig gratis for de ti mest benyttede collegekursene i landet. I
-dag nærmer det seg raskt dette antallet. Det finnes data som beviser
+ I 2012 ble OpenStax College lansert som et ideelt foretak med mål å
+produsere høy kvalitets, fagfellevurderte fullfarge lærebøker som skulle
+være tilgjengelig gratis for de ti mest benyttede collegekursene i landet. I
+dag nærmer det seg raskt dette antallet. Det finnes data som beviser
suksessen til deres opprinnelige anslag for hvor mange studenter de kunne
-hjelpe, og hvor mye penger de kunne hjelpe til med
å få spart.<a href="#ftn.idm1722" class="footnote" name="idm1722"><sup class="footnote">[140]</sup></a> Profesjonelt produsert innhold skalerer raskt. Alt
+hjelpe, og hvor mye penger de kunne hjelpe til med
å få spart.<a href="#ftn.idm1722" class="footnote" name="idm1722"><sup class="footnote">[140]</sup></a> Profesjonelt produsert innhold skalerer raskt. Alt
uten at noen sto for salget!
</p><p>
- OpenStax lærebøker er alle Attribution (CC BY)-lisensiert, og hver lærebok
-er tilgjengelig som PDF, e-bok, eller som websider. De som ønsker en fysisk
-kopi, kan kjøpe en til en overkommmelig pris. Gitt kostnaden for utdanning
-og studentbelåningen i Nord-Amerika, er lærebøker som er gratis eller meget
-rimelige svært attraktivt. OpenStax oppfordrer studenter til å snakke med
-sine professorer og bibliotekarer om disse lærebøker, og argumentere for at
+ OpenStax lærebøker er alle Attribution (CC BY)-lisensiert, og hver lærebok
+er tilgjengelig som PDF, e-bok, eller som websider. De som ønsker en fysisk
+kopi, kan kjøpe en til en overkommmelig pris. Gitt kostnaden for utdanning
+og studentbelåningen i Nord-Amerika, er lærebøker som er gratis eller meget
+rimelige svært attraktivt. OpenStax oppfordrer studenter til å snakke med
+sine professorer og bibliotekarer om disse lærebøker, og argumentere for at
de blir brukt.
</p><p>
- Lærere inviteres til å prøve ut ett enkelt kapittel fra en av lærebøkene med
-studentene. Hvis det går bra, blir de oppfordret til å ta i bruk hele
+ Lærere inviteres til å prøve ut ett enkelt kapittel fra en av lærebøkene med
+studentene. Hvis det går bra, blir de oppfordret til å ta i bruk hele
boken. De kan bare lime inn en URL-adresse i deres kurspensum, for fri og
-ubegrenset tilgang. Med kopi av CC BY-lisensen, står lærerne fritt til å
-sløyfe kapitler, lage endringer, og tilpasse hvilken som helst bok til deres
+ubegrenset tilgang. Med kopi av CC BY-lisensen, står lærerne fritt til å
+sløyfe kapitler, lage endringer, og tilpasse hvilken som helst bok til deres
behov.
</p><p>
- Enhver lærer kan legge inn korrigeringer, foreslå eksempler på vanskelige
-begreper, eller bli frivillig som redaktør eller forfatter. Mange lærere vil
-også ønske supplerende materiale som kan følge med en lærebok. OpenStax gir
-også lysarkpresentasjoner, samlinger av tester, nøkler til svar, og så
+ Enhver lærer kan legge inn korrigeringer, foreslå eksempler på vanskelige
+begreper, eller bli frivillig som redaktør eller forfatter. Mange lærere vil
+også ønske supplerende materiale som kan følge med en lærebok. OpenStax gir
+også lysarkpresentasjoner, samlinger av tester, nøkler til svar, og så
videre.
</p><p>
- Institusjoner kan fremheves ved å tilby studentene en rimeligere utdanning
-gjennom bruk av OpenStax lærebøker: Det er til og med en
-lærebok-sparekalkulator som de kan bruke for å se hvor mye elevene ville
-spare. OpenStax holder en løpende liste over institusjoner som har tatt i
-bruk sine l
ærebøker.<a href="#ftn.idm1729" class="footnote" name="idm1729"><sup class="footnote">[141]</sup></a>
+ Institusjoner kan fremheves ved å tilby studentene en rimeligere utdanning
+gjennom bruk av OpenStax lærebøker: Det er til og med en
+lærebok-sparekalkulator som de kan bruke for å se hvor mye elevene ville
+spare. OpenStax holder en løpende liste over institusjoner som har tatt i
+bruk sine l
ærebøker.<a href="#ftn.idm1729" class="footnote" name="idm1729"><sup class="footnote">[141]</sup></a>
</p><p>
- I motsetning til tradisjonelle utgiveres monolittiske tilnærming med å
-kontrollere immateriell eiendomsrett, distribusjon, og så mange andre
-aspekter, har OpenStax tatt i bruk en modell med åpen lisensiering, og
-stoler på et omfattende nettverk av samarbeidspartnere.
+ I motsetning til tradisjonelle utgiveres monolittiske tilnærming med å
+kontrollere immateriell eiendomsrett, distribusjon, og så mange andre
+aspekter, har OpenStax tatt i bruk en modell med åpen lisensiering, og
+stoler på et omfattende nettverk av samarbeidspartnere.
</p><p>
- Up-front finansiering (forhåndsfinansiering) av en profesjonelt produsert
-nøkkelferdig fullfarge-lærebok er dyrt. For denne delen av modellen er
-OpenStax avhengig av filantropi. De har i utgangspunktet vært finansiert av
+ Up-front finansiering (forhåndsfinansiering) av en profesjonelt produsert
+nøkkelferdig fullfarge-lærebok er dyrt. For denne delen av modellen er
+OpenStax avhengig av filantropi. De har i utgangspunktet vært finansiert av
stftelsene: Vilhelm og Flora Hewlett, av Laura og John Arnold, Bill og
Melinda Gates, The 20 Million Minds, Maxfield, Calvin K. Kazanjian og
Rice-universitetet. Utvikling av flere titler og dertil egnet teknologi vil
-trolig fortsatt komme til å kreve filantropisk investering.
+trolig fortsatt komme til å kreve filantropisk investering.
</p><p>
- Men pågående arbeid vil ikke lene seg på donasjoner, men i stedet på
-inntekter via et økosystem av over 40 partnere, der en partner tar
+ Men pågående arbeid vil ikke lene seg på donasjoner, men i stedet på
+inntekter via et økosystem av over 40 partnere, der en partner tar
kjerneinnhold fra OpenStax, og legger til funksjoner som den kan skape
inntekter fra. For eksempel tar WebAssign, et online lekse- og
-vurderingverktøy, den fysiske boken og legger til algoritmegenererte
-fysikkproblemer med problemspesifikke tilbakemeldinger, detaljerte løsninger
-og opplæringstøtte. Mot et gebyr er WebAssigns ressurser tilgjengelige for
+vurderingverktøy, den fysiske boken og legger til algoritmegenererte
+fysikkproblemer med problemspesifikke tilbakemeldinger, detaljerte løsninger
+og opplæringstøtte. Mot et gebyr er WebAssigns ressurser tilgjengelige for
studenter.
</p><p>
- Et annet eksempel er Odigia, som har endret OpenStax-bøker til interaktive
-læringserfaringer, og laget flere verktøy for å måle og fremme
-studentengasjement. Odigia lisensierer sin læringsplattform til
+ Et annet eksempel er Odigia, som har endret OpenStax-bøker til interaktive
+læringserfaringer, og laget flere verktøy for å måle og fremme
+studentengasjement. Odigia lisensierer sin læringsplattform til
institusjoner. Partnere som Odigia og WebAssign gir en prosentandel av
-inntektene de tjener tilbake til OpenStax, som avgifter til å støtte Odigas
-formål. OpenStax har allerede publisert revisjoner av sine titler, slik som
+inntektene de tjener tilbake til OpenStax, som avgifter til å støtte Odigas
+formål. OpenStax har allerede publisert revisjoner av sine titler, slik som
Introduction to Sociology 2e, der disse midlene er brukt.
</p><p>
- Etter Davids syn tillater denne tilnærmingen at markedet kan operere med
-topp effektivitet. Openstaxs partnere trenger ikke å bekymre seg for å
-utvikle lærebokinnhold, for de frigjøres fra disse utviklingskostnadene ved
-å la dem fokusere på hva de gjør best. Med OpenStax-lærebøker gratis
-tilgjengelig, kan de tilby sine tjenester til lavere kostnad – ikke gratis,
+ Etter Davids syn tillater denne tilnærmingen at markedet kan operere med
+topp effektivitet. Openstaxs partnere trenger ikke å bekymre seg for å
+utvikle lærebokinnhold, for de frigjøres fra disse utviklingskostnadene ved
+å la dem fokusere på hva de gjør best. Med OpenStax-lærebøker gratis
+tilgjengelig, kan de tilby sine tjenester til lavere kostnad – ikke gratis,
men sparer fortsatt studentene for utgifter. OpenStax har ikke bare fordeler
-ved å motta avgifter til støtte for sitt formål, men også ved gratis
-publisitet og markedsføring. OpenStax har ingen salgsorganisasjon; partnerne
+ved å motta avgifter til støtte for sitt formål, men også ved gratis
+publisitet og markedsføring. OpenStax har ingen salgsorganisasjon; partnerne
er der ute med sitt materiale som et utstillingsvindu.
</p><p>
- Openstax sine kostnader for verving av én student er veldig lav, en brøkdel
-av hva tradisjonelle aktører i markedet møter. I år er Tyton Partners
-faktisk i gang med å vurdere kostnadene for salg av OER-er som OpenStax med
-partnere. David ser frem til å dele disse funnene med fellesskapet.
- </p><p>
- Mens OpenStax-bøker er tilgjengelig gratis på nettet, vil mange studenter
-fortsatt ønske en trykt utgave. Gjennom et partnerskap med et selskap som
-håndterer trykking og utsending, tilbyr OpenStax en komplett løsning som
-skalerer. OpenStax selger titusenvis av bøker på papir. Én OpenStax-lærebok
-i sosiologi koster rundt tjueåtte dollar, en brøkdel av hva
-sosiologilærebøker vanligvis koster. OpenStax holder prisene lave, men har
-som mål å ha en liten fortjeneste på hver solgte bok, som også bidrar til å
-finansiere den løpende driften.
- </p><p>
- Campusbaserte bokhandlere er del av OpenStax-løsningen. OpenStax samarbeider
-med NACSCORP (National Association of College Stores Corporation) om å gi ut
-versjoner av sine lærebøker til butikkene. Mens totalkostnadene for læreboka
-er betydelig mindre enn en tradisjonell lærebok, kan bokhandlere fortsatt få
-en fortjeneste på salg. Noen ganger bruker studenter det de sparer på en
-rimeligere bok til å kjøpe andre ting i bokhandelen. Og OpenStax prøver å
-bryte den dyre måten det er å ha et overdrevent omfang av returer - ved å ha
+ Openstax sine kostnader for verving av én student er veldig lav, en brøkdel
+av hva tradisjonelle aktører i markedet møter. I år er Tyton Partners
+faktisk i gang med å vurdere kostnadene for salg av OER-er som OpenStax med
+partnere. David ser frem til å dele disse funnene med fellesskapet.
+ </p><p>
+ Mens OpenStax-bøker er tilgjengelig gratis på nettet, vil mange studenter
+fortsatt ønske en trykt utgave. Gjennom et partnerskap med et selskap som
+håndterer trykking og utsending, tilbyr OpenStax en komplett løsning som
+skalerer. OpenStax selger titusenvis av bøker på papir. Én OpenStax-lærebok
+i sosiologi koster rundt tjueåtte dollar, en brøkdel av hva
+sosiologilærebøker vanligvis koster. OpenStax holder prisene lave, men har
+som mål å ha en liten fortjeneste på hver solgte bok, som også bidrar til å
+finansiere den løpende driften.
+ </p><p>
+ Campusbaserte bokhandlere er del av OpenStax-løsningen. OpenStax samarbeider
+med NACSCORP (National Association of College Stores Corporation) om å gi ut
+versjoner av sine lærebøker til butikkene. Mens totalkostnadene for læreboka
+er betydelig mindre enn en tradisjonell lærebok, kan bokhandlere fortsatt få
+en fortjeneste på salg. Noen ganger bruker studenter det de sparer på en
+rimeligere bok til å kjøpe andre ting i bokhandelen. Og OpenStax prøver å
+bryte den dyre måten det er å ha et overdrevent omfang av returer - ved å ha
en ingen-retur politikk. Dette fungerer bra, siden de trykte titlene deres
tydeligvis selger ut nesten hundre prosent.
</p><p>
- David tenker på OpenStax-modellen som <span class="quote">«<span class="quote">OER 2.0</span>»</span>. Så hva er OER
-1.0? Ser en historisk på OER, er mange OER-initiativ lokalt finansiert av
+ David tenker på OpenStax-modellen som <span class="quote">«<span class="quote">OER 2.0</span>»</span>. Så hva er OER
+1.0? Ser en historisk på OER, er mange OER-initiativ lokalt finansiert av
institusjoner eller departementer. Etter Davids syn resulterer dette i
-innhold som har høy lokal verdi, men vedtas sjelden nasjonalt. Det er dermed
-vanskelig å kunne vise at investeringen betaler seg i løpet av rimelig tid.
+innhold som har høy lokal verdi, men vedtas sjelden nasjonalt. Det er dermed
+vanskelig å kunne vise at investeringen betaler seg i løpet av rimelig tid.
</p><p>
- OER 2.0 handler om at OER skal blir brukt og vedtatt på nasjonalt nivå helt
-fra starten. Dette krever en større investering i forkant, men lønner seg
+ OER 2.0 handler om at OER skal blir brukt og vedtatt på nasjonalt nivå helt
+fra starten. Dette krever en større investering i forkant, men lønner seg
gjennom bredere geografisk spredning. OER 2.0-prosessen for OpenStax
-omfatter to utviklingsmodeller. Først er hva David kaller anskaffelsen av
-modellen, der OpenStax kjøper rettigheter fra utgiver eller forfatter for en
+omfatter to utviklingsmodeller. Først er hva David kaller anskaffelsen av
+modellen, der OpenStax kjøper rettigheter fra utgiver eller forfatter for en
allerede publisert bok, og foretar en bred revisjon av den. OpenStax
-fysikk-lærebok, for eksempel, ble lisensiert fra forfatter etter at
-utgiveren ga tilbake rettighetene til forfatterne. Den andre modellen er å
+fysikk-lærebok, for eksempel, ble lisensiert fra forfatter etter at
+utgiveren ga tilbake rettighetene til forfatterne. Den andre modellen er å
utvikle en bok fra bunnen av, et godt eksempel er deres biologibok.
</p><p>
- Prosessen er lik for begge modeller. Først ser de på omfanget og sekvensen
-til eksisterende lærebøker. De stiller spørsmål som hva kunden trenger? Hvor
-har studenter utfordringer? Så identifiserer de potensielle forfattere, og
-har en grundig evaluering — bare én av ti forfattere slipper
+ Prosessen er lik for begge modeller. Først ser de på omfanget og sekvensen
+til eksisterende lærebøker. De stiller spørsmål som hva kunden trenger? Hvor
+har studenter utfordringer? Så identifiserer de potensielle forfattere, og
+har en grundig evaluering — bare én av ti forfattere slipper
gjennom. OpenStax setter sammen et team av forfattere som kommer sammen for
-å utvikle en mal for et kapittel, og sammen skrive det første utkastet
-(eller reviderer det, i oppkjøpsmodellen). (OpenStax lager ikke bøker med
+å utvikle en mal for et kapittel, og sammen skrive det første utkastet
+(eller reviderer det, i oppkjøpsmodellen). (OpenStax lager ikke bøker med
bare en enkelt forfatter, ettersom David sier at en da risikerer at
-prosjektet går lenger enn planlagt.) Utkastet er fagfellevurdert med ikke
+prosjektet går lenger enn planlagt.) Utkastet er fagfellevurdert med ikke
mindre enn tre vurderinger av hvert kapittel. Et utkast nummer to blir
laget, med kunstnere som lager illustrasjoner og bilder sammen med
-teksten. Boken blir deretter redigert for å sikre at den er grammatisk
-korrekt og med samme stemme. Til slutt går den i produksjon og gjennom en
-endelig korrekturlesing. Hele prosessen er svært tidkrevende.
+teksten. Boken blir deretter redigert for å sikre at den er grammatisk
+korrekt og med samme stemme. Til slutt går den i produksjon og gjennom en
+endelig korrekturlesing. Hele prosessen er svært tidkrevende.
</p><p>
- Alle involverte i denne prosessen får betalt. OpenStax stoler ikke på
-frivillige. Forfattere, korrekturlesere, illustratører og redaktører får
+ Alle involverte i denne prosessen får betalt. OpenStax stoler ikke på
+frivillige. Forfattere, korrekturlesere, illustratører og redaktører får
alle betalt et forskuddshonorar. OpenStax bruker ikke en royalty-modell. En
bestselgende forfatter kan tjene mer penger med den tradisjonelle
publiseringsmodellen, men det gjelder kanskje bare 5 prosent av alle
forfattere. Fra Davids perspektiv, tjener 95 prosent av alle forfattere
bedre med OER 2.0-modellen, da det ikke er noen risiko for dem da pengene
-er forhåndsbetalt.
- </p><p>
- David tenker på Attribution-lisensen (CC BY) som
-<span class="quote">«<span class="quote">nyskapningslisensen</span>»</span>. Den er kjernen i formålet med OpenStax,
-å la folk bruke lærebøkene deres på nyskapende måter uten å måtte be om
-tillatelse. Det frigjør hele markedet, og har vært sentral for at OpenStax
-skulle kunne få partnere. Det gjøres mye tilpassing av materialet til
-OpenStax. Ved å åpne for friksjonsfri remiksing gir CC BY lærere kontroll
+er forhåndsbetalt.
+ </p><p>
+ David tenker på Attribution-lisensen (CC BY) som
+<span class="quote">«<span class="quote">nyskapningslisensen</span>»</span>. Den er kjernen i formålet med OpenStax,
+å la folk bruke lærebøkene deres på nyskapende måter uten å måtte be om
+tillatelse. Det frigjør hele markedet, og har vært sentral for at OpenStax
+skulle kunne få partnere. Det gjøres mye tilpassing av materialet til
+OpenStax. Ved å åpne for friksjonsfri remiksing gir CC BY lærere kontroll
og akademisk frihet.
</p><p>
- Å bruke CC er også et godt eksempel på strategier som tradisjonelle utgivere
-ikke kan bruke. Tradisjonelle utgivere må stole på opphavsretten for å
-hindre kopiering, og investere tungt i å følge opp digitale rettigheter for
-å sikre at bøkene deres ikke blir delt. Ved hjelp av CC BY unngår OpenStax
-å måtte håndtere digitale rettigheter og medfølgende
-kostnader. OpenStax-bøker kan kopieres og deles igjen og igjen. CC BY endrer
+ Å bruke CC er også et godt eksempel på strategier som tradisjonelle utgivere
+ikke kan bruke. Tradisjonelle utgivere må stole på opphavsretten for å
+hindre kopiering, og investere tungt i å følge opp digitale rettigheter for
+å sikre at bøkene deres ikke blir delt. Ved hjelp av CC BY unngår OpenStax
+å måtte håndtere digitale rettigheter og medfølgende
+kostnader. OpenStax-bøker kan kopieres og deles igjen og igjen. CC BY endrer
betingelsene og utnytter ineffektiviteten i det tradisjonelle markedet.
</p><p>
Pr. 16. september 2016 kan OpenStax vise endel imponerende resultater. Her
fra OpenStax-faktablad (OpenStax at a Glance fact sheet) i den seneste
presseinformasjonen:
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
- Bøker publisert: 23
+ Bøker publisert: 23
</p></li><li class="listitem"><p>
Studenter som har brukt OpenStax: 1,6 millioner
</p></li><li class="listitem"><p>
Penger spart for studenter: 155 millioner dollar
</p></li><li class="listitem"><p>
- Penger spart for studenter i studieåret 2016/17: 77 millioner dollar
+ Penger spart for studenter i studieåret 2016/17: 77 millioner dollar
</p></li><li class="listitem"><p>
Skoler som har brukt OpenStax: 2 668 (dette tallet viser alle institusjoner
-som bruker minst én OpenStax lærebok. Av 2 668 skoler er 517 toårige
-høgskoler, 835 fireårige høgskoler og universiteter, og 344 høyskoler og
+som bruker minst én OpenStax lærebok. Av 2 668 skoler er 517 toårige
+høgskoler, 835 fireårige høgskoler og universiteter, og 344 høyskoler og
universiteter utenfor USA)
</p></li></ul></div><p>
- Mens OpenStax hittil har vært fokusert på USA, skjer den utenlandske
-innføringen spesielt på feltene innen vitenskap, teknologi, ingeniørfag og
+ Mens OpenStax hittil har vært fokusert på USA, skjer den utenlandske
+innføringen spesielt på feltene innen vitenskap, teknologi, ingeniørfag og
matematikk (STEM (Science, technology, engineering, and
-mathematics)). Storskala spredning i USA sees på som en nødvendig
+mathematics)). Storskala spredning i USA sees på som en nødvendig
forutsetning for internasjonal interesse.
</p><p>
- OpenStax har primært fokusert på innledende høyskolekurs (college courses)
-hvor det er mange registrerte, men de begynner å tenke vertikalt – på et
+ OpenStax har primært fokusert på innledende høyskolekurs (college courses)
+hvor det er mange registrerte, men de begynner å tenke vertikalt – på et
bredt tilbud for en bestemt gruppe, eller et bestemt behov. David synes det
-ville være veldig bra hvis OpenStax kunne gi tilgang til gratis lærebøker
+ville være veldig bra hvis OpenStax kunne gi tilgang til gratis lærebøker
gjennom hele pensumet, for eksempel for en sykepleierutdanning.
</p><p>
- Til slutt, for OpenStax-suksess handler ikke bare om spredning av lærebøker
+ Til slutt, for OpenStax-suksess handler ikke bare om spredning av lærebøker
og besparelser for studentene. Det er et menneskelig aspekt ved arbeidet,
-som det er vanskelig å kvantifisere, men er utrolig viktig. De får
+som det er vanskelig å kvantifisere, men er utrolig viktig. De får
e-postmeldinger fra studenter om hvordan OpenStax reddet dem fra vanskelige
-valg som å kjøpe mat eller en lærebok. OpenStax ønsker også å vurdere
-effekten bøkene deres har på læringseffektiviteten, utholdenheten og
-fullførelsen. Ved å bygge på en åpen forretningsmodell basert på Creative
-Commons, gjør OpenStax det mulig for alle studenter som ønsker å skaffe seg
-en utdanning å kunne få den.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1722" class="footnote"><p><a href="#idm1722" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1729" class="footnote"><p><a href="#idm1729" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapittel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+valg som å kjøpe mat eller en lærebok. OpenStax ønsker også å vurdere
+effekten bøkene deres har på læringseffektiviteten, utholdenheten og
+fullførelsen. Ved å bygge på en åpen forretningsmodell basert på Creative
+Commons, gjør OpenStax det mulig for alle studenter som ønsker å skaffe seg
+en utdanning å kunne få den.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1722" class="footnote"><p><a href="#idm1722" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1729" class="footnote"><p><a href="#idm1729" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapittel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Amanda Palmer er en musiker, kunstner og skribent. Basert i USA.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Folkefinansiering
(abonnementsbasert), betaling for fysiske kopier, varesalg
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 15. desember 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Siden starten på sin karrière, har Amanda Palmer vært på det hun kaller en
-<span class="quote">«<span class="quote">planløs reise</span>»</span>, kontinuerlig eksperimenterende med å finne nye
-m
åter å opprettholde sitt skapende arbeid på.<a href="#ftn.idm1776" class="footnote" name="idm1776"><sup class="footnote">[142]</sup></a>
- </p><p>
- I sin bestselgerbok, <span class="quote">«<span class="quote">The Art of Asking</span>»</span>, formulerer Amanda
-nøyaktig hva hun har vært, og hva hun fortsetter å strebe etter –
-<span class="quote">«<span class="quote">det ideelle punktet ... der kunstneren fritt kan dele, og direkte
-føle etterklangen av sine kunstneriske gaver til samfunnet, og leve av
-det</span>»</span>.
- </p><p>
- Mens hun for egen del synes å ha funnet en bra balanse, er Amanda den første
-til å erkjenne at det ikke er noen mirakelkur. Hun mener den digitale
-tidsalderen både er spennende og frustrerende for skapere. <span class="quote">«<span class="quote">På den ene
-side har vi denne nydelige muligheten til å dele</span>»</span>, sa
-Amanda. <span class="quote">«<span class="quote">På den andre siden har man en haug forvirrede kunstnere som
-lurer på hvordan man får tak i penger til å kjøpe mat, slik at mer kunst kan
-skapes.</span>»</span>
- </p><p>
- Amanda begynte sin kunstneriske karrière som gateartist. Hun kunne kle seg i
-en antikk brudekjole, male ansiktet hvitt, stå på en stabel melkekasser, og
+ Siden starten på sin karrière, har Amanda Palmer vært på det hun kaller en
+<span class="quote">«<span class="quote">planløs reise</span>»</span>, kontinuerlig eksperimenterende med å finne nye
+m
åter å opprettholde sitt skapende arbeid på.<a href="#ftn.idm1776" class="footnote" name="idm1776"><sup class="footnote">[142]</sup></a>
+ </p><p>
+ I sin bestselgerbok, <span class="quote">«<span class="quote">The Art of Asking</span>»</span>, formulerer Amanda
+nøyaktig hva hun har vært, og hva hun fortsetter å strebe etter –
+<span class="quote">«<span class="quote">det ideelle punktet ... der kunstneren fritt kan dele, og direkte
+føle etterklangen av sine kunstneriske gaver til samfunnet, og leve av
+det</span>»</span>.
+ </p><p>
+ Mens hun for egen del synes å ha funnet en bra balanse, er Amanda den første
+til å erkjenne at det ikke er noen mirakelkur. Hun mener den digitale
+tidsalderen både er spennende og frustrerende for skapere. <span class="quote">«<span class="quote">På den ene
+side har vi denne nydelige muligheten til å dele</span>»</span>, sa
+Amanda. <span class="quote">«<span class="quote">På den andre siden har man en haug forvirrede kunstnere som
+lurer på hvordan man får tak i penger til å kjøpe mat, slik at mer kunst kan
+skapes.</span>»</span>
+ </p><p>
+ Amanda begynte sin kunstneriske karrière som gateartist. Hun kunne kle seg i
+en antikk brudekjole, male ansiktet hvitt, stå på en stabel melkekasser, og
levere ut blomster til fremmede som en del av en taus, dramatisk
-opptreden. Hun samlet inn penger i en lue. De fleste gikk forbi henne uten å
-stoppe, men noen få viktige stoppet for å se og legge noen penger i lua for
-å vise sin takknemlighet. I stedet for å dvele ved de fleste menneskene som
-ignorerte henne, følte hun takknemlighet for dem som stoppet. <span class="quote">«<span class="quote">Alt jeg
-trengte var … noen mennesker</span>»</span>, skrev hun i sin bok. <span class="quote">«<span class="quote">Nok
-folk. Nok til å gjøre det verdt å komme tilbake neste dag, nok folk til å
-hjelpe meg å betale husleia og sette mat på bordet. Nok til at jeg kunne
-fortsette å lage kunst.</span>»</span>
+opptreden. Hun samlet inn penger i en lue. De fleste gikk forbi henne uten å
+stoppe, men noen få viktige stoppet for å se og legge noen penger i lua for
+å vise sin takknemlighet. I stedet for å dvele ved de fleste menneskene som
+ignorerte henne, følte hun takknemlighet for dem som stoppet. <span class="quote">«<span class="quote">Alt jeg
+trengte var â\80¦ noen mennesker</span>»</span>, skrev hun i sin bok. <span class="quote">«<span class="quote">Nok
+folk. Nok til å gjøre det verdt å komme tilbake neste dag, nok folk til å
+hjelpe meg å betale husleia og sette mat på bordet. Nok til at jeg kunne
+fortsette å lage kunst.</span>»</span>
</p><p>
Amanda har kommet langt siden dagene som gateartist, men karrieren hennes
-domineres fortsatt av den samme følelsen, å finne måter å nå <span class="quote">«<span class="quote">sitt
-publikum i mengden</span>»</span>, og føle takknemlighet når hun gjør det. Med
-bandet sitt, Dresden Dolls, prøvde Amanda å gå den tradisjonelle veien med å
-signere med et plateselskap. Det virket ikke, av en rekke årsaker, men én av
-dem var at selskapet absolutt ikke hadde noen interesse for Amandas syn på
-suksess. De ønsket slagere, men å lage musikk for massene var aldri det
-Amanda og Dresden Dolls hadde som mål.
- </p><p>
- Etter at hun forlot plateselskapet i 2008, begynte hun å eksperimentere med
-ulike måter å leve på. Hun ga ut musikk direkte til publikum uten
-involvering av mellommann, la ut digitale filer på <span class="quote">«<span class="quote">betal hva du
-vil</span>»</span>-basis, og solgte CD-er og vinyl. Hun gjorde også penger på
-sanntids-opptredener og varesalg. Til slutt, i 2012 besluttet hun å prøve
-seg på en slags folkefinansiering som vi alle vet så godt hva er i
-dag. Hennes Kickstarter-prosjekt startet med et mål om 100 000 dollar, og
+domineres fortsatt av den samme følelsen, å finne måter å nå <span class="quote">«<span class="quote">sitt
+publikum i mengden</span>»</span>, og føle takknemlighet når hun gjør det. Med
+bandet sitt, Dresden Dolls, prøvde Amanda å gå den tradisjonelle veien med å
+signere med et plateselskap. Det virket ikke, av en rekke årsaker, men én av
+dem var at selskapet absolutt ikke hadde noen interesse for Amandas syn på
+suksess. De ønsket slagere, men å lage musikk for massene var aldri det
+Amanda og Dresden Dolls hadde som mål.
+ </p><p>
+ Etter at hun forlot plateselskapet i 2008, begynte hun å eksperimentere med
+ulike måter å leve på. Hun ga ut musikk direkte til publikum uten
+involvering av mellommann, la ut digitale filer på <span class="quote">«<span class="quote">betal hva du
+vil</span>»</span>-basis, og solgte CD-er og vinyl. Hun gjorde også penger på
+sanntids-opptredener og varesalg. Til slutt, i 2012 besluttet hun å prøve
+seg på en slags folkefinansiering som vi alle vet så godt hva er i
+dag. Hennes Kickstarter-prosjekt startet med et mål om 100 000 dollar, og
hun fikk inn 1,2 millioner dollar. Det er fortsatt et av de mest vellykkede
Kickstarter-prosjektene gjennom tidene.
</p><p>
- I dag har Amanda gått bort fra folkefinansiering for spesifikke prosjekter,
-og får i stedet vedvarende økonomisk støtte fra sin tilhengerskare på
-Patreon, et nettsted for folkefinansiering som lar kunstnere få regelmessige
-donasjoner fra fans. Mer enn åtte tusen mennesker har meldt seg for å støtte
+ I dag har Amanda gått bort fra folkefinansiering for spesifikke prosjekter,
+og får i stedet vedvarende økonomisk støtte fra sin tilhengerskare på
+Patreon, et nettsted for folkefinansiering som lar kunstnere få regelmessige
+donasjoner fra fans. Mer enn åtte tusen mennesker har meldt seg for å støtte
henne, slik at hun kan lage musikk, kunst, og andre kreative
-<span class="quote">«<span class="quote">ting</span>»</span> hun blir inspirert til å gjøre. De repeterende
-innsamlingskampanjene gjøres <span class="quote">«<span class="quote">per ting</span>»</span>. Alt innhold hun lager
-gjøres fritt tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens
+<span class="quote">«<span class="quote">ting</span>»</span> hun blir inspirert til å gjøre. De repeterende
+innsamlingskampanjene gjøres <span class="quote">«<span class="quote">per ting</span>»</span>. Alt innhold hun lager
+gjøres fritt tilgjengelig med en Attribution-NonCommercial-ShareAlike-lisens
(CC BY-NC-SA).
</p><p>
- Å gi musikken og kunsten Creative Commons-lisenser begrenser utvilsomt
-hennes valgmuligheter for hvordan hun skaffer seg et levebrød. Men å dele
-verkene sine har vært en del av hennes modell siden starten av karrieren,
-selv før hun oppdaget Creative Commons. Amanda sier at Dresden Dolls brukte
-å få ti e-poster pr. uke fra fans som spurte om de kunne bruke hennes musikk
-i forskjellige prosjekter. De sa ja til alle forespørsler, så lenge det ikke
-var for et helt inntektsgivende formål. Samtidig brukte de en kortfattet
-avtale skrevet av Amanda selv. <span class="quote">«<span class="quote">Jeg fikk alle til å signere den
-kontrakten så jeg ikke gjorde bandet sårbart for at noen senere brukte vår
-musikk i en annonse for Camel-sigaretter</span>»</span>, sa Amanda. Straks hun
-oppdaget Creative Commons, var det en lett beslutning å ta i bruk lisensene
-fordi det ga dem en mer formell og standardisert måte å gjøre hva de hadde
+ Å gi musikken og kunsten Creative Commons-lisenser begrenser utvilsomt
+hennes valgmuligheter for hvordan hun skaffer seg et levebrød. Men å dele
+verkene sine har vært en del av hennes modell siden starten av karrieren,
+selv før hun oppdaget Creative Commons. Amanda sier at Dresden Dolls brukte
+å få ti e-poster pr. uke fra fans som spurte om de kunne bruke hennes musikk
+i forskjellige prosjekter. De sa ja til alle forespørsler, så lenge det ikke
+var for et helt inntektsgivende formål. Samtidig brukte de en kortfattet
+avtale skrevet av Amanda selv. <span class="quote">«<span class="quote">Jeg fikk alle til å signere den
+kontrakten så jeg ikke gjorde bandet sårbart for at noen senere brukte vår
+musikk i en annonse for Camel-sigaretter</span>»</span>, sa Amanda. Straks hun
+oppdaget Creative Commons, var det en lett beslutning å ta i bruk lisensene
+fordi det ga dem en mer formell og standardisert måte å gjøre hva de hadde
gjort hele tiden. De ikke-kommersielle lisensene var et naturlig valg.
</p><p>
- Amanda omfavner måten tilhengerne hennes deler og bygger videre på musikken
-hennes. I <span class="quote">«<span class="quote">The Art of Asking</span>»</span> skrev hun at noen av tilhengerne
-har laget uoffisielle videoer med hennes musikk. De overgår faktisk de
-offisielle videoene i antall visninger på YouTube. I stedet for å se på
-dette som en slags konkurranse, synes Amanda det er flott. <span class="quote">«<span class="quote">Jeg
-startet med dette fordi jeg ønsket å dele musikkgleden</span>»</span>, sier hun.
- </p><p>
- Dette er symbolsk for at nesten alt hun gjør i sin karrière, er motivert av
-et ønske om å knytte seg til fansen. I starten av karrieren startet bandet
-med konserter på hjemmefester. Ettersom samlingene vokste, ble linjen mellom
-fans og venner helt uskarpe. <span class="quote">«<span class="quote">Ikke bare visste våre tidligste fans
-hvor jeg bodde, og hvor vi øvde, men de fleste av dem hadde også vært inne
-på kjøkkenet mitt</span>»</span>, skrev Amanda i <span class="quote">«<span class="quote">The Art of Asking</span>»</span>.
- </p><p>
- Selv om fan-basen nå er stor og global, fortsetter hun å søke denne typen
-menneskelig kobling med fansen. Hun søker personlig kontakt med fansen hver
-gang hun får en sjanse. Hennes vellykkede folkefinansiering på Kickstarter
-omfattet femti konserter på fester hjemme hos tilhengere. Hun tilbringer
+ Amanda omfavner måten tilhengerne hennes deler og bygger videre på musikken
+hennes. I <span class="quote">«<span class="quote">The Art of Asking</span>»</span> skrev hun at noen av tilhengerne
+har laget uoffisielle videoer med hennes musikk. De overgår faktisk de
+offisielle videoene i antall visninger på YouTube. I stedet for å se på
+dette som en slags konkurranse, synes Amanda det er flott. <span class="quote">«<span class="quote">Jeg
+startet med dette fordi jeg ønsket å dele musikkgleden</span>»</span>, sier hun.
+ </p><p>
+ Dette er symbolsk for at nesten alt hun gjør i sin karrière, er motivert av
+et ønske om å knytte seg til fansen. I starten av karrieren startet bandet
+med konserter på hjemmefester. Ettersom samlingene vokste, ble linjen mellom
+fans og venner helt uskarpe. <span class="quote">«<span class="quote">Ikke bare visste våre tidligste fans
+hvor jeg bodde, og hvor vi øvde, men de fleste av dem hadde også vært inne
+på kjøkkenet mitt</span>»</span>, skrev Amanda i <span class="quote">«<span class="quote">The Art of Asking</span>»</span>.
+ </p><p>
+ Selv om fan-basen nå er stor og global, fortsetter hun å søke denne typen
+menneskelig kobling med fansen. Hun søker personlig kontakt med fansen hver
+gang hun får en sjanse. Hennes vellykkede folkefinansiering på Kickstarter
+omfattet femti konserter på fester hjemme hos tilhengere. Hun tilbringer
flere timer med signering etter konserter. Det hjelper at Amanda har en
dynamisk og engasjerende personlighet som umiddelbart trekker folk til seg,
-men en stor del av hennes evne til å få kontakt med folk er viljen hennes
-til å lytte. <span class="quote">«<span class="quote">Å lytte raskt og vise omsorg umiddelbart er en egen
-ferdighet</span>»</span>, skrev Amanda.
- </p><p>
- En del av tilknytningen fansen føler til Amanda er hvor mye de vet om hennes
-liv. Snarere enn å prøve å skape en offentlig person eller et bilde, lever
-hun i hovedsak livet som en åpen bok. Hun har skrevet åpent om utrolig
-personlige hendelser i livet sitt, og hun er ikke redd for å være sårbar. Å
-ha den slags tillit til fansen – tilliten som kreves for å være virkelig
-ærlig – avler tillit fra fansen i retur. Når hun møter fans for første gang
-etter en forestilling, kan de helt riktig føle at de kjenner henne.
- </p><p><span class="quote">«<span class="quote">Med sosiale medier er vi så opptatt av bildets utseende, at vi
-glemmer å være mennesker i å vise våre feil og sårbarhet, noe som faktisk
-skaper en dypere forbindelse til forskjell fra det å bare se fantastisk
-ut</span>»</span>, sa Amanda. <span class="quote">«<span class="quote">Alt i kulturen vår forteller oss noe
-annet. Min erfaring har vist meg at risikoen ved å vise ens sårbarhet,
-nesten alltid er verdt det.</span>»</span>
- </p><p>
- Ikke bare avslører hun intime detaljer om sitt liv til dem, hun sover på
-deres sofaer, lytter til deres historier, gråter med dem. Kort sagt, hun
-behandler fansen som venner på nesten alle mulige måter, selv når de er
-fullstendig fremmede. Denne mentaliteten, at fans er venner – er helt
-sammenvevd med Amandas suksess som kunstner. Det er også vevd sammen med
-hennes bruk av Creative Commons-lisenser. Fordi det er det du gjør med
-vennene dine – du deler.
- </p><p>
- Etter år med investert tid og energi i å bygge tillit til fansen, har hun et
-sterkt nok forhold til dem til å be om støtte gjennom
-Betal-hva-du-vil-donasjoner, Kickstarter, Patreon, eller selv å be dem å ta
-i et tak på en konsert. Som Amanda forklarer det, folkefinansiering (noe som
-virkelig er hva alle disse forskjellige tingene er) er å be om støtte fra
-folk som kjenner og stoler på deg. Personer som føler at de personlig har
+men en stor del av hennes evne til å få kontakt med folk er viljen hennes
+til å lytte. <span class="quote">«<span class="quote">Å lytte raskt og vise omsorg umiddelbart er en egen
+ferdighet</span>»</span>, skrev Amanda.
+ </p><p>
+ En del av tilknytningen fansen føler til Amanda er hvor mye de vet om hennes
+liv. Snarere enn å prøve å skape en offentlig person eller et bilde, lever
+hun i hovedsak livet som en åpen bok. Hun har skrevet åpent om utrolig
+personlige hendelser i livet sitt, og hun er ikke redd for å være sårbar. Å
+ha den slags tillit til fansen – tilliten som kreves for å være virkelig
+ærlig – avler tillit fra fansen i retur. Når hun møter fans for første gang
+etter en forestilling, kan de helt riktig føle at de kjenner henne.
+ </p><p><span class="quote">«<span class="quote">Med sosiale medier er vi så opptatt av bildets utseende, at vi
+glemmer å være mennesker i å vise våre feil og sårbarhet, noe som faktisk
+skaper en dypere forbindelse til forskjell fra det å bare se fantastisk
+ut</span>»</span>, sa Amanda. <span class="quote">«<span class="quote">Alt i kulturen vår forteller oss noe
+annet. Min erfaring har vist meg at risikoen ved å vise ens sårbarhet,
+nesten alltid er verdt det.</span>»</span>
+ </p><p>
+ Ikke bare avslører hun intime detaljer om sitt liv til dem, hun sover på
+deres sofaer, lytter til deres historier, gråter med dem. Kort sagt, hun
+behandler fansen som venner på nesten alle mulige måter, selv når de er
+fullstendig fremmede. Denne mentaliteten, at fans er venner – er helt
+sammenvevd med Amandas suksess som kunstner. Det er også vevd sammen med
+hennes bruk av Creative Commons-lisenser. Fordi det er det du gjør med
+vennene dine – du deler.
+ </p><p>
+ Etter år med investert tid og energi i å bygge tillit til fansen, har hun et
+sterkt nok forhold til dem til å be om støtte gjennom
+Betal-hva-du-vil-donasjoner, Kickstarter, Patreon, eller selv å be dem å ta
+i et tak på en konsert. Som Amanda forklarer det, folkefinansiering (noe som
+virkelig er hva alle disse forskjellige tingene er) er å be om støtte fra
+folk som kjenner og stoler på deg. Personer som føler at de personlig har
investert i din suksess.
- </p><p><span class="quote">«<span class="quote">Når du åpent, virkelig stoler mennesker, tar de ikke bare vare på
-deg, de blir dine allierte, din familie</span>»</span>, skrev hun. Det er virkelig
-en følelse av samhold hos kjernen av hennes fans. Fra starten av oppfordret
-Amanda og bandet hennes folk til å kle seg opp til sine forestillinger. De
-dyrket en bevisst følelse av tilhørighet til <span class="quote">«<span class="quote">denne rare lille
-familien</span>»</span>.
- </p><p>
- Slik intimitet med fans er ikke mulig, eller egentlig ønskelig for alle
-artister. <span class="quote">«<span class="quote">Jeg tar det ikke for gitt at jeg tilfeldigvis er den typen
-person som elsker å danse omkring med fremmede</span>»</span>, sa
-Amanda. <span class="quote">«<span class="quote">Jeg erkjenner at det ikke nødvendigvis er alles forestilling
-om å ha det trivelig. Alle gjør det forskjellig. Å gjenta hva jeg har gjort,
-fungerer ikke for andre hvis det ikke er en glede for dem. Det gjelder å
-finne en måte å kanalisere energien sin på som gleder deg selv.</span>»</span>
+ </p><p><span class="quote">«<span class="quote">Når du åpent, virkelig stoler mennesker, tar de ikke bare vare på
+deg, de blir dine allierte, din familie</span>»</span>, skrev hun. Det er virkelig
+en følelse av samhold hos kjernen av hennes fans. Fra starten av oppfordret
+Amanda og bandet hennes folk til å kle seg opp til sine forestillinger. De
+dyrket en bevisst følelse av tilhørighet til <span class="quote">«<span class="quote">denne rare lille
+familien</span>»</span>.
+ </p><p>
+ Slik intimitet med fans er ikke mulig, eller egentlig ønskelig for alle
+artister. <span class="quote">«<span class="quote">Jeg tar det ikke for gitt at jeg tilfeldigvis er den typen
+person som elsker å danse omkring med fremmede</span>»</span>, sa
+Amanda. <span class="quote">«<span class="quote">Jeg erkjenner at det ikke nødvendigvis er alles forestilling
+om å ha det trivelig. Alle gjør det forskjellig. Å gjenta hva jeg har gjort,
+fungerer ikke for andre hvis det ikke er en glede for dem. Det gjelder å
+finne en måte å kanalisere energien sin på som gleder deg selv.</span>»</span>
</p><p>
Men mens Amanda frydefullt samhandler med fansen, og involverer dem i sitt
-arbeid så mye som mulig, beholder hun én jobb primært for seg selv – å
+arbeid så mye som mulig, beholder hun én jobb primært for seg selv – å
skrive musikken. Hun elsker kreativiteten som fansen bruker, og tilpasser
-sitt arbeid, men med vilje involverer hun dem ikke i den første fasen av
-sitt kunstneriske arbeid. Og selvfølgelig, sangene og musikken er det som i
-utgangspunktet trekker folk til Amanda Palmer. Det er bare når hun har
-koblet til mennesker gjennom musikken sin at hun så kan begynne å bygge bånd
-på et mer personlig nivå, både personlig og på nettet. I sin bok beskriver
-Amanda at det er som å kaste et nett. Det starter med kunst, og deretter
-styrkes båndet med menneskelige relasjoner.
- </p><p>
- For Amanda er hele poenget med å være kunstner å etablere og opprettholde
-denne kontakten. <span class="quote">«<span class="quote">Det høres så banalt ut</span>»</span>, sa hun, <span class="quote">«<span class="quote">men
-min erfaring, med førti år på denne planeten, har vist meg en åpenbar
-sannhet. Forbindelser med mennesker føles så mye bedre og mer
-tilfredsstillende enn å nærme seg kunst med et kapitalistisk blikk. Det er
-ikke noe mer tilfredsstillende mål enn at noen forteller deg at hva du gjør,
-virkelig er av verdi for dem.</span>»</span>
- </p><p>
- Som hun forklarer det; når en fan gir henne en ti-dollarseddel, er det
+sitt arbeid, men med vilje involverer hun dem ikke i den første fasen av
+sitt kunstneriske arbeid. Og selvfølgelig, sangene og musikken er det som i
+utgangspunktet trekker folk til Amanda Palmer. Det er bare når hun har
+koblet til mennesker gjennom musikken sin at hun så kan begynne å bygge bånd
+på et mer personlig nivå, både personlig og på nettet. I sin bok beskriver
+Amanda at det er som å kaste et nett. Det starter med kunst, og deretter
+styrkes båndet med menneskelige relasjoner.
+ </p><p>
+ For Amanda er hele poenget med å være kunstner å etablere og opprettholde
+denne kontakten. <span class="quote">«<span class="quote">Det høres så banalt ut</span>»</span>, sa hun, <span class="quote">«<span class="quote">men
+min erfaring, med førti år på denne planeten, har vist meg en åpenbar
+sannhet. Forbindelser med mennesker føles så mye bedre og mer
+tilfredsstillende enn å nærme seg kunst med et kapitalistisk blikk. Det er
+ikke noe mer tilfredsstillende mål enn at noen forteller deg at hva du gjør,
+virkelig er av verdi for dem.</span>»</span>
+ </p><p>
+ Som hun forklarer det; når en fan gir henne en ti-dollarseddel, er det
vanligvis hva de med det sier at pengene symboliserer at musikken ga dem noe
av dypere verdi. For Amanda er kunst ikke bare et produkt, det er en
-relasjon. Sett slik, er det Amanda gjør i dag ikke så forskjellig fra hva
+relasjon. Sett slik, er det Amanda gjør i dag ikke så forskjellig fra hva
hun gjorde som ung gateartist. Hun deler sin musikk og andre kunstneriske
-gaver. Hun deler seg selv. Og istedenfor å presse folk til å hjelpe henne,
-lar hun dem gjøre det.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1776" class="footnote"><p><a href="#idm1776" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapittel 20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+gaver. Hun deler seg selv. Og istedenfor å presse folk til å hjelpe henne,
+lar hun dem gjøre det.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1776" class="footnote"><p><a href="#idm1776" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapittel 20. PLOS (Public Library of Science - Offentlig vitenskapsbibliotek)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
PLOS (Public Library of Science) er en ideell organisasjon som utgir et
bibliotek av akademiske tidsskrifter og annen vitenskapelig litteratur.
-Grunnlagt i år 2000 i USA.
+Grunnlagt i år 2000 i USA.
</p><p>
<a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
- </p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Innholdsleverandører
-betaler en artikkelprosessavgift for å bli publisert i tidsskiftet
+ </p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Innholdsleverandører
+betaler en artikkelprosessavgift for å bli publisert i tidsskiftet
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 7. mars 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Louise Page, utgiver
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) (Det offentlige biblioteket for
-vitenskap) startet i 2000 da tre ledende forskere – Harold E. Varmus,
-Patrick O. Brown og Michael Eisen – startet en underskriftskampanje på
-nettet. De ba forskere om å stoppe å sende artikler til journaler som ikke
+vitenskap) startet i 2000 da tre ledende forskere – Harold E. Varmus,
+Patrick O. Brown og Michael Eisen – startet en underskriftskampanje på
+nettet. De ba forskere om å stoppe å sende artikler til journaler som ikke
gjorde den fulle teksten av artiklene fritt tilgjengelig umiddelbart, eller
-innen seks måneder. Selv om titusenvis signerte oppropet, fulgte de fleste
+innen seks måneder. Selv om titusenvis signerte oppropet, fulgte de fleste
ikke opp. I august 2001 kunngjorde Patrick og Michael at de ville starte sin
-egen ideelle publiseringsoperasjon for å gjøre akkurat hva oppropet
-lovet. Med oppstartsstøtte fra Gordon og Betty Moore Foundation, ble PLOS
-lansert for å gi ut nye tidsskrifter med åpen tilgang for biomedisin, med
+egen ideelle publiseringsoperasjon for å gjøre akkurat hva oppropet
+lovet. Med oppstartsstøtte fra Gordon og Betty Moore Foundation, ble PLOS
+lansert for å gi ut nye tidsskrifter med åpen tilgang for biomedisin, med
forskningsartikler utgitt med Attribution (CC BY)-lisenser.
</p><p>
Tradisjonelt starter vitenskapelig publisering med at en forfatter sender et
manuskript til en utgiver. Etter interne tekniske og etiske betraktninger
-blir artikkelen deretter gjennomgått for å avgjøre om kvaliteten på arbeidet
-er akseptabel for publisering. Så snart den er akseptert, tar utgiveren
+blir artikkelen deretter gjennomgått for å avgjøre om kvaliteten på arbeidet
+er akseptabel for publisering. Så snart den er akseptert, tar utgiveren
artikkelen gjennom prosessen med redigering, sats og eventuell publisering i
-en trykket eller elektronisk publikasjon. Tradisjonelle journalutgivere får
-dekket kostnader, og har fortjeneste på en abonnementsavgift til
-biblioteker, eller en tilgangsavgift fra brukere som ønsker å lese journalen
+en trykket eller elektronisk publikasjon. Tradisjonelle journalutgivere får
+dekket kostnader, og har fortjeneste på en abonnementsavgift til
+biblioteker, eller en tilgangsavgift fra brukere som ønsker å lese journalen
eller artikkelen.
</p><p>
For Louise Page, den gjeldende utgiveren av PLOS, gir denne tradisjonelle
modellen forskjellsbehandling. Tilgang er begrenset til dem som kan
betale. Mest forskning er finansiert via offentlige organer, det vil si med
offentlige midler. Det er urettferdig at publikum, som finansierte
-forskningen, blir pålagt å betale en gang til for tilgang til
-resultatene. Ikke alle vil ha råd til å betale de stadig økende
-abonnementsavgiftene utgiverne krever, spesielt når bibliotekenes budsjetter
+forskningen, blir pålagt å betale en gang til for tilgang til
+resultatene. Ikke alle vil ha råd til å betale de stadig økende
+abonnementsavgiftene utgiverne krever, spesielt når bibliotekenes budsjetter
reduseres. Begrenset tilgang til resultatene av vitenskapelig forskning
bremser formidling av denne forskningen, og utvikling av fagfeltet. Det var
-på tide med en ny modell.
+på tide med en ny modell.
</p><p>
- Denne nye modellen ble kjent som åpen tilgang. Den er gratis og med åpen
-tilgang på Internett. Åpne forskningsartikler ligger ikke bak en
-betalingsvegg, og krever ikke pålogging. En viktig fordel med åpen tilgang
-er at den tillater folk å fritt bruke, kopiere og distribuere artikler, da
-de er primært publisert under en Attribution (CC BY)-lisens (som bare krever
+ Denne nye modellen ble kjent som åpen tilgang. Den er gratis og med åpen
+tilgang på Internett. Åpne forskningsartikler ligger ikke bak en
+betalingsvegg, og krever ikke pålogging. En viktig fordel med åpen tilgang
+er at den tillater folk å fritt bruke, kopiere og distribuere artikler, da
+de er primært publisert under en Attribution (CC BY)-lisens (som bare krever
at brukeren angir passende henvisning). Og enda viktigere,
-beslutningstakere, klinikere, gründere, lærere og studenter verden rundt har
+beslutningstakere, klinikere, gründere, lærere og studenter verden rundt har
fri og betimelig tilgang til den nyeste forskningen umiddelbart ved
publisering.
</p><p>
- Imidlertid krever åpen tilgang at forretningsmodellen for
-forskningspublisering må gjennomgås på nytt. Heller enn å kreve en
-abonnementsavgift for journalen, besluttet PLOS å snu modellen på hodet og
+ Imidlertid krever åpen tilgang at forretningsmodellen for
+forskningspublisering må gjennomgås på nytt. Heller enn å kreve en
+abonnementsavgift for journalen, besluttet PLOS å snu modellen på hodet og
kreve et publiseringsgebyr, kjent som en artikkelbehandlingskostnad. Denne
forskuddsavgiften, vanligvis betalt av den som finansierer forskningen,
eller forfatterens institusjon, dekker utgifter som redaksjonell
-gjennomgang, organisering av fagfellevurdering, journalproduksjon, plass på
+gjennomgang, organisering av fagfellevurdering, journalproduksjon, plass på
nettet og fremleggelse. Avgifter er pr. artikkel, og faktureres ved aksept
-for publisering. Det er ingen ekstrakostnader basert på antall ord,
+for publisering. Det er ingen ekstrakostnader basert på antall ord,
tegninger, tall eller andre elementer.
</p><p>
- Å beregne artikkelbehandlingsavgiften krever å ta med alle kostnader
-forbundet med å publisere tidsskriftet, og fastsette en kostnad pr. artikkel
+ Å beregne artikkelbehandlingsavgiften krever å ta med alle kostnader
+forbundet med å publisere tidsskriftet, og fastsette en kostnad pr. artikkel
som samlet dekker kostnadene. For PLOSs tidsskrifter i biologi, medisin,
-genetikk, beregningsbiologi, forsømte tropiske sykdommer og patogener,
+genetikk, beregningsbiologi, forsømte tropiske sykdommer og patogener,
varierer betalingen for artikkelbehandlingen fra 2250 dollar til 2900
dollar. Betalingen for artikkelpublikasjoner i PLOS ONE, et tidsskrift
startet i 2006, er like under 1500 dollar.
</p><p>
- PLOS mener at mangel på midler ikke bør være en barriere for
-publisering. Siden begynnelsen, har PLOS gitt betalingsstøtte til
-enkeltpersoner og institusjoner for å hjelpe forfattere som ikke har råd til
+ PLOS mener at mangel på midler ikke bør være en barriere for
+publisering. Siden begynnelsen, har PLOS gitt betalingsstøtte til
+enkeltpersoner og institusjoner for å hjelpe forfattere som ikke har råd til
kostnadene for artikkelbehandling.
</p><p>
- Louise identifiserer markedsføring som et område med stor forskjell mellom
-PLOS og tradisjonelle tidsskriftsutgivere. Tradisjonelle tidsskrifter må
-investere tungt i ansatte, bygninger og infrastruktur for å markedsføre sine
-tidsskrifter og overbevise kunder om å abonnere. Å begrense tilgang til
-abonnenter betyr at verktøy for å administrere tilgangskontroll blir
-nødvendig. De bruker millioner av dollar på systemer for tilgangskontroll,
+ Louise identifiserer markedsføring som et område med stor forskjell mellom
+PLOS og tradisjonelle tidsskriftsutgivere. Tradisjonelle tidsskrifter må
+investere tungt i ansatte, bygninger og infrastruktur for å markedsføre sine
+tidsskrifter og overbevise kunder om å abonnere. Å begrense tilgang til
+abonnenter betyr at verktøy for å administrere tilgangskontroll blir
+nødvendig. De bruker millioner av dollar på systemer for tilgangskontroll,
ansatte som administrerer dem, og selgere. Med PLOS sin
-åpen-tilgang-publisering er det ikke behov for disse massive utgiftene;
-artiklene er fri, åpne og tilgjengelig for alle ved publisering. I tillegg
-pleier tradisjonelle utgivere å bruke mer på markedsføring til biblioteker,
+åpen-tilgang-publisering er det ikke behov for disse massive utgiftene;
+artiklene er fri, åpne og tilgjengelig for alle ved publisering. I tillegg
+pleier tradisjonelle utgivere å bruke mer på markedsføring til biblioteker,
som til slutt betaler for abonnementet. PLOS gir bedre service for
-forfattere ved å fremme deres forskning direkte til forskningsfellesskapet
-og gi forfatterne eksponering. Og dette oppfordrer andre forfattere til å
+forfattere ved å fremme deres forskning direkte til forskningsfellesskapet
+og gi forfatterne eksponering. Og dette oppfordrer andre forfattere til å
sende sitt arbeid for publisering.
</p><p>
For Louise ville PLOS ikke eksistert uten Attribution-lisens (CC BY). Denne
-gjør det veldig klart hvilke rettigheter som er knyttet til innholdet, og
-gir en sikker måte for forskere å gjøre sitt arbeid tilgjengelig, og
-samtidig sikre at de får anerkjennelse (riktige henvisninger). For PLOS er
+gjør det veldig klart hvilke rettigheter som er knyttet til innholdet, og
+gir en sikker måte for forskere å gjøre sitt arbeid tilgjengelig, og
+samtidig sikre at de får anerkjennelse (riktige henvisninger). For PLOS er
alt dette knyttet opp mot hvordan de mener forskningsinnhold skal bli
publisert og spredd.
</p><p>
- PLOS har også en bred åpen-datapolitikk. For å få sine forskningsartikler
-publisert må PLOS sine bidragsytere også gjøre data tilgjengelige i en
-offentlig kildebrønn, og gi en erklæring om datatilgjengelighet.
+ PLOS har også en bred åpen-datapolitikk. For å få sine forskningsartikler
+publisert må PLOS sine bidragsytere også gjøre data tilgjengelige i en
+offentlig kildebrønn, og gi en erklæring om datatilgjengelighet.
</p><p>
- Kostnadene til forretningsvirksomhet som følger med den åpne
-tilgangsmodellen følger fortsatt i stor grad den eksisterende
-publiseringsmodellen. PLOS tidsskrifter er bare på nettet, men det
+ Kostnadene til forretningsvirksomhet som følger med den åpne
+tilgangsmodellen følger fortsatt i stor grad den eksisterende
+publiseringsmodellen. PLOS tidsskrifter er bare på nettet, men det
redaksjonelle, fagfellevurdering, produksjon, layout, og publiseringsstadier
-er de samme som for en tradisjonell utgiver. De redaksjonelle gruppene må
-være av klasse. PLOS må fungere like godt, eller helst bedre enn andre
+er de samme som for en tradisjonell utgiver. De redaksjonelle gruppene må
+være av klasse. PLOS må fungere like godt, eller helst bedre enn andre
fremtredende tidsskrifter, slik at forskerne har et valg om hvor de vil
publisere.
</p><p>
- Forskere er påvirket av rangeringer av tidsskrifter, som gjenspeiler
-plasseringen til en journal på sitt fagfelt, den relative vanskeligheten med
-å bli publisert i dette tidsskriftet, og prestisjen knyttet til det. PLOS
-journaler rangerer høyt, selv om de er relativt nye.
+ Forskere er påvirket av rangeringer av tidsskrifter, som gjenspeiler
+plasseringen til en journal på sitt fagfelt, den relative vanskeligheten med
+å bli publisert i dette tidsskriftet, og prestisjen knyttet til det. PLOS
+journaler rangerer høyt, selv om de er relativt nye.
</p><p>
- Hvordan forskere blir kjent, og det avtrykk de gir, baseres delvis på hvor
-mange ganger andre forskere siterer deres artikler. Louise sier at når
-forskere vil oppdage og lese andres arbeid innen eget felt, går de til en
-oppsummerer (aggregator) eller en søkemotor, og vanligvis ikke til en
+ Hvordan forskere blir kjent, og det avtrykk de gir, baseres delvis på hvor
+mange ganger andre forskere siterer deres artikler. Louise sier at når
+forskere vil oppdage og lese andres arbeid innen eget felt, går de til en
+oppsummerer (aggregator) eller en søkemotor, og vanligvis ikke til en
bestemt journal. CC BY-lisensiering av PLOSs forskningsartikler sikrer en
enkel tilgang for lesere, og genererer flere tilslag (funn) og sitater for
forfattere.
</p><p>
- Louise mener at åpen tilgang har vært en stor suksess, til noe som har vokst
-fra en bevegelse ledet av en liten kadre (kjerne) av forskere til noe som nå
+ Louise mener at åpen tilgang har vært en stor suksess, til noe som har vokst
+fra en bevegelse ledet av en liten kadre (kjerne) av forskere til noe som nå
er utbredt, og brukes i en eller annen form av enhver
tidsskriftsutgiver. PLOS har hatt en stor virkning. Fra 2012 til 2014
publiserte de flere artikler enn BioMed Central, den opprinnelige
-åpen-tilgangsutgiveren, eller noen andre.
+åpen-tilgangsutgiveren, eller noen andre.
</p><p>
PLOS forstyrret ytterligere den tradisjonelle modellen for
tidsskriftspublisering med det banebrytende konseptet med et
megatidsskift. Megatidsskriftet PLOS ONE, lansert i 2006, er et akademisk
-tidsskrift med fagfellevurdering og åpen tilgang, som er mye større enn et
-tradisjonelt tidsskrift, og publiserer tusenvis av artikler pr. år, og nyter
+tidsskrift med fagfellevurdering og åpen tilgang, som er mye større enn et
+tradisjonelt tidsskrift, og publiserer tusenvis av artikler pr. år, og nyter
godt av stordriftsfordeler. PLOS ONE har et bredt omfang, dekker
-naturvitenskap og medisin så vel som samfunnsvitenskap og
+naturvitenskap og medisin så vel som samfunnsvitenskap og
humaniora. Gjennomgangen og den redaksjonelle prosessen er mindre
-subjektiv. Artiklene er akseptert for publisering basert på om de er teknisk
-gode snarere enn oppfattet viktighet eller relevans. Dette er svært viktig i
+subjektiv. Artiklene er akseptert for publisering basert på om de er teknisk
+gode snarere enn oppfattet viktighet eller relevans. Dette er svært viktig i
dagens debatt om integritet og reproduserbarhet i forskningen fordi negative
-eller ikke-resultater nå også kan publiseres, noe som generelt avvises av
-tradisjonelle tidsskrifter. PLOS ONE er som alle PLOS-tidsskriftene bare på
-nettet, og ikke som trykksaker. PLOS overfører besparelsene
-stordriftsfordelene gir til forskere og publikum ved å senke kostnadene til
+eller ikke-resultater nå også kan publiseres, noe som generelt avvises av
+tradisjonelle tidsskrifter. PLOS ONE er som alle PLOS-tidsskriftene bare på
+nettet, og ikke som trykksaker. PLOS overfører besparelsene
+stordriftsfordelene gir til forskere og publikum ved å senke kostnadene til
artikkelbehandlingen, som er lavere enn for andre tidsskrifter. PLOS ONE er
-det største tidsskriftet i verden, og har virkelig lagt listen for
+det største tidsskriftet i verden, og har virkelig lagt listen for
storskala-publisering av akademiske artikler. Andre utgivere ser verdien av
-PLOS ONE-modellen, og tilbyr nå egne tverrfaglige fora for å publisere all
+PLOS ONE-modellen, og tilbyr nå egne tverrfaglige fora for å publisere all
solid vitenskap.
</p><p>
Louise skisserte noen andre aspekter av forretningsmodellen for
forskningstidsskrifter som PLOS eksperimenterer med, der hun beskriver hver
-som en slags skyvekontroll som kan justeres for å endre gjeldende praksis.
+som en slags skyvekontroll som kan justeres for å endre gjeldende praksis.
</p><p>
En skyvekontroll gir tidspunktet for publisering. Tidspunktet for
-publisering kan forkortes etter hvert som tidsskriftene blir flinkere til å
+publisering kan forkortes etter hvert som tidsskriftene blir flinkere til å
gi raskere beslutninger til forfattere. Men det er alltid en avveining mot
-omfanget, jo større volum av artikler, jo mer tid vil godkjenningsprosessen
-uunngåelig ta.
+omfanget, jo større volum av artikler, jo mer tid vil godkjenningsprosessen
+uunngåelig ta.
</p><p>
Fagfellevurdering er en annen del av prosessen som kan endres. Det er mulig
-å redefinere hva fagfellevurdering egentlig er, når den skal skje, og hva
-som utgjør den endelige artikkelen for publisering. Louise snakket om
-potensialet for å skifte til en åpen vurderingsprosess, som legger vekt på
-åpenhet i stedet for dobbeltblinde vurderinger. Louise mener vi beveger oss
-inn i en retning der det egentlig er fordelaktig for en forfatter å kjenne
-til hvem som gjennomgår artikkelen deres, og for den som gjennomgår å vite
-at deres vurdering vil være offentlig. En åpen vurderingsprosess kan også
-sikre at alle får anerkjennelse; akkurat nå er anerkjennelsen begrenset til
+å redefinere hva fagfellevurdering egentlig er, når den skal skje, og hva
+som utgjør den endelige artikkelen for publisering. Louise snakket om
+potensialet for å skifte til en åpen vurderingsprosess, som legger vekt på
+åpenhet i stedet for dobbeltblinde vurderinger. Louise mener vi beveger oss
+inn i en retning der det egentlig er fordelaktig for en forfatter å kjenne
+til hvem som gjennomgår artikkelen deres, og for den som gjennomgår å vite
+at deres vurdering vil være offentlig. En åpen vurderingsprosess kan også
+sikre at alle får anerkjennelse; akkurat nå er anerkjennelsen begrenset til
utgiver og forfatter.
</p><p>
Louise sier at forskning med negative resultater er nesten like viktige som
positive resultater. Hvis tidsskrifter publiserte mer forskning med negative
-resultater, ville vi lære hva som ikke fungerte. Det kan også redusere hvor
+resultater, ville vi lære hva som ikke fungerte. Det kan også redusere hvor
mye av forskningshjulet som blir gjenoppfunnet rundt om i verden.
</p><p>
- En annen justerbar praksis er å dele artikler i en tidlig
+ En annen justerbar praksis er å dele artikler i en tidlig
utkastfase. Publisering av forskning i et tidsskrift kan ta lang tid fordi
-artikler må gjennomgå en omfattende fagfellevurdering. Behovet for å raskt
-sirkulere aktuelle resultater i et vitenskapelig samfunn har ført til en
-praksis med å distribuere forhåndsutkast av dokumenter som ennå ikke har
-gjennomgått fagfellevurdering. Dokumentutkast utvider prosessen med
+artikler må gjennomgå en omfattende fagfellevurdering. Behovet for å raskt
+sirkulere aktuelle resultater i et vitenskapelig samfunn har ført til en
+praksis med å distribuere forhåndsutkast av dokumenter som ennå ikke har
+gjennomgått fagfellevurdering. Dokumentutkast utvider prosessen med
fagfellevurdering, slik at forfatterne mottar en tidlig tilbakemelding fra
-en bred gruppe av kolleger som kan hjelpe med å revidere og forberede
-artikkelen før den leveres inn. Å sette til side fordelene med
-dokumentutkast er forfatterbekymringer for ikke å komme først med å legge
+en bred gruppe av kolleger som kan hjelpe med å revidere og forberede
+artikkelen før den leveres inn. Å sette til side fordelene med
+dokumentutkast er forfatterbekymringer for ikke å komme først med å legge
frem resultater fra sin egen forskning. Andre forskere kan se funn som
-forfatteren av dokumentutkastet ennå ikke har tenkt på. Imidlertid vil
-dokumentutkast hjelpe forskere med å få ut sine funn tidlig og etablere
-forrang. En stor utfordring er at forskerne ikke har mye tid til å
+forfatteren av dokumentutkastet ennå ikke har tenkt på. Imidlertid vil
+dokumentutkast hjelpe forskere med å få ut sine funn tidlig og etablere
+forrang. En stor utfordring er at forskerne ikke har mye tid til å
kommentere dokumentutkast.
</p><p>
- Hva som utgjør et tidsskrift kan også endres. Idéen om en vitenskapelig
-artikkel som skrevet ut, innbundet, og i en bibliotekstabel, er utdatert. Å
-være digital og på nettet åpner opp for nye muligheter, for eksempel et
+ Hva som utgjør et tidsskrift kan også endres. Idéen om en vitenskapelig
+artikkel som skrevet ut, innbundet, og i en bibliotekstabel, er utdatert. Å
+være digital og på nettet åpner opp for nye muligheter, for eksempel et
levende dokument som utvikler seg over tid, inkludering av lyd og video og
-interaktivitet, som diskusjon og anbefalinger. Selv størrelsen på hva som
+interaktivitet, som diskusjon og anbefalinger. Selv størrelsen på hva som
blir publisert kan endres. Med disse forandringene vil den gjeldende
-formfaktoren for hva som utgjør en vitenskapelig artikkel også gjennomgå
+formfaktoren for hva som utgjør en vitenskapelig artikkel også gjennomgå
endringer.
</p><p>
Etter hvert som tidsskifter skaleres opp og nye tidsskifter kommer, skyves
-mer og mer informasjon ut til leserne, noe som gir opplevelsen av å føle at
-man drikker fra en brannslange. For å begrense dette aggregerer og
-tilrettelegger PLOS innhold fra PLOS sine tidsskifter og sitt nettverk av
-blogger.<a href="#ftn.idm1857" class="footnote" name="idm1857"><sup class="footnote">[143]</sup></a> De tilbyr også Article-Level
-Metrics, som hjelper brukere med å vurdere hvilken forskning som er mest
-relevant for selve feltet, basert på ulike indikatorer som bruk, sitater,
+mer og mer informasjon ut til leserne, noe som gir opplevelsen av å føle at
+man drikker fra en brannslange. For å begrense dette aggregerer og
+tilrettelegger PLOS innhold fra PLOS sine tidsskifter og sitt nettverk av
+blogger.<a href="#ftn.idm1857" class="footnote" name="idm1857"><sup class="footnote">[143]</sup></a> De tilbyr også Article-Level
+Metrics, som hjelper brukere med å vurdere hvilken forskning som er mest
+relevant for selve feltet, basert på ulike indikatorer som bruk, sitater,
sosiale bokmerker og formidlingsaktivitet, omtale i media og blogger,
diskusjoner og rangeringer.<a href="#ftn.idm1860" class="footnote" name="idm1860"><sup class="footnote">[144]</sup></a> Louise
-mener at tidskriftsmodellen kan utvikle seg til å gi en mer brukervennlig og
-interaktiv brukeropplevelse, inkludert en måte for leserne å kommunisere med
-forfattere på.
- </p><p>
- Det store bildet for PLOS fremover er å kombinere og justere disse
-eksperimentelle praksiser på måter som fortsetter å forbedre tilgjengelighet
-og formidling av forskning, samtidig som integritet og pålitelighet
-sikres. Måtene dette henger sammen på er komplekst. Prosessen med å endre og
-justere er ikke lineær. PLOS ser seg selv som en svært fleksibel utgiver som
-er interessert i å utforske alle omordninger (permutasjoner) som
-forskningspublisering kan gi, sammen med forfattere og lesere som er åpne
+mener at tidskriftsmodellen kan utvikle seg til å gi en mer brukervennlig og
+interaktiv brukeropplevelse, inkludert en måte for leserne å kommunisere med
+forfattere på.
+ </p><p>
+ Det store bildet for PLOS fremover er å kombinere og justere disse
+eksperimentelle praksiser på måter som fortsetter å forbedre tilgjengelighet
+og formidling av forskning, samtidig som integritet og pålitelighet
+sikres. Måtene dette henger sammen på er komplekst. Prosessen med å endre og
+justere er ikke lineær. PLOS ser seg selv som en svært fleksibel utgiver som
+er interessert i å utforske alle omordninger (permutasjoner) som
+forskningspublisering kan gi, sammen med forfattere og lesere som er åpne
for eksperimentering.
</p><p>
- For PLOS handler suksess ikke om overskudd. Suksess er å bevise at
-forskning kan kommuniseres raskt og i økonomisk skala, til fordel for
-forskere og samfunn. CC BY-lisensen gjør det mulig for PLOS å publisere på
-en måte som er ubundet, åpen og rask, samtidig som man sikrer at forfatterne
-får anerkjennelse for sitt arbeid. Mer enn to millioner forskere,
-akademikere og klinikere besøker PLOS hver måned, der mer enn 135 000
+ For PLOS handler suksess ikke om overskudd. Suksess er å bevise at
+forskning kan kommuniseres raskt og i økonomisk skala, til fordel for
+forskere og samfunn. CC BY-lisensen gjør det mulig for PLOS å publisere på
+en måte som er ubundet, åpen og rask, samtidig som man sikrer at forfatterne
+får anerkjennelse for sitt arbeid. Mer enn to millioner forskere,
+akademikere og klinikere besøker PLOS hver måned, der mer enn 135 000
kvalitetsartikler kan leses gratis.
</p><p>
- Til slutt, for PLOS, forfatterne og leserne, er suksessen å gjøre forskning
-overskuelig, tilgjengelig og reproduserbar, til fremme av vitenskap.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1857" class="footnote"><p><a href="#idm1857" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1860" class="footnote"><p><a href="#idm1860" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapittel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Til slutt, for PLOS, forfatterne og leserne, er suksessen å gjøre forskning
+overskuelig, tilgjengelig og reproduserbar, til fremme av vitenskap.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1857" class="footnote"><p><a href="#idm1857" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1860" class="footnote"><p><a href="#idm1860" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapittel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Rijksmuseum er det nederlandske nasjonale museum for kunst og
-historie. Grunnlagt år 1800, i Nederland.
+historie. Grunnlagt år 1800, i Nederland.
</p><p>
<a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Donasjoner og statlig
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 11. desember 2015
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Lizzy Jongma, datasjef for
innsamlingsinformasjonen
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Rijksmuseum, Nederlands nasjonalmuseum for kunst og historie, har vært
-plassert i sin nåværende bygning siden 1885. Den monumentale bygningen fikk
-mer enn 125 års intensiv bruk før den trengte en grundig oppussing. I 2003
+ Rijksmuseum, Nederlands nasjonalmuseum for kunst og historie, har vært
+plassert i sin nåværende bygning siden 1885. Den monumentale bygningen fikk
+mer enn 125 års intensiv bruk før den trengte en grundig oppussing. I 2003
var museet stengt for oppussing. Asbest ble funnet i taket, og selv om
-museet var planlagt å være stengt i bare tre til fire år, tok renoveringen
-ti år. Samtidig ble samlingen flyttet til en annen del av Amsterdam, som ga
-en fysisk avstand til kuratorene. Av nødvendighet begynte de å digitalt
-fotografere samlingen og lage metadata (informasjon om hvert objekt til å
-sette inn en database). Når renoveringen pågikk så lenge, ble museet i stor
+museet var planlagt å være stengt i bare tre til fire år, tok renoveringen
+ti år. Samtidig ble samlingen flyttet til en annen del av Amsterdam, som ga
+en fysisk avstand til kuratorene. Av nødvendighet begynte de å digitalt
+fotografere samlingen og lage metadata (informasjon om hvert objekt til å
+sette inn en database). Når renoveringen pågikk så lenge, ble museet i stor
grad glemt av publikum. Fra disse omstendighetene dukket det opp en ny og
-mer åpen modell for museet.
+mer åpen modell for museet.
</p><p>
Da Lizzy Jongma begynte i Rijksmuseum i 2011 som dataansvarlig, var
-personalet lei av situasjonen de var i. De innså også selv at med den nye og
-større plassen, ville det fortsatt ikke være mulig å vise mye av hele
-samlingen – med åtte tusen av over en million – representerte det 1
-prosent. Personalet begynte å utforske måter å uttrykke seg på, å ha noe å
-vise for alt arbeidet de hadde utført. Rijksmuseum er hovedsakelig
-finansiert av nederlandske skattebetalere, så var det en måte for museet å
-gi fordelen tilbake til publikum mens det var lukket? De begynte å tenke på
-å dele Rijksmuseums samling med bruk av informasjonsteknologi. Og de satte
-opp en kortkatalog som database over hele samlingen på nettet.
+personalet lei av situasjonen de var i. De innså også selv at med den nye og
+større plassen, ville det fortsatt ikke være mulig å vise mye av hele
+samlingen – med åtte tusen av over en million – representerte det 1
+prosent. Personalet begynte å utforske måter å uttrykke seg på, å ha noe å
+vise for alt arbeidet de hadde utført. Rijksmuseum er hovedsakelig
+finansiert av nederlandske skattebetalere, så var det en måte for museet å
+gi fordelen tilbake til publikum mens det var lukket? De begynte å tenke på
+å dele Rijksmuseums samling med bruk av informasjonsteknologi. Og de satte
+opp en kortkatalog som database over hele samlingen på nettet.
</p><p>
Det var effektivt men litt kjedelig. Det var bare data. En hackersamling de
-ble invitert til, fikk dem til å begynne å snakke om hendelser som dette som
-om det hadde potensiale. De likte idéen om å invitere folk til å gjøre kule
-ting med sin samling. Hva med å gi tilgang til digitale representasjoner av
-de hundre viktigste gjenstandene i Rijksmuseums samlinger? Det førte til
-slutt til at: Hvorfor ikke legge hele samlingen ut på nettet?
+ble invitert til, fikk dem til å begynne å snakke om hendelser som dette som
+om det hadde potensiale. De likte idéen om å invitere folk til å gjøre kule
+ting med sin samling. Hva med å gi tilgang til digitale representasjoner av
+de hundre viktigste gjenstandene i Rijksmuseums samlinger? Det førte til
+slutt til at: Hvorfor ikke legge hele samlingen ut på nettet?
</p><p>
Deretter sier Lizzy, Europeana kom. Europeana er Europas digitale bibliotek,
museum og arkiv for kulturarv.<a href="#ftn.idm1883" class="footnote" name="idm1883"><sup class="footnote">[145]</sup></a> Som en
nettportal til museumsamlinger over hele Europa, hadde Europeana blitt en
viktig nettplattform. I oktober 2010 utga Creative Commons CC0 og dets
-offentlige domenemerke som verktøy folk kan bruke som gratis, fri for kjente
-opphavsrettigheter. Europeana var den første store brukeren av CC0 til å gi
+offentlige domenemerke som verktøy folk kan bruke som gratis, fri for kjente
+opphavsrettigheter. Europeana var den første store brukeren av CC0 til å gi
metadata om sin innsamling, og det offentlige merket for millioner av
digitale verk i samlingen sin. Lizzy sier Rijksmuseum i utgangspunktet fant
denne endringen i praksis litt skummel, men samtidig stimulerte det til enda
-mer diskusjon om hvorvidt Rijksmuseum skal følge etter.
+mer diskusjon om hvorvidt Rijksmuseum skal følge etter.
</p><p>
- De innså at de ikke <span class="quote">«<span class="quote">eier</span>»</span> samlingen, og ikke realistisk kunne
-overvåke og håndheve at de restriktive lisensvilkårene de for tiden benyttet
+ De innså at de ikke <span class="quote">«<span class="quote">eier</span>»</span> samlingen, og ikke realistisk kunne
+overvåke og håndheve at de restriktive lisensvilkårene de for tiden benyttet
ble fulgt. For eksempel var mange kopier og utgaver av Vermeers Het
-Melkmeisje (del av samlingen deres) allerede på nettet, mange av dem av
-svært dårlig kvalitet. De kunne bruke tid og penger på å slå ned på bruken,
-men det ville trolig være nytteløst, og ville ikke få folk til å la være å
-bruke bildene deres på nettet. De endte opp med å tenke at det var
-fullstendig bortkastet tid å jakte på mennesker som brukte
+Melkmeisje (del av samlingen deres) allerede på nettet, mange av dem av
+svært dårlig kvalitet. De kunne bruke tid og penger på å slå ned på bruken,
+men det ville trolig være nytteløst, og ville ikke få folk til å la være å
+bruke bildene deres på nettet. De endte opp med å tenke at det var
+fullstendig bortkastet tid å jakte på mennesker som brukte
Rijksmuseum-samlingen. Og uansett, hovedparten av de som ville bli frustrert
over begrenset tilgang var skolebarn.
</p><p>
- I 2011 begynte Rijksmuseum å lage digitale bilder av verk kjent for å være
-uten opphavsrettigheter tilgjengelig på nettet ved å bruke Creative Commons
-CC0 til å plassere verkene i den offentlige sfæren. Et bilde med middels
-oppløsning ble tilbudt gratis, mens en høyoppløselig versjon kostet 40
-euro. Folk begynte å betale, men Lizzy sier at å få inn pengene var ofte et
+ I 2011 begynte Rijksmuseum å lage digitale bilder av verk kjent for å være
+uten opphavsrettigheter tilgjengelig på nettet ved å bruke Creative Commons
+CC0 til å plassere verkene i den offentlige sfæren. Et bilde med middels
+oppløsning ble tilbudt gratis, mens en høyoppløselig versjon kostet 40
+euro. Folk begynte å betale, men Lizzy sier at å få inn pengene var ofte et
mareritt, spesielt fra utenlandske kunder. De administrative kostnadene
oppveide ofte inntektene, og inntekten etter at kostnader var trukket fra,
-var relativt lav. I tillegg, å måtte betale for et bilde av et arbeid i det
+var relativt lav. I tillegg, å måtte betale for et bilde av et arbeid i det
offentlige domenet fra en samling eid av den nederlandske regjeringen (dvs,
betalt av publikum), var omstridt og frustrerende for noen. Lizzy sier de
-hadde mange heftige debatter om hva de skulle gjøre.
+hadde mange heftige debatter om hva de skulle gjøre.
</p><p>
I 2013 endret Rijksmuseum sin forretningsmodell. De ga Creative Commons
-lisenser til sine bilder med høy kvalitet, og la dem ut på nettet
+lisenser til sine bilder med høy kvalitet, og la dem ut på nettet
gratis. Digitalisering koster fortsatt penger. Imidlertid bestemte de seg
-for å avgrense separate digitaliseringsprosjekter, og finne sponsorer villig
-til å finansiere hvert prosjekt. Dette viste seg for å være en vellykket
+for å avgrense separate digitaliseringsprosjekter, og finne sponsorer villig
+til å finansiere hvert prosjekt. Dette viste seg for å være en vellykket
strategi, genererte stor interesse fra sponsorer, og mindre administrativt
-arbeid for Rijksmuseum. De startet med å gjøre 150 000 høykvalitetsbilder
-fra samlingen sin tilgjengelig, med det mål å få hele samlingen på nettet.
- </p><p>
- Å gjøre disse høykvalitetsbildene fritt tilgjengelig, reduserte den sterkt
-voksende spredningen av bilder med dårlig kvalitet. For eksempel blir
-høykvalitetsbildet av Vermeers Melkmeisje lastet ned to til tre tusen ganger
-i måneden. På Internett blir bilder fra en kilde som Rijksmuseum sett på som
-mer pålitelige, og å benytte Creative Commons-CC0 betyr at de lett kan
-finnes på andre plattformer. For eksempel brukes nå Rijksmuseums bilder i
-tusenvis av Wikipedia-artikler, og får ti til elleve millioner sidevisninger
-pr. måned. Dette utvider Rijksmuseums rekkevidde langt utover det som nås
-fra deres egen hjemmeside. Deling av disse bildene på nettet skaper det
-Lizzy kaller <span class="quote">«<span class="quote">Mona Lisa-effekten</span>»</span>, hvor et kunstverk blir så
-kjent, at folk ønsker å se det i virkeligheten ved å besøke det aktuelle
+arbeid for Rijksmuseum. De startet med å gjøre 150 000 høykvalitetsbilder
+fra samlingen sin tilgjengelig, med det mål å få hele samlingen på nettet.
+ </p><p>
+ Å gjøre disse høykvalitetsbildene fritt tilgjengelig, reduserte den sterkt
+voksende spredningen av bilder med dårlig kvalitet. For eksempel blir
+høykvalitetsbildet av Vermeers Melkmeisje lastet ned to til tre tusen ganger
+i måneden. På Internett blir bilder fra en kilde som Rijksmuseum sett på som
+mer pålitelige, og å benytte Creative Commons-CC0 betyr at de lett kan
+finnes på andre plattformer. For eksempel brukes nå Rijksmuseums bilder i
+tusenvis av Wikipedia-artikler, og får ti til elleve millioner sidevisninger
+pr. måned. Dette utvider Rijksmuseums rekkevidde langt utover det som nås
+fra deres egen hjemmeside. Deling av disse bildene på nettet skaper det
+Lizzy kaller <span class="quote">«<span class="quote">Mona Lisa-effekten</span>»</span>, hvor et kunstverk blir så
+kjent, at folk ønsker å se det i virkeligheten ved å besøke det aktuelle
museet.
</p><p>
- Hvert museum har en tendens til å bli drevet av antallet fysiske
-besøkende. Rijksmuseum er primært offentlig finansiert, og mottar omtrent 70
-prosent av sitt driftsbudsjett fra staten. Men som mange museer, må det
-skaffe resten av finansieringen på andre måter. Adgangspenger har lenge vært
-en måte å få inntekter på, blant annet for Rijksmuseum.
- </p><p>
- Når museer skaper en egen digital tilstedeværelse, og legger ut digitale
-avbildninger av sine samlinger på nettet, er det ofte en bekymring at det
-vil føre til en nedgang i antallet fysiske besøk. For Rijksmuseum har dette
-ikke vært tilfellet. Lizzy fortalte at Rijksmuseum pleide få om lag 1
-million besøkende i året før lukkingen, og har nå mer enn to millioner i
-året. Å gjøre samlingen tilgjengelig på nettet har generert publisitet, og
-fungerer som en form for markedsføring. Creative Commons-merket oppfordrer
-til gjenbruk også. Når bildet finnes i protestbrosjyrer, melkekartonger og
-barneleker, ser folk også hvor museumsbildet kommer fra, og dette øker
+ Hvert museum har en tendens til å bli drevet av antallet fysiske
+besøkende. Rijksmuseum er primært offentlig finansiert, og mottar omtrent 70
+prosent av sitt driftsbudsjett fra staten. Men som mange museer, må det
+skaffe resten av finansieringen på andre måter. Adgangspenger har lenge vært
+en måte å få inntekter på, blant annet for Rijksmuseum.
+ </p><p>
+ Når museer skaper en egen digital tilstedeværelse, og legger ut digitale
+avbildninger av sine samlinger på nettet, er det ofte en bekymring at det
+vil føre til en nedgang i antallet fysiske besøk. For Rijksmuseum har dette
+ikke vært tilfellet. Lizzy fortalte at Rijksmuseum pleide få om lag 1
+million besøkende i året før lukkingen, og har nå mer enn to millioner i
+året. Å gjøre samlingen tilgjengelig på nettet har generert publisitet, og
+fungerer som en form for markedsføring. Creative Commons-merket oppfordrer
+til gjenbruk også. Når bildet finnes i protestbrosjyrer, melkekartonger og
+barneleker, ser folk også hvor museumsbildet kommer fra, og dette øker
museets synlighet.
</p><p>
- I 2011 fikk Rijksmuseum 1 million euro fra det nederlandsk lotteriet til å
-opprette en ny tilstedeværelse på nettet som ville være forskjellig fra alle
+ I 2011 fikk Rijksmuseum 1 million euro fra det nederlandsk lotteriet til å
+opprette en ny tilstedeværelse på nettet som ville være forskjellig fra alle
andre museers. I tillegg til omstruktureringen av deres viktigste nettsted
-til å være mobilvennlig og knyttet opp mot enheter som iPad, har Rijksmuseum
-også laget Rijksstudio, hvor brukere og kunstnere kan bruke og gjøre
+til å være mobilvennlig og knyttet opp mot enheter som iPad, har Rijksmuseum
+også laget Rijksstudio, hvor brukere og kunstnere kan bruke og gjøre
forskjellige ting med Rijksmuseums samling.<a href="#ftn.idm1895" class="footnote" name="idm1895"><sup class="footnote">[146]</sup></a>
</p><p>
Rijksstudio gir brukere tilgang til over 200 000 digitale
-høykvalitetsgjengivelser av mesterverk fra samlingen. Brukere kan forstørre
-alle verkene, og selv klippe små deler av bilder de liker. Rijksstudio er
-litt som Pinterest. Du kan <span class="quote">«<span class="quote">like</span>»</span> verker og sette sammen dine
+høykvalitetsgjengivelser av mesterverk fra samlingen. Brukere kan forstørre
+alle verkene, og selv klippe små deler av bilder de liker. Rijksstudio er
+litt som Pinterest. Du kan <span class="quote">«<span class="quote">like</span>»</span> verker og sette sammen dine
personlige favoritter, og du kan dele dem med venner, eller laste dem ned
gratis. Alle bildene i Rijksstudio er uten opphavsrettsvern og
-bruksbetaling, og brukere oppfordres til å gjøre hva de vil med dem, for
-private eller til og med kommersielle formål.
+bruksbetaling, og brukere oppfordres til å gjøre hva de vil med dem, for
+private eller til og med kommersielle formål.
</p><p>
Brukere har laget over 276 000 Rijksstudios, generert sine egne spesifikke
virtuelle utstillinger om en rekke emner fra billedvev til stygge babyer og
-fugler. Settene med bilder er også laget for pedagogiske formål, medregnet
+fugler. Settene med bilder er også laget for pedagogiske formål, medregnet
for bruk ved skoleeksamen.
</p><p>
Noen moderne kunstnere som har verk i samlingen Rijksmuseum, har kontaktet
-dem for å spørre hvorfor deres verk ikke var tatt med hos
+dem for å spørre hvorfor deres verk ikke var tatt med hos
Rijksstudio. Svaret var at moderne kunstneres arbeider fortsatt er vernet av
-åndsverksloven. Rijksmuseum oppfordrer moderne kunstnere til å bruke en
+åndsverksloven. Rijksmuseum oppfordrer moderne kunstnere til å bruke en
Creative Commons-lisens for sine verker, vanligvis en CC BY-SA-lisens
(Attribution-ShareAlike) eller en CC BY-NC (Attribution-NonCommercial) hvis
-de ønsker å utelukke kommersiell bruk. På den måten kan verkene deres gjøres
+de ønsker å utelukke kommersiell bruk. På den måten kan verkene deres gjøres
tilgjengelig for publikum, men innenfor de begrensninger kunstnerne har
oppgitt.
</p><p>
- Rijksmuseum mener at kunst stimulerer gründeraktivitet. Linjen mellom det
-kreative og det kommersielle kan være uklar. Som Lizzy sier, selv Rembrandt
-var kommersiell, og fikk sitt levebrød fra salg av egne
-malerier. Rijksmuseum oppfordrer gründere til kommersiell bruk av bildene i
-Rijksstudio. De samarbeider også med DIY-markedet Etsy (DIY - Do It
-Yourself) for å inspirere folk til å selge sine kreasjoner. Et markant
-eksempel som du finner på Etsy er en kimono designet av Angie Johnson, som
+ Rijksmuseum mener at kunst stimulerer gründeraktivitet. Linjen mellom det
+kreative og det kommersielle kan være uklar. Som Lizzy sier, selv Rembrandt
+var kommersiell, og fikk sitt levebrød fra salg av egne
+malerier. Rijksmuseum oppfordrer gründere til kommersiell bruk av bildene i
+Rijksstudio. De samarbeider også med DIY-markedet Etsy (DIY - Do It
+Yourself) for å inspirere folk til å selge sine kreasjoner. Et markant
+eksempel som du finner på Etsy er en kimono designet av Angie Johnson, som
brukte et bilde av et forseggjort kabinett sammen med et oljemaleri av Jan
Asselijn kalt Den truede svanen (The Threatened Swan).<a href="#ftn.idm1903" class="footnote" name="idm1903"><sup class="footnote">[147]</sup></a>
</p><p>
- I 2013 organiserte Rijksmuseum sin første høyprofilerte designkonkurranse,
+ I 2013 organiserte Rijksmuseum sin første høyprofilerte designkonkurranse,
kjent som Rijksstudio-prisen.<a href="#ftn.idm1907" class="footnote" name="idm1907"><sup class="footnote">[148]</sup></a> Med
oppfordringen Make Your Own Masterpiece, inviterte konkurransen publikum til
-å bruke Rijksstudios bilder til å lage nye kreative design. En jury av
+å bruke Rijksstudios bilder til å lage nye kreative design. En jury av
kjente designere og medarbeidere ved museet valgte ut ti finalister og tre
-vinnere. Den endelige belønningen var en premie på 10 000 euro. Den andre
-konkurransen i 2015 tiltrakk seg svimlende 892 førsteklasses bidrag. Noen
-prisvinnere endte opp med å få sitt arbeid solgt gjennom
-Rijksmuseum-butikken, som 2014-bidraget med sminke basert på et bestemt
+vinnere. Den endelige belønningen var en premie på 10 000 euro. Den andre
+konkurransen i 2015 tiltrakk seg svimlende 892 førsteklasses bidrag. Noen
+prisvinnere endte opp med å få sitt arbeid solgt gjennom
+Rijksmuseum-butikken, som 2014-bidraget med sminke basert på et bestemt
fargevalg fra et kunstverk.<a href="#ftn.idm1912" class="footnote" name="idm1912"><sup class="footnote">[149]</sup></a> Rijksmuseum
-har vært begeistret for resultatene. Bidragene spenner fra det morsomme til
+har vært begeistret for resultatene. Bidragene spenner fra det morsomme til
det merkelige til det inspirerende. Den tredje internasjonale konkurransen
om Rijksstudio-prisen startet i September 2016.
</p><p>
For den neste versjonen av Rijksstudio, vurderer Rijksmuseum et
-opplastingsverktøy der folk kan laste opp sine egne kunstverk, og utvidete
+opplastingsverktøy der folk kan laste opp sine egne kunstverk, og utvidete
sosiale elementer der brukere kan samarbeide mer med hverandre.
</p><p>
- En mer åpen forretningsmodell genererte mye publisitet for Rijksmuseum. De
-var et av de første museene til å åpne sin samling (det vil si gi gratis
-tilgang) med bilder av høy kvalitet. Denne strategien, sammen med mange
-forbedringer på Rijksmuseums nettsted, økte dramatisk besøket fra
-trettifemtusen pr. måned til trehundretusen besøk.
+ En mer åpen forretningsmodell genererte mye publisitet for Rijksmuseum. De
+var et av de første museene til å åpne sin samling (det vil si gi gratis
+tilgang) med bilder av høy kvalitet. Denne strategien, sammen med mange
+forbedringer på Rijksmuseums nettsted, økte dramatisk besøket fra
+trettifemtusen pr. måned til trehundretusen besøk.
</p><p>
- Rijksmuseum har eksperimentert med andre måter å invitere publikum til å se
-og samhandle med samlingen. På dyrenes internasjonale dag gjennomførte de et
+ Rijksmuseum har eksperimentert med andre måter å invitere publikum til å se
+og samhandle med samlingen. På dyrenes internasjonale dag gjennomførte de et
vellykket fugletema-arrangement. Museet satte sammen en visning som omfattet
-to tusen arbeider som viste fugler, og inviterte fuglekikkere til å
+to tusen arbeider som viste fugler, og inviterte fuglekikkere til å
identifisere avbildede fugler. Lizzy bemerker at mens museumskuratorer vet
mye om verkene i samlingene, kan de ikke vite om visse detaljer i maleriene,
-som fuglearter. Over åtte hundre forskjellige fugler ble identifisert,
+som fuglearter. Over åtte hundre forskjellige fugler ble identifisert,
inkludert en bestemt traneart som var ukjent for det vitenskapelige
-samfunnet på det tidspunktet maleriet ble laget.
- </p><p>
- For Rijksmuseum var å vedta en åpen forretningsmodell skremmende. De kom opp
-med mange ting som kunne gå galt, og forestilte seg alle typer av
-forferdelige ting folk kan gjøre med museets verker. Men Lizzy sier at denne
-frykten viste seg ubegrunnet fordi <span class="quote">«<span class="quote">nittini prosent av alle mennesker
-har respekt for stor kunst</span>»</span>. Mange museer tror de kan tjene mye
-penger ved å selge ting knyttet til samlingen sin. Men i Lizzys erfaring er
-museer vanligvis dårlige til å selge ting, og noen ganger blokkerer
-innsatsen for å generere en liten mengde penger for noe mye større - den
-virkelige verdien samlingen har. For Lizzy er å klamre seg til små inntekter
-nyttig for å tjene ører, men ikke for kroner. For Rijksmuseum har det vært
-en viktig lærdom å aldri miste av syne sin visjon for samlingen. Å tillate
-tilgang og bruk av samlingen har generert en stor markedsføringsverdi -
-langt mer enn den tidligere praksisen med å kreve betaling for tilgang og
-bruk. Lizzy oppsummerer sine erfaringer: <span class="quote">«<span class="quote">Gi bort og få noe i
-retur. Gavmildhet gjør at folk gjerne blir med og hjelper til.</span>»</span>
+samfunnet på det tidspunktet maleriet ble laget.
+ </p><p>
+ For Rijksmuseum var å vedta en åpen forretningsmodell skremmende. De kom opp
+med mange ting som kunne gå galt, og forestilte seg alle typer av
+forferdelige ting folk kan gjøre med museets verker. Men Lizzy sier at denne
+frykten viste seg ubegrunnet fordi <span class="quote">«<span class="quote">nittini prosent av alle mennesker
+har respekt for stor kunst</span>»</span>. Mange museer tror de kan tjene mye
+penger ved å selge ting knyttet til samlingen sin. Men i Lizzys erfaring er
+museer vanligvis dårlige til å selge ting, og noen ganger blokkerer
+innsatsen for å generere en liten mengde penger for noe mye større - den
+virkelige verdien samlingen har. For Lizzy er å klamre seg til små inntekter
+nyttig for å tjene ører, men ikke for kroner. For Rijksmuseum har det vært
+en viktig lærdom å aldri miste av syne sin visjon for samlingen. Å tillate
+tilgang og bruk av samlingen har generert en stor markedsføringsverdi -
+langt mer enn den tidligere praksisen med å kreve betaling for tilgang og
+bruk. Lizzy oppsummerer sine erfaringer: <span class="quote">«<span class="quote">Gi bort og få noe i
+retur. Gavmildhet gjør at folk gjerne blir med og hjelper til.</span>»</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1883" class="footnote"><p><a href="#idm1883" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1895" class="footnote"><p><a href="#idm1895" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1903" class="footnote"><p><a href="#idm1903" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1907" class="footnote"><p><a href="#idm1907" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; 2014-prisen:
<a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-2015-prisen: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1912" class="footnote"><p><a href="#idm1912" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapittel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+2015-prisen: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1912" class="footnote"><p><a href="#idm1912" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapittel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Shareable er en nettmagasin om deling. Etablert i 2009 i USA.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
folkefinansiering (prosjektbasert), donasjoner, sponsing
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 24. februar 2016
</p><p><span class="strong"><strong> Intervjuet</strong></span>: Neal Gorenflo, medstifter og
-administrerende redaktør
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+administrerende redaktør
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- I 2013 var Shareable i en fastlåst situasjon. Denne nettbaserte
-ikke-kommersielle publikasjonen bidro til å starte en delingsbevegelse fire
-år tidligere, men over tid så de en del av bevegelsen forlate sine idealer.
-Når giganter som Uber og Airbnb vant terreng, begynte oppmerksomheten å
-dreie seg om <span class="quote">«<span class="quote">delingsøkonomien</span>»</span> vi nå kjenner — profitt-drevet,
-bygd på transaksjoner og full av risikovillig kapital. Ledere i store
-bedriftsetableringer innen feltet inviterte Shareable til å bli talsrør for
-dem. Magasinet sto overfor et valg: Å ri på bølgen, eller holde på
+ I 2013 var Shareable i en fastlåst situasjon. Denne nettbaserte
+ikke-kommersielle publikasjonen bidro til å starte en delingsbevegelse fire
+år tidligere, men over tid så de en del av bevegelsen forlate sine idealer.
+Når giganter som Uber og Airbnb vant terreng, begynte oppmerksomheten å
+dreie seg om <span class="quote">«<span class="quote">delingsøkonomien</span>»</span> vi nå kjenner — profitt-drevet,
+bygd på transaksjoner og full av risikovillig kapital. Ledere i store
+bedriftsetableringer innen feltet inviterte Shareable til å bli talsrør for
+dem. Magasinet sto overfor et valg: Å ri på bølgen, eller holde på
prinsippet.
</p><p>
- Som organisasjon besluttet Shareable å sette ned foten. I 2013 skrev
-medstifter og sjefsredaktør Neal Gorenflo et innlegg i PandoDaily som
+ Som organisasjon besluttet Shareable å sette ned foten. I 2013 skrev
+medstifter og sjefsredaktør Neal Gorenflo et innlegg i PandoDaily som
skisserte Shareables nye kritiske holdning til Silicon Valleys versjonen av
-delingsøkonomien, i motsetning til viktige sider ved den virkelige
-delingsøkonomien, som fri programvare, deltakende budsjettering (der borgere
-avgjør hvordan et offentlig budsjett blir brukt), kooperativer med mer. Han
-skrev, <span class="quote">«<span class="quote">Det er ikke det at samarbeidet om forbruk er dødt, det er mer
-det at det risikerer døden etter hvert som det blir absorbert av
-<span class="quote">‘<span class="quote">Borgkollektivet</span>’</span> </span>»</span>.
- </p><p>
- Neal sa at deres offentlige kritikk av bedriftsbasert delingsøkonomi
+delingsøkonomien, i motsetning til viktige sider ved den virkelige
+delingsøkonomien, som fri programvare, deltakende budsjettering (der borgere
+avgjør hvordan et offentlig budsjett blir brukt), kooperativer med mer. Han
+skrev, <span class="quote">«<span class="quote">Det er ikke det at samarbeidet om forbruk er dødt, det er mer
+det at det risikerer døden etter hvert som det blir absorbert av
+<span class="quote">â\80\98<span class="quote">Borgkollektivet</span>â\80\99</span> </span>»</span>.
+ </p><p>
+ Neal sa at deres offentlige kritikk av bedriftsbasert delingsøkonomi
definerte hva Shareable var og er. Han tror ikke magasinet forsatt ville ha
-eksistert om de hadde valgt annerledes. <span class="quote">«<span class="quote">Vi ville ha fått et annet
-publikum, men det ville ha betydd slutten for oss</span>»</span>, sa han. <span class="quote">«<span class="quote">Vi
-er en liten, formålsdrevet organisasjon. Vi ville aldri kunne klart oss
-igjennom den kritikken som Airbnb og Uber møter nå</span>»</span>.
+eksistert om de hadde valgt annerledes. <span class="quote">«<span class="quote">Vi ville ha fått et annet
+publikum, men det ville ha betydd slutten for oss</span>»</span>, sa han. <span class="quote">«<span class="quote">Vi
+er en liten, formålsdrevet organisasjon. Vi ville aldri kunne klart oss
+igjennom den kritikken som Airbnb og Uber møter nå</span>»</span>.
</p><p>
Interessant nok er lidenskapelige tilhengere bare en liten del av Shareables
samlede publikum. De fleste er tilfeldige lesere som kommer over en
Shareable-historie fordi den er knyttet til et prosjekt eller interesse de
-har. Men å velge prinsipper fremfor muligheten til henge i frakkeskjøtene på
-de store bedriftsaktørene på deleområdet reddet Shareables
-troverdighet. Selv om de ble løsrevet fra den bedriftsbaserte
-delingsøkonomien, ble nettmagasinet stemmen til den <span class="quote">«<span class="quote">virkelige
-delingsøkonomien</span>»</span>, og fortsatte med øke sitt nedslagsfelt.
+har. Men å velge prinsipper fremfor muligheten til henge i frakkeskjøtene på
+de store bedriftsaktørene på deleområdet reddet Shareables
+troverdighet. Selv om de ble løsrevet fra den bedriftsbaserte
+delingsøkonomien, ble nettmagasinet stemmen til den <span class="quote">«<span class="quote">virkelige
+delingsøkonomien</span>»</span>, og fortsatte med øke sitt nedslagsfelt.
</p><p>
- Shareable er et tidsskrift, men innholdet de publiserer er et middel til å
+ Shareable er et tidsskrift, men innholdet de publiserer er et middel til å
fremme sin rolle som leder og katalysator for en bevegelse. Shareable ble
-en leder i bevegelsen i 2009. <span class="quote">«<span class="quote">På den tiden var det en
+en leder i bevegelsen i 2009. <span class="quote">«<span class="quote">På den tiden var det en
delingsbevegelse boblende under overflaten, men ingen samlet
-trådene</span>»</span>, sa Neal. <span class="quote">«<span class="quote">Vi besluttet å gå inn i det rommet og ta på
-oss denne rollen.</span>»</span> Det lille teamet bak den ikkekommersielle
-publikasjonen trodde virkelig at deling kunne bli sentralt for å løse noen
-av de store problemene mennesker står overfor – ressursulikhet, sosial
+trådene</span>»</span>, sa Neal. <span class="quote">«<span class="quote">Vi besluttet å gå inn i det rommet og ta på
+oss denne rollen.</span>»</span> Det lille teamet bak den ikkekommersielle
+publikasjonen trodde virkelig at deling kunne bli sentralt for å løse noen
+av de store problemene mennesker står overfor – ressursulikhet, sosial
isolasjon og global oppvarming.
</p><p>
- De har jobbet hardt for å finne måter å fortelle historier som viser ulike
-måter å lykkes på. <span class="quote">«<span class="quote">Vi ønsket å endre oppfatningen av hva som utgjør
-det gode liv</span>»</span>, sier Neal. Mens de startet med et svært bredt fokus på
-deling generelt, legger de i dag trykk på historier om fysiske fellesskap
-som <span class="quote">«<span class="quote">delte byer</span>»</span> (det vil si byområder som styres bærekraftig
-og kooperativt), så vel som digitale plattformer som drives demokratisk. De
-fokuserer spesielt på hvordan gjør-det-selv-innhold som hjelper sine lesere
-til å gjøre endringer i sine egne liv og samfunn.
+ De har jobbet hardt for å finne måter å fortelle historier som viser ulike
+måter å lykkes på. <span class="quote">«<span class="quote">Vi ønsket å endre oppfatningen av hva som utgjør
+det gode liv</span>»</span>, sier Neal. Mens de startet med et svært bredt fokus på
+deling generelt, legger de i dag trykk på historier om fysiske fellesskap
+som <span class="quote">«<span class="quote">delte byer</span>»</span> (det vil si byområder som styres bærekraftig
+og kooperativt), så vel som digitale plattformer som drives demokratisk. De
+fokuserer spesielt på hvordan gjør-det-selv-innhold som hjelper sine lesere
+til å gjøre endringer i sine egne liv og samfunn.
</p><p>
Mer enn halvparten av historiene i Shareables er skrevet av betalte
-journalister som har kontrakt med bladet. <span class="quote">«<span class="quote">Spesielt på områder som er
-prioritert hos oss, ønsker vi virkelig å gå dypt og kontrollere
-kvaliteten</span>»</span>, sier Neal. Resten av innholdet er enten bidrag fra
+journalister som har kontrakt med bladet. <span class="quote">«<span class="quote">Spesielt på områder som er
+prioritert hos oss, ønsker vi virkelig å gå dypt og kontrollere
+kvaliteten</span>»</span>, sier Neal. Resten av innholdet er enten bidrag fra
gjesteskribenter, ofte kostnadsfritt eller skrevet i andre publikasjoner
-gjennom deres nettverk av innholdsleverandører. Shareable er medlem av Post
-Growth Alliance, som muliggjør deling av innhold og publikum i en stor og
+gjennom deres nettverk av innholdsleverandører. Shareable er medlem av Post
+Growth Alliance, som muliggjør deling av innhold og publikum i en stor og
voksende gruppe av hovedsakelig ikke-kommersielle organisasjoner. Hver
-organisasjon får en sjanse til å presentere historier for gruppen, og
+organisasjon får en sjanse til å presentere historier for gruppen, og
organisasjoner kan bruke og fremme hverandres historier. Mye av innholdet
som lages av nettverket er lisensiert med Creative Commons.
</p><p>
Alt originalt innhold i Shareable er publisert med navngivingslisens (CC
-BY), som betyr at det kan brukes til alle formål så fremt det henvises til
+BY), som betyr at det kan brukes til alle formål så fremt det henvises til
Shareable. Creative Commons-lisensiering er knyttet til Shareables visjon,
misjon og identitet. Det alene forklarer organisasjonens tilslutning til
-lisensene for sitt innhold, men Neal mener CC-lisensiering hjelper dem å øke
-sin rekkevidde. <span class="quote">«<span class="quote">Ved å bruke CC-lisensiering</span>»</span>, sa han,
-<span class="quote">«<span class="quote">skjønte vi at vi kan nå langt flere mennesker gjennom et formelt og
+lisensene for sitt innhold, men Neal mener CC-lisensiering hjelper dem å øke
+sin rekkevidde. <span class="quote">«<span class="quote">Ved å bruke CC-lisensiering</span>»</span>, sa han,
+<span class="quote">«<span class="quote">skjønte vi at vi kan nå langt flere mennesker gjennom et formelt og
uformelt nettverk av republiserere eller forbindelser. Det har definitivt
-vært tilfelle. Det er vanskelig for oss å måle rekkevidden for andre medier,
-men de fleste som publiserer våre verk har mye større publikum enn
-oss</span>»</span>.
- </p><p>
- I tillegg til sine vanlige nyheter og kommentarer på nettet, har Shareable
-også eksperimentert med publisering. I 2012 jobbet de med et tradisjonelt
-forlag for å gi ut <span class="quote">«<span class="quote">Share or Die: Voices of the Get Lost Generation in
-an Age of Crisis</span>»</span>. Den CC-lisensierte boken var tilgjengelig i trykt
-form for kjøp, eller gratis på nettet. Boken, sammen med deres
-CC-lisensierte guide <span class="quote">«<span class="quote">Policies for Shareable Cities</span>»</span>, er to av
-de største produsentene av trafikk på hjemmesiden deres.
- </p><p>
- I 2016 publiserte Shareable selv en håndbok med Shareable-historier kalt
-slik: <span class="quote">«<span class="quote">How to: Share, Save Money and Have Fun</span>»</span>. Boken var
+vært tilfelle. Det er vanskelig for oss å måle rekkevidden for andre medier,
+men de fleste som publiserer våre verk har mye større publikum enn
+oss</span>»</span>.
+ </p><p>
+ I tillegg til sine vanlige nyheter og kommentarer på nettet, har Shareable
+også eksperimentert med publisering. I 2012 jobbet de med et tradisjonelt
+forlag for å gi ut <span class="quote">«<span class="quote">Share or Die: Voices of the Get Lost Generation in
+an Age of Crisis</span>»</span>. Den CC-lisensierte boken var tilgjengelig i trykt
+form for kjøp, eller gratis på nettet. Boken, sammen med deres
+CC-lisensierte guide <span class="quote">«<span class="quote">Policies for Shareable Cities</span>»</span>, er to av
+de største produsentene av trafikk på hjemmesiden deres.
+ </p><p>
+ I 2016 publiserte Shareable selv en håndbok med Shareable-historier kalt
+slik: <span class="quote">«<span class="quote">How to: Share, Save Money and Have Fun</span>»</span>. Boken var
tilgjengelig for salg, mens en PDF-versjon av boken var tilgjengelig
-gratis. Shareable planlegger å tilby boken i kommende
+gratis. Shareable planlegger å tilby boken i kommende
pengeinnsamlingskampanjer.
</p><p>
Denne siste boken er en av mange pengeinnsamlingseksperimenter Shareable har
-gjennomført de siste årene. Foreløpig er Shareable primært finansiert av
+gjennomført de siste årene. Foreløpig er Shareable primært finansiert av
tilskudd fra stiftelser, men de beveger seg aktivt mot en mer diversifisert
-(mangfoldig) modell. De har organiserte sponsorer, og arbeider med å utvide
-basen av individuelle givere. Ideelt sett vil de til slutt være hundre
-prosent finansiert av publikum. Neal mener at å være fullt ut støttet av
+(mangfoldig) modell. De har organiserte sponsorer, og arbeider med å utvide
+basen av individuelle givere. Ideelt sett vil de til slutt være hundre
+prosent finansiert av publikum. Neal mener at å være fullt ut støttet av
samfunnet, vil representere deres visjon av verden bedre.
</p><p>
- For Shareable handler suksess mye om deres innvirkning på verden. Dette
-gjelder for Neal, men også for alle som arbeider for Shareable. <span class="quote">«<span class="quote">Vi
-trekker til oss lidenskapelige mennesker</span>»</span>, sier Neal. Til tider betyr
-det at ansatte jobber så hardt at de blir utbrent. Neal prøver å understreke
-for Shareable-teamet at en annen side av suksess er å ha det gøy og ta vare
-på seg selv, samtidig som du gjør noe du elsker. <span class="quote">«<span class="quote">En sentral del av å
-være menneske er at vi lengter etter å være med på et stort eventyr med
-mennesker vi elsker</span>»</span>, sa han. <span class="quote">«<span class="quote">Vi er en art som ser forbi
-horisonten, og tenker og skaper nye verdener, men vi søker også etter
-komforten i hjemmet</span>»</span>.
- </p><p>
- I 2013 kjørte Shareable sin første folkefinansieringskampanje for å starte
-sitt Sharing Cities Network. Neal sa at de først var på vei til å mislykkes
-stort. De kalte inn sine rådgivere i panikk, og ba om hjelp. Rådet de fikk
-var enkelt - <span class="quote">«<span class="quote">Sett deg på en stol og start samtaler</span>»</span>. Det er
-nøyaktig hva de gjorde, og de endte opp med å nå målet på 50 000
-dollar. Neal sa at kampanjen hjalp dem med å nå nye mennesker, men de aller
-fleste støttespillere var folk i deres eksisterende base.
- </p><p>
- For Neal symboliserte dette hvordan så mye av suksessen som kommer fra
-relasjoner. Over tid har Shareable investert tid og energi på forholdet til
-leserne og tilhengerne sine. De har også investert ressurser i å bygge
+ For Shareable handler suksess mye om deres innvirkning på verden. Dette
+gjelder for Neal, men også for alle som arbeider for Shareable. <span class="quote">«<span class="quote">Vi
+trekker til oss lidenskapelige mennesker</span>»</span>, sier Neal. Til tider betyr
+det at ansatte jobber så hardt at de blir utbrent. Neal prøver å understreke
+for Shareable-teamet at en annen side av suksess er å ha det gøy og ta vare
+på seg selv, samtidig som du gjør noe du elsker. <span class="quote">«<span class="quote">En sentral del av å
+være menneske er at vi lengter etter å være med på et stort eventyr med
+mennesker vi elsker</span>»</span>, sa han. <span class="quote">«<span class="quote">Vi er en art som ser forbi
+horisonten, og tenker og skaper nye verdener, men vi søker også etter
+komforten i hjemmet</span>»</span>.
+ </p><p>
+ I 2013 kjørte Shareable sin første folkefinansieringskampanje for å starte
+sitt Sharing Cities Network. Neal sa at de først var på vei til å mislykkes
+stort. De kalte inn sine rådgivere i panikk, og ba om hjelp. Rådet de fikk
+var enkelt - <span class="quote">«<span class="quote">Sett deg på en stol og start samtaler</span>»</span>. Det er
+nøyaktig hva de gjorde, og de endte opp med å nå målet på 50 000
+dollar. Neal sa at kampanjen hjalp dem med å nå nye mennesker, men de aller
+fleste støttespillere var folk i deres eksisterende base.
+ </p><p>
+ For Neal symboliserte dette hvordan så mye av suksessen som kommer fra
+relasjoner. Over tid har Shareable investert tid og energi på forholdet til
+leserne og tilhengerne sine. De har også investert ressurser i å bygge
relasjoner mellom sine lesere og tilhengere.
</p><p>
- Shareable begynte å huse arrangementer i 2010. Disse arrangementene var ment
-å bringe videodelingssamfunnet sammen. Men over tid skjønte de at de kunne
-nå langt flere mennesker hvis de hjalp sine lesere med å lage egne
-arrangementer. <span class="quote">«<span class="quote">Hvis vi ønsket å gjøre det stort med en konferanse,
+ Shareable begynte å huse arrangementer i 2010. Disse arrangementene var ment
+å bringe videodelingssamfunnet sammen. Men over tid skjønte de at de kunne
+nå langt flere mennesker hvis de hjalp sine lesere med å lage egne
+arrangementer. <span class="quote">«<span class="quote">Hvis vi ønsket å gjøre det stort med en konferanse,
var det stor risiko og et stort bemanningsbehov, i tillegg til at bare en
-brøkdel av vårt fellesskap kunne delta på arrangementet</span>»</span>, sier
-Neal. Å hjelpe andre med å lage sine egne arrangementer over hele kloden
-tillot dem å skalere opp arbeidet mer effektivt, og rekke ut til langt flere
-personer. Shareable har bidratt til tre hundre ulike arrangementer, og nådd
-over tjue tusen mennesker siden de tok i bruk denne strategien for tre år
-siden. I fortsettelsen fokuserer Shareable på å lage og distribuere innhold
-som er ment å anspore til lokale tiltak. For eksempel ville Shareable
-publisere en ny CC-lisensiert bok i 2017 fylt med idéer som nettverket kan
-gjennomføre.
- </p><p>
- Neal sier at Shareable snublet over denne strategien, men det synes å
-sammenfatte perfekt hvordan fellesskap er ment å fungere. I stedet for en
-størrelse som skal passe for alle, legger Shareable ut verktøy der folk kan
-ta idéer og tilpasse dem til sine egne lokalsamfunn.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapittel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+brøkdel av vårt fellesskap kunne delta på arrangementet</span>»</span>, sier
+Neal. Å hjelpe andre med å lage sine egne arrangementer over hele kloden
+tillot dem å skalere opp arbeidet mer effektivt, og rekke ut til langt flere
+personer. Shareable har bidratt til tre hundre ulike arrangementer, og nådd
+over tjue tusen mennesker siden de tok i bruk denne strategien for tre år
+siden. I fortsettelsen fokuserer Shareable på å lage og distribuere innhold
+som er ment å anspore til lokale tiltak. For eksempel ville Shareable
+publisere en ny CC-lisensiert bok i 2017 fylt med idéer som nettverket kan
+gjennomføre.
+ </p><p>
+ Neal sier at Shareable snublet over denne strategien, men det synes å
+sammenfatte perfekt hvordan fellesskap er ment å fungere. I stedet for en
+størrelse som skal passe for alle, legger Shareable ut verktøy der folk kan
+ta idéer og tilpasse dem til sine egne lokalsamfunn.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapittel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Siyavula er et fortjenestebasert pedagogisk utdanningsteknologisk selskap
-som lager lærebøker og integrerte læringsopplevelser. Grunnlagt år 2012, i
-Sør-Afrika.
+som lager lærebøker og integrerte læringsopplevelser. Grunnlagt år 2012, i
+Sør-Afrika.
</p><p>
<a class="ulink" href="https://www.siyavula.com" target="_top">https://www.siyavula.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for tilpassede
tjenester, sponsing
</p><p><span class="strong"><strong>Intervjudato</strong></span>: 5. april 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Mark Horner, administrerende
-direktør
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+direktør
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Åpenhet er et viktig prinsipp for Siyavula. De tror at hver elev og lærer
-bør ha tilgang til høykvalitets pedagogiske ressurser, da dette danner
-grunnlag for langsiktig vekst og utvikling. Siyavula har vært en pioner i å
-skape høykvalitets åpne lærebøker i matematikk og naturfag for fra fjerde
-til tolvte klasse i Sør-Afrika.
+ Åpenhet er et viktig prinsipp for Siyavula. De tror at hver elev og lærer
+bør ha tilgang til høykvalitets pedagogiske ressurser, da dette danner
+grunnlag for langsiktig vekst og utvikling. Siyavula har vært en pioner i å
+skape høykvalitets åpne lærebøker i matematikk og naturfag for fra fjerde
+til tolvte klasse i Sør-Afrika.
</p><p>
- Når det gjelder å skape en åpen forretningsmodell knyttet til Creative
-Commons, har Siyavula og dets grunnlegger, Mark Horner, måttet ta noen
-runder. Siyavula har markant skiftet retning og strategi flere ganger for å
-overleve og vokse. Mark sier det hele har vært veldig organisk.
+ Når det gjelder å skape en åpen forretningsmodell knyttet til Creative
+Commons, har Siyavula og dets grunnlegger, Mark Horner, måttet ta noen
+runder. Siyavula har markant skiftet retning og strategi flere ganger for å
+overleve og vokse. Mark sier det hele har vært veldig organisk.
</p><p>
Det hele startet i 2002, da Mark og flere andre kolleger ved University of
-Cape Town i Sør-Afrika grunnla det gratis prosjektet High School Science
-Texts. De fleste studentene i Sør-Afrika videregående skoler hadde ikke
-tilgang til utfyllende lærebøker med høy kvalitet i naturfag og matematikk,
-så Mark og hans kolleger startet med å skrive dem, og gjøre dem fritt
+Cape Town i Sør-Afrika grunnla det gratis prosjektet High School Science
+Texts. De fleste studentene i Sør-Afrika videregående skoler hadde ikke
+tilgang til utfyllende lærebøker med høy kvalitet i naturfag og matematikk,
+så Mark og hans kolleger startet med å skrive dem, og gjøre dem fritt
tilgjengelig.
</p><p>
- Som fysikere var Mark og hans kolleger tilhengere av fri programvare. For å
-lage frie og åpne bøker tok de i bruk Free Software Foundations GNU Free
-Documentation License.<a href="#ftn.idm1988" class="footnote" name="idm1988"><sup class="footnote">[150]</sup></a> For å skrive
-bøkene valgte de LaTeX, et typesettingsprogram som brukes til å publisere
-vitenskapelige dokumenter. Over en periode på fem år produserte High School
-Science-prosjektet lærebøker i matematikk og naturvitenskap for 10. til
+ Som fysikere var Mark og hans kolleger tilhengere av fri programvare. For å
+lage frie og åpne bøker tok de i bruk Free Software Foundations GNU Free
+Documentation License.<a href="#ftn.idm1988" class="footnote" name="idm1988"><sup class="footnote">[150]</sup></a> For å skrive
+bøkene valgte de LaTeX, et typesettingsprogram som brukes til å publisere
+vitenskapelige dokumenter. Over en periode på fem år produserte High School
+Science-prosjektet lærebøker i matematikk og naturvitenskap for 10. til
12. klasse.
</p><p>
- I 2007 tilbød Shuttleworth Foundation finansieringsstøtte for å gjøre
-lærebøker tilgjengelig for utprøving på flere skoler. Undersøkelser før og
-etter lærebøker ble tatt i bruk, viste ikke noen betydelig kritikk av
-lærebøkenes pedagogiske innhold. Dette gledet både forfattere og
-Shuttleworth. Mark er utrolig stolt av å ha oppnådd dette.
+ I 2007 tilbød Shuttleworth Foundation finansieringsstøtte for å gjøre
+lærebøker tilgjengelig for utprøving på flere skoler. Undersøkelser før og
+etter lærebøker ble tatt i bruk, viste ikke noen betydelig kritikk av
+lærebøkenes pedagogiske innhold. Dette gledet både forfattere og
+Shuttleworth. Mark er utrolig stolt av å ha oppnådd dette.
</p><p>
- Men utviklingen av nye lærebøker frøs på dette stadiet. Mark flyttet sitt
-fokus til skoler på landsbygda, som ikke har lærebøker i det hele tatt, og
-så på alternativene for trykking og distribusjon. Noen sponsorer dukket opp,
-men ikke mange nok til å møte behovet.
+ Men utviklingen av nye lærebøker frøs på dette stadiet. Mark flyttet sitt
+fokus til skoler på landsbygda, som ikke har lærebøker i det hele tatt, og
+så på alternativene for trykking og distribusjon. Noen sponsorer dukket opp,
+men ikke mange nok til å møte behovet.
</p><p>
I 2007 sammenkalte Shuttleworth og Open Society Institute en gruppe av
-åpen-utdanningsaktivister til et lite men livlig møte i Cape Town. Ett
-resultatet var Cape Town Open Education Declaration, en erklæring om
-prinsipper, strategier og engasjement for å hjelpe den
-
åpne-utdanningsbevegelsen til å vokse.<a href="#ftn.idm1994" class="footnote" name="idm1994"><sup class="footnote">[151]</sup></a>
-Shuttleworth inviterte også Mark til å gjennomføre et åpent innholdsprosjekt
-for alle fag i K-12 på engelsk. Det prosjektet ble til Siyavula.
- </p><p>
- De skrev seks originale lærebøker. Et lite forlag tilbød Shuttleworth å
-kjøpe forlagets K-9 innhold for alle fag i sørafrikanske skoler både på
-engelsk og Afrikaans. En avtale ble inngått, og alt det ervervede innholdet
+åpen-utdanningsaktivister til et lite men livlig møte i Cape Town. Ett
+resultatet var Cape Town Open Education Declaration, en erklæring om
+prinsipper, strategier og engasjement for å hjelpe den
+
åpne-utdanningsbevegelsen til å vokse.<a href="#ftn.idm1994" class="footnote" name="idm1994"><sup class="footnote">[151]</sup></a>
+Shuttleworth inviterte også Mark til å gjennomføre et åpent innholdsprosjekt
+for alle fag i K-12 på engelsk. Det prosjektet ble til Siyavula.
+ </p><p>
+ De skrev seks originale lærebøker. Et lite forlag tilbød Shuttleworth å
+kjøpe forlagets K-9 innhold for alle fag i sørafrikanske skoler både på
+engelsk og Afrikaans. En avtale ble inngått, og alt det ervervede innholdet
ble lisensiert med Creative Commons, en betydelig utvidelse i forhold til de
-seks opprinnelige bøkene.
+seks opprinnelige bøkene.
</p><p>
- Mark ønsket å lage det gjenværende pensum i samarbeid, gjennom
-praksisfellesskap – med andre lærere og forfattere. Selv om deling er
-fundamentalt i undervisning, kan det være noen utfordringer når du lager
+ Mark ønsket å lage det gjenværende pensum i samarbeid, gjennom
+praksisfellesskap – med andre lærere og forfattere. Selv om deling er
+fundamentalt i undervisning, kan det være noen utfordringer når du lager
pedagogiske ressurser kollektivt. En bekymring gjelder. Det er vanlig
-praksis i utdanning å kopiere diagrammer og tekstutdrag, men selvfølgelig er
+praksis i utdanning å kopiere diagrammer og tekstutdrag, men selvfølgelig er
dette ikke alltid i samsvar med opphavsretten. En annen bekymring er
-åpenhet. Deling av hva du har skrevet, betyr at alle kan se det, og du åpner
-opp for kritikk. For å lette disse bekymringene tok Mark i bruk en
-team-basert tilnærming til redigering, og insisterte på at pensum
-utelukkende skulle være basert på ressurser med Creative Commons-lisenser,
-og dermed trygge å dele, og fri fra juridiske tilbakeslag.
- </p><p>
- Ikke bare ville Mark at ressursene skulle være delbare, han ville at alle
-lærere kunne remikse og redigere innholdet. Mark og hans team måtte komme
-opp med et åpent redigerbart format, og levere redigeringsverktøy. De endte
-opp med å legge alle bøkene de hadde kjøpt og skrevet på en plattform som
-heter Conexions.<a href="#ftn.idm2000" class="footnote" name="idm2000"><sup class="footnote">[152]</sup></a> Siyavula lærte opp
-mange lærere til å bruke Connexions, men det viste seg å være for
-komplisert, og lærebøker ble sjelden redigert.
- </p><p>
- Da besluttet Shuttleworth Foundation å helt restrukturere sitt arbeid som en
+åpenhet. Deling av hva du har skrevet, betyr at alle kan se det, og du åpner
+opp for kritikk. For å lette disse bekymringene tok Mark i bruk en
+team-basert tilnærming til redigering, og insisterte på at pensum
+utelukkende skulle være basert på ressurser med Creative Commons-lisenser,
+og dermed trygge å dele, og fri fra juridiske tilbakeslag.
+ </p><p>
+ Ikke bare ville Mark at ressursene skulle være delbare, han ville at alle
+lærere kunne remikse og redigere innholdet. Mark og hans team måtte komme
+opp med et åpent redigerbart format, og levere redigeringsverktøy. De endte
+opp med å legge alle bøkene de hadde kjøpt og skrevet på en plattform som
+heter Conexions.<a href="#ftn.idm2000" class="footnote" name="idm2000"><sup class="footnote">[152]</sup></a> Siyavula lærte opp
+mange lærere til å bruke Connexions, men det viste seg å være for
+komplisert, og lærebøker ble sjelden redigert.
+ </p><p>
+ Da besluttet Shuttleworth Foundation å helt restrukturere sitt arbeid som en
stiftelse til en fellesskapsmodell (av grunner helt uten tilknytning til
Siyavula). Som en del av denne overgangen i 2009-2010, arvet Mark Siyavula
som en uavhengig enhet, og tok eierskap over det som medlem av Shuttleworth.
</p><p>
- Mark og hans team eksperimenterte med flere ulike strategier. De prøvde å
+ Mark og hans team eksperimenterte med flere ulike strategier. De prøvde å
opprette en redigerings- og vertskapsplattform kalt Full Marks, slik at
-lærere kunne dele vurderingstemaer. De prøvde å lage en tjeneste kalt Open
-Press, der lærere kunne be om at åpne pedagogiske ressurser skulle
+lærere kunne dele vurderingstemaer. De prøvde å lage en tjeneste kalt Open
+Press, der lærere kunne be om at åpne pedagogiske ressurser skulle
akkumuleres i en pakke, og skrevet for dem. Disse tjenestene har aldri
virkelig rullet ut.
</p><p>
- Så tok den sørafrikanske regjeringen kontakt med Siyavula og uttrykte
-interesse for å trykke opp de opprinnelige seks Free High School Science
-Texts (gratis lærebøker i matematikk og naturvitenskap for 10. til
-12.-klasse) for alle elever i videregående opplæring i Sør-Afrika. Selv om
-Siyavula var litt motløs over åpne pedagogiske ressurser på dette
-tidspunktet, så de på dette som en stor mulighet.
+ Så tok den sørafrikanske regjeringen kontakt med Siyavula og uttrykte
+interesse for å trykke opp de opprinnelige seks Free High School Science
+Texts (gratis lærebøker i matematikk og naturvitenskap for 10. til
+12.-klasse) for alle elever i videregående opplæring i Sør-Afrika. Selv om
+Siyavula var litt motløs over åpne pedagogiske ressurser på dette
+tidspunktet, så de på dette som en stor mulighet.
</p><p>
- De begynte å oppfatte at seks bøker hadde et enormt markedsføringspotensial
-for Siyavula. Å trykke Siyavula-bøker til hvert barn i Sør-Afrika ville gi
+ De begynte å oppfatte at seks bøker hadde et enormt markedsføringspotensial
+for Siyavula. Å trykke Siyavula-bøker til hvert barn i Sør-Afrika ville gi
merkevaren deres stor eksponering, og kunne gi store mengder trafikk til
-nettstedet deres. I tillegg til bøker, kan Siyavula også gjøre bøkene
-tilgjengelige på hjemmesiden sin, og gjøre det mulig for elever å få tilgang
-til dem fra alle enheter – datamaskin, nettbrett eller mobiltelefon.
+nettstedet deres. I tillegg til bøker, kan Siyavula også gjøre bøkene
+tilgjengelige på hjemmesiden sin, og gjøre det mulig for elever å få tilgang
+til dem fra alle enheter – datamaskin, nettbrett eller mobiltelefon.
</p><p>
Mark og teamet hans forestilte seg etter hvert hva de kunne utvikle, utover
-det som var i lærebøker, som en tjeneste de tar betalt for. En viktig ting
-du ikke kan gjøre i en trykt lærebok er å demonstrere løsninger. Vanligvis
+det som var i lærebøker, som en tjeneste de tar betalt for. En viktig ting
+du ikke kan gjøre i en trykt lærebok er å demonstrere løsninger. Vanligvis
gis det et enlinjers svar i slutten av boken, men ingenting om prosessen for
-å komme frem til løsningen. Mark og hans team utviklet øvelseselementene og
-detaljerte løsninger, og ga elever mange muligheter til å teste ut det de
-har lært. Videre kunne en algoritme tilpasse disse øvelseselementene til de
+å komme frem til løsningen. Mark og hans team utviklet øvelseselementene og
+detaljerte løsninger, og ga elever mange muligheter til å teste ut det de
+har lært. Videre kunne en algoritme tilpasse disse øvelseselementene til de
individuelle behovene til hver enkelt elev. De kalte denne tjenesten
Intelligent Practice (Intelligent praksis) , og la inn innebygde lenker til
-den i de åpne lærebøkene.
+den i de åpne lærebøkene.
</p><p>
- Kostnadene for å bruke Intelligent Practice ble satt svært lavt, noe som
-gjorde det tilgjengelig selv for de med begrenset økonomi. Siyavula gikk for
-stort volum og bred bruk i stedet for et å være et dyrt produkt forbeholdt
+ Kostnadene for å bruke Intelligent Practice ble satt svært lavt, noe som
+gjorde det tilgjengelig selv for de med begrenset økonomi. Siyavula gikk for
+stort volum og bred bruk i stedet for et å være et dyrt produkt forbeholdt
kun den mest bemidlede delen av markedet.
</p><p>
- Regjeringen distribuerte bøkene til 1,5 millioner studenter, men det var en
-uventet mangel: Bøkene ble levert sent. I stedet for å vente, ga skoler som
-hadde råd elevene en annen lærebok. Siyavula-bøker ble til slutt
-distribuert, men med velstående skoler som hovedsakelig bruker en annen bok,
-ble det primære markedet for Siyavulas Intelligent Practice-tjeneste,
+ Regjeringen distribuerte bøkene til 1,5 millioner studenter, men det var en
+uventet mangel: Bøkene ble levert sent. I stedet for å vente, ga skoler som
+hadde råd elevene en annen lærebok. Siyavula-bøker ble til slutt
+distribuert, men med velstående skoler som hovedsakelig bruker en annen bok,
+ble det primære markedet for Siyavulas Intelligent Practice-tjeneste,
utilsiktet, for lavinntektselever.
</p><p>
- Nettstedet til Siyavula så en dramatisk økning i trafikken. De fikk fem
-hundre tusen besøkende per måned til sitt matte-nettsted og samme antall til
+ Nettstedet til Siyavula så en dramatisk økning i trafikken. De fikk fem
+hundre tusen besøkende per måned til sitt matte-nettsted og samme antall til
sitt naturfags-nettsted. To femtedeler av trafikken var lesing fra en
-<span class="quote">«<span class="quote">funksjonstelefon</span>»</span> (en ikke smart mobiltelefon uten
-app-er). Folk med enkle telefoner leste matematikk og realfag på en
-to-tommers skjerm til alle døgnets timer. Det var helt fantastisk for
-Mark, og demonstrerte behovet de betjente.
+<span class="quote">«<span class="quote">funksjonstelefon</span>»</span> (en ikke smart mobiltelefon uten
+app-er). Folk med enkle telefoner leste matematikk og realfag på en
+to-tommers skjerm til alle døgnets timer. Det var helt fantastisk for
+Mark, og demonstrerte behovet de betjente.
</p><p>
- Først kunne Intelligent Practice-tjenestene kun betales med
-kredittkort. Dette viste seg problematisk, særlig for dem i
+ Først kunne Intelligent Practice-tjenestene kun betales med
+kredittkort. Dette viste seg problematisk, særlig for dem i
lavinntektsgruppene, der kredittkort ikke var utbredt. Mark sier Siyavula
tidlig fikk seg en hard lekse i forretningsmodellering. Som han beskriver
det, handler det ikke bare om produktet, men hvordan du selger det, hvem
-markedet er, hva prisen er, og hvile barrierer man støter på for bruk.
+markedet er, hva prisen er, og hvile barrierer man støter på for bruk.
</p><p>
- Mark beskriver dette som den første versjonen av Siyavulas
-forretningsmodell: Åpne lærebøker som markedsføringsmateriale og trafikk til
+ Mark beskriver dette som den første versjonen av Siyavulas
+forretningsmodell: Åpne lærebøker som markedsføringsmateriale og trafikk til
nettstedet ditt, der du kan tilby en relatert tjeneste, og konvertere noen
-til å bli en betalende kunde.
+til å bli en betalende kunde.
</p><p>
- For Mark var en viktig beslutning for forretningsdriften til Siyavula å
-fokusere på hvordan de kan tilføre verdi i tillegg til sin grunnleggende
+ For Mark var en viktig beslutning for forretningsdriften til Siyavula å
+fokusere på hvordan de kan tilføre verdi i tillegg til sin grunnleggende
tjeneste. De tar betalt kun hvis de legger til unik verdi. Selve innholdet i
-læreboken er overhodet ikke unikt, så Siyavula ser ikke poenget med å låse
-det ned og ta betalt for det. Mark nevner at dette er svært forskjellig fra
+læreboken er overhodet ikke unikt, så Siyavula ser ikke poenget med å låse
+det ned og ta betalt for det. Mark nevner at dette er svært forskjellig fra
hvordan tradisjonelle forleggere tar betalt om og om igjen for det samme
-innholdet, uten å legge til noen verdi av det.
+innholdet, uten å legge til noen verdi av det.
</p><p>
- Versjon 2 av Siyavulas forretningsmodell var en stor, ambisiøse
-idé-oppskalering. De besluttet også å selge tjenesten Intelligent
-Practice-tjenesten direkte til skolene. Skolene kan abonnere på en pr. elev,
+ Versjon 2 av Siyavulas forretningsmodell var en stor, ambisiøse
+idé-oppskalering. De besluttet også å selge tjenesten Intelligent
+Practice-tjenesten direkte til skolene. Skolene kan abonnere på en pr. elev,
pr. emnebasis. Et enkelt abonnement gir en elev tilgang til ett enkelt emne,
inkludert tilgjengelig praksisinnhold for hvert klassetrinn for dette
-emnet. Det tilbys lavere abonnementspriser når det er over to hundre
+emnet. Det tilbys lavere abonnementspriser når det er over to hundre
studenter, og store skoler har et pristak. 40 prosent rabatt tilbys skoler
-der både naturfag- og matematikkavdelingene abonnerer.
+der både naturfag- og matematikkavdelingene abonnerer.
</p><p>
- Lærere får et skjermbilde som tillater dem å overvåke fremdriften for en hel
-klasse, eller vise en enkeltelevs resultater. De kan se spørsmål som elevene
-arbeider med, identifisere problemer og være mer strategiske i
-undervisningen. Elevene har også sitt eget personlige skjermbilde, hvor de
+ Lærere får et skjermbilde som tillater dem å overvåke fremdriften for en hel
+klasse, eller vise en enkeltelevs resultater. De kan se spørsmål som elevene
+arbeider med, identifisere problemer og være mer strategiske i
+undervisningen. Elevene har også sitt eget personlige skjermbilde, hvor de
kan vise seksjonene de har brukt, hvor mange poeng de har tjent, og hvordan
ytelsen deres blir bedret.
</p><p>
- Basert på suksessen med dette arbeidet, besluttet Siyavula å øke
-produksjonen av åpne pedagogiske ressurser slik at de kunne levere tjenesten
-«Intelligent Practice» for et bredere tilbud av bøker. Bøkene for 10. til
-12.-klasse i matematikk og realfag ble omarbeidet hvert år, og nye bøker
+ Basert på suksessen med dette arbeidet, besluttet Siyavula å øke
+produksjonen av åpne pedagogiske ressurser slik at de kunne levere tjenesten
+«Intelligent Practice» for et bredere tilbud av bøker. Bøkene for 10. til
+12.-klasse i matematikk og realfag ble omarbeidet hvert år, og nye bøker
laget for klassene 4. til 6. og senere for klasse 7. til 9.
</p><p>
I samarbeid med, og sponset av Sasol Inzalo Foundation, har Siyavula
-produsert en rekke arbeidsbøker for naturvitenskap og teknologi for 4. til
+produsert en rekke arbeidsbøker for naturvitenskap og teknologi for 4. til
6.-klasse, kalt Thunderbolt Kids, som bruker en morsom
tegneseriestil.<a href="#ftn.idm2019" class="footnote" name="idm2019"><sup class="footnote">[153]</sup></a> Det er et komplett
-pensum som også har med lærerens veiledninger og andre ressurser.
+pensum som også har med lærerens veiledninger og andre ressurser.
</p><p>
- Gjennom denne erfaringen lærte Siyavula at de kunne få sponsorer til å
-finansiere åpent lisensierte lærebøker. Det hjalp at Siyavula på denne tiden
-hadde spikret produksjonsmodellen. Det koster omtrent 150 000 dollar å
-produsere en bok på to språk. Sponsorer likte den sosiale nytten av
-lærebøker låst opp med en Creative Commons-lisens. De likte også
+ Gjennom denne erfaringen lærte Siyavula at de kunne få sponsorer til å
+finansiere åpent lisensierte lærebøker. Det hjalp at Siyavula på denne tiden
+hadde spikret produksjonsmodellen. Det koster omtrent 150 000 dollar å
+produsere en bok på to språk. Sponsorer likte den sosiale nytten av
+lærebøker låst opp med en Creative Commons-lisens. De likte også
eksponeringen deres merkevare fikk. For omtrent 150 000 dollar vil logoen
-deres være synlig på bøker distribuert til over en million elever.
+deres være synlig på bøker distribuert til over en million elever.
</p><p>
- Siyavula-bøkene, gjennomgått, godkjent og merket av regjeringen, er fritt og
-åpent tilgjengelig på Siyavulas hjemmeside under en
-Attribution-NoDerivs-lisens (CC BY-ND) - NoDerives betyr at disse bøkene
-ikke kan endres. Ikke-regjeringsmerkede bøker er tilgjengelige med en
+ Siyavula-bøkene, gjennomgått, godkjent og merket av regjeringen, er fritt og
+åpent tilgjengelig på Siyavulas hjemmeside under en
+Attribution-NoDerivs-lisens (CC BY-ND) - NoDerives betyr at disse bøkene
+ikke kan endres. Ikke-regjeringsmerkede bøker er tilgjengelige med en
Attribution-lisens (CC BY), slik at andre kan modifisere og redistribuere
-bøkene.
- </p><p>
- Selv om den sørafrikanske regjeringen betalte for å trykke og distribuere
-papirkopier av bøkene til skolebarn, mottok ikke Siyavula selv noen
-finansiering fra regjeringen. Siyavula prøvde først å overbevise
-myndighetene om å gi dem fem rand pr. bok (omkring 35 US cent). Med disse
-pengene, sier Mark, at Siyavula kunne ha kjørt hele operasjonen, bygget en
-fellesskapsbasert modell for å produsere flere bøker, og gi Intelligent
-Practice til alle barn i landet. Men etter å ha forhandlet lenge, sa
+bøkene.
+ </p><p>
+ Selv om den sørafrikanske regjeringen betalte for å trykke og distribuere
+papirkopier av bøkene til skolebarn, mottok ikke Siyavula selv noen
+finansiering fra regjeringen. Siyavula prøvde først å overbevise
+myndighetene om å gi dem fem rand pr. bok (omkring 35 US cent). Med disse
+pengene, sier Mark, at Siyavula kunne ha kjørt hele operasjonen, bygget en
+fellesskapsbasert modell for å produsere flere bøker, og gi Intelligent
+Practice til alle barn i landet. Men etter å ha forhandlet lenge, sa
regjeringen nei.
</p><p>
- Å bruke Siyavula-bøker genererte store besparelser for regjeringen. Å gi
-elevene en tradisjonelt publisert lærebok for 12.-klasse i naturfag eller
-matte koster rundt 250 rand pr. bok (rundt 18 US dollar). Å gi eleven
-Siyavula-versjonen koster rundt 36 rand (ca 2,60 dollar), en besparelse på
+ Å bruke Siyavula-bøker genererte store besparelser for regjeringen. Å gi
+elevene en tradisjonelt publisert lærebok for 12.-klasse i naturfag eller
+matte koster rundt 250 rand pr. bok (rundt 18 US dollar). Å gi eleven
+Siyavula-versjonen koster rundt 36 rand (ca 2,60 dollar), en besparelse på
over 200 rand pr. bok. Men ingen av disse besparelsene ble gitt videre til
-Siyavula. I ettertid mener Mark at dette kan ha slått ut i deres egen favør,
-ettersom det tillot dem å forbli uavhengige av regjeringen.
+Siyavula. I ettertid mener Mark at dette kan ha slått ut i deres egen favør,
+ettersom det tillot dem å forbli uavhengige av regjeringen.
</p><p>
- Akkurat da Siyavula planla å skalere opp produksjon av åpne lærebøker enda
-mer, endret den sørafrikanske regjeringen sin lærebokpolitikk. For å spare
-kostnader erklærte regjeringen det bare ville være en eneste autorisert
-lærebok for hver klasse og hvert emne. Det var ingen garanti for at
+ Akkurat da Siyavula planla å skalere opp produksjon av åpne lærebøker enda
+mer, endret den sørafrikanske regjeringen sin lærebokpolitikk. For å spare
+kostnader erklærte regjeringen det bare ville være en eneste autorisert
+lærebok for hver klasse og hvert emne. Det var ingen garanti for at
Siyavulas ville bli valgt. Dette skremte bort mulige sponsorer.
</p><p>
- I stedet for å produsere flere lærebøker, fokuserte Siyavula på å forbedre
-sin Intelligent Practice-teknologi til sine eksisterende bøker. Mark kaller
-denne versjonen tre av Siyavulas forretningsmodell – fokus på teknologi som
+ I stedet for å produsere flere lærebøker, fokuserte Siyavula på å forbedre
+sin Intelligent Practice-teknologi til sine eksisterende bøker. Mark kaller
+denne versjonen tre av Siyavulas forretningsmodell – fokus på teknologi som
gir tjenesten inntekter, og gir flere brukere av denne tjenesten. Versjon 3
-økte betydelig i 2014 etter en investering av Omidyar Network (med
+økte betydelig i 2014 etter en investering av Omidyar Network (med
filantropisk risikokapital startet av eBay-grunnlegger Pierre Omidyar og
-hans ektefelle), og fortsetter å være den modellen Siyavula bruker i dag.
+hans ektefelle), og fortsetter å være den modellen Siyavula bruker i dag.
</p><p>
- Mark sier salget er på vei oppover, og de er virkelig festet til Intelligent
-Practice. Skolene fortsetter å bruke sine åpne lærebøker. Politikken
-regjeringen kunngjorde, at det bare skulle være en lærebok pr. fag, viste
-seg å være svært omstridt, og svever i uvisshet.
+ Mark sier salget er på vei oppover, og de er virkelig festet til Intelligent
+Practice. Skolene fortsetter å bruke sine åpne lærebøker. Politikken
+regjeringen kunngjorde, at det bare skulle være en lærebok pr. fag, viste
+seg å være svært omstridt, og svever i uvisshet.
</p><p>
Siyavula utforsker en rekke forbedringer av sin forretningsmodell. Disse
-inkluderer betaling av et lite beløp for vurderingstjenester over telefon,
+inkluderer betaling av et lite beløp for vurderingstjenester over telefon,
diversifisering (spredning) av markedet sitt til alle engelsktalende land i
-Afrika, og å sette opp et konsortium som gjør Intelligent Practice gratis
-til alle barn ved å selge ikke-personlige data som samles av Intelligent
+Afrika, og å sette opp et konsortium som gjør Intelligent Practice gratis
+til alle barn ved å selge ikke-personlige data som samles av Intelligent
Practice.
</p><p>
Siyavula er et foretak for fortjeneste, men med sosiale oppgaver. Deres
-aksjeeieravtale lister mange krav om åpenhet for Siyavula, inkludert krav om
-at innholdet alltid legges inn under en åpen lisens, og at de ikke tar
-betalt for noe som folk frivillig gjør for dem. De mener at den enkelte skal
-ha tilgang til de ressurser og den støtte de trenger for å få utdanningen
-de fortjener. Å har læringsressurser åpent lisensiert med Creative Commons
+aksjeeieravtale lister mange krav om åpenhet for Siyavula, inkludert krav om
+at innholdet alltid legges inn under en åpen lisens, og at de ikke tar
+betalt for noe som folk frivillig gjør for dem. De mener at den enkelte skal
+ha tilgang til de ressurser og den støtte de trenger for å få utdanningen
+de fortjener. Å har læringsressurser åpent lisensiert med Creative Commons
betyr at de kan oppfylle sin sosiale oppgave, i tillegg til at de kan de
-bygge inntektsgivende tjenester for å opprettholde kontinuerlig drift av
-Siyavula. I åpne forretningsmodeller har Mark og Siyavula måttet gå noen
-runder noen ganger, men både han og selskapet er blitt sterkere av det.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1988" class="footnote"><p><a href="#idm1988" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1994" class="footnote"><p><a href="#idm1994" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm2000" class="footnote"><p><a href="#idm2000" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm2019" class="footnote"><p><a href="#idm2019" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapittel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- SparkFun er en nettbasert elektronikkforhandler som spesialiserer seg på
-åpen maskinvare. Grunnlagt i 2003 i USA.
+bygge inntektsgivende tjenester for å opprettholde kontinuerlig drift av
+Siyavula. I åpne forretningsmodeller har Mark og Siyavula måttet gå noen
+runder noen ganger, men både han og selskapet er blitt sterkere av det.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1988" class="footnote"><p><a href="#idm1988" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1994" class="footnote"><p><a href="#idm1994" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm2000" class="footnote"><p><a href="#idm2000" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm2019" class="footnote"><p><a href="#idm2019" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapittel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ SparkFun er en nettbasert elektronikkforhandler som spesialiserer seg på
+åpen maskinvare. Grunnlagt i 2003 i USA.
</p><p>
<a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Betaling for fysiske
kopier (elektroniske salg)
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 29. februar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Nathan Seidle, grunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- SparkFuns grunnlegger og tidligere administrerende direktør Nathan Seidle
+ SparkFuns grunnlegger og tidligere administrerende direktør Nathan Seidle
har et bilde av seg selv med et stort smilende ansikt, der han holder opp en
-klone av et SparkFun-produkt på et elektronikkmarked i Kina. Han var på
-reise i Kina da han kom over deres LilyPad bærbarteknologi laget av noen
+klone av et SparkFun-produkt på et elektronikkmarked i Kina. Han var på
+reise i Kina da han kom over deres LilyPad bærbarteknologi laget av noen
andre. Hans reaksjon var fryd.
- </p><p><span class="quote">«<span class="quote">Å bli kopiert er det største kjennetegnet på smiger og
-suksess</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Jeg tenkte at det var utrolig stilig at
-de solgte til et marked vi aldri ellers kom til å nå ut til. Det var et
-bevis på hvordan vi påvirket verden</span>»</span>.
+ </p><p><span class="quote">«<span class="quote">Å bli kopiert er det største kjennetegnet på smiger og
+suksess</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Jeg tenkte at det var utrolig stilig at
+de solgte til et marked vi aldri ellers kom til å nå ut til. Det var et
+bevis på hvordan vi påvirket verden</span>»</span>.
</p><p>
- Dette syn på verden preger alt SparkFun gjør. SparkFun er en
+ Dette syn på verden preger alt SparkFun gjør. SparkFun er en
elektronikkprodusent. Selskapet selger sine produkter direkte til publikum
-på nettet, og fyller dem med pedagogiske verktøy for å selge til skoler og
-lærere. SparkFun bruker Creative Commons-lisenser til alle skjemaer, bilder,
-opplæringsinnhold og læreplaner, slik at alle kan lage sine produkter på
-egenhånd. Å bli kopiert er en del av designet.
- </p><p>
- Nathan mener at åpen lisensiering er bra for verden. <span class="quote">«<span class="quote">Det møter vårt
-naturlige menneskelige delingsinstinkt</span>»</span>, sa han. Men han mener også
-sterkt at det gjør SparkFun bedre på hva de gjør. De oppfordrer til
+på nettet, og fyller dem med pedagogiske verktøy for å selge til skoler og
+lærere. SparkFun bruker Creative Commons-lisenser til alle skjemaer, bilder,
+opplæringsinnhold og læreplaner, slik at alle kan lage sine produkter på
+egenhånd. Å bli kopiert er en del av designet.
+ </p><p>
+ Nathan mener at åpen lisensiering er bra for verden. <span class="quote">«<span class="quote">Det møter vårt
+naturlige menneskelige delingsinstinkt</span>»</span>, sa han. Men han mener også
+sterkt at det gjør SparkFun bedre på hva de gjør. De oppfordrer til
kopiering, og deres produkter kopieres med stor hastighet, ofte innen
-ti-tolv uker etter utgivelsen. Dette tvinger selskapet til å konkurrere på
+ti-tolv uker etter utgivelsen. Dette tvinger selskapet til å konkurrere på
noe annet enn produktutforming, eller det som vanligvis vurderes som deres
-åndsverk.
- </p><p><span class="quote">«<span class="quote">Vi konkurrerer på forretningsprinsipper</span>»</span>, hevder
-Nathan. <span class="quote">«<span class="quote">Å hevde territorium med immaterielle rettigheter tillater en
-komfortabel hvile på laurbærene. Det gir deg et sikkerhetsnett. Vi tok bort
-det sikkerhetsnettet</span>»</span>.
- </p><p>
- Resultatet er et intenst fokus i hele firmaet på produktutvikling og
-forbedring. <span class="quote">«<span class="quote">Våre produkter er så mye bedre enn de var for fem år
-siden</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Da solgte vi bare produkter. Nå er det et
-produkt pluss en video, sytten siders oppkoblingsveiledning samt eksempel på
-fastvare til tre forskjellige plattformer for å få deg i gang raskere. Vi
-har blitt bedre fordi vi måtte, for å kunne konkurrere. Selv om det er
-smertefullt for oss, kommer det kundene til gode</span>»</span>.
- </p><p>
- SparkFun-deler er tilgjengelig på eBay til lavere priser. Men folk kommer
-direkte til SparkFun fordi SparkFun gjør livet deres enklere. Eksempelkoden
-fungerer. Det er et servicenummer å ringe; de sender erstatningsdeler samme
-dag som de får en servicehenvendelse. De investerer tungt i service og
-støtte. <span class="quote">«<span class="quote">Jeg mener bedrifter ikke bør benytte immaterielle
-rettighetsbarrierer når de konkurrerer</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Dette er
-det de bør konkurrere om</span>»</span>.
- </p><p>
- Historien til selskapet Sparkfun startet på studenthybelen til Nathan. Han
-tilbrakte mye tid med å eksperimentere med, og bygge, elektronikk, og han
-skjønte det var en nisje ledig i markedet. <span class="quote">«<span class="quote">Hvis du ønsket å bestille
-noe</span>»</span>, sa han, <span class="quote">«<span class="quote">måtte du først søke vidt og bredt for å finne
-det, og deretter måtte du ringe eller fakse noen</span>»</span>. I 2003, i sitt
-tredje
år på college, registrerte han <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>, og
+åndsverk.
+ </p><p><span class="quote">«<span class="quote">Vi konkurrerer på forretningsprinsipper</span>»</span>, hevder
+Nathan. <span class="quote">«<span class="quote">Å hevde territorium med immaterielle rettigheter tillater en
+komfortabel hvile på laurbærene. Det gir deg et sikkerhetsnett. Vi tok bort
+det sikkerhetsnettet</span>»</span>.
+ </p><p>
+ Resultatet er et intenst fokus i hele firmaet på produktutvikling og
+forbedring. <span class="quote">«<span class="quote">Våre produkter er så mye bedre enn de var for fem år
+siden</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Da solgte vi bare produkter. Nå er det et
+produkt pluss en video, sytten siders oppkoblingsveiledning samt eksempel på
+fastvare til tre forskjellige plattformer for å få deg i gang raskere. Vi
+har blitt bedre fordi vi måtte, for å kunne konkurrere. Selv om det er
+smertefullt for oss, kommer det kundene til gode</span>»</span>.
+ </p><p>
+ SparkFun-deler er tilgjengelig på eBay til lavere priser. Men folk kommer
+direkte til SparkFun fordi SparkFun gjør livet deres enklere. Eksempelkoden
+fungerer. Det er et servicenummer å ringe; de sender erstatningsdeler samme
+dag som de får en servicehenvendelse. De investerer tungt i service og
+støtte. <span class="quote">«<span class="quote">Jeg mener bedrifter ikke bør benytte immaterielle
+rettighetsbarrierer når de konkurrerer</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Dette er
+det de bør konkurrere om</span>»</span>.
+ </p><p>
+ Historien til selskapet Sparkfun startet på studenthybelen til Nathan. Han
+tilbrakte mye tid med å eksperimentere med, og bygge, elektronikk, og han
+skjønte det var en nisje ledig i markedet. <span class="quote">«<span class="quote">Hvis du ønsket å bestille
+noe</span>»</span>, sa han, <span class="quote">«<span class="quote">måtte du først søke vidt og bredt for å finne
+det, og deretter måtte du ringe eller fakse noen</span>»</span>. I 2003, i sitt
+tredje
år på college, registrerte han <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>, og
startet med videresalg av produkter fra soverommet sitt. Etter at han ble
-uteksaminert, begynte han å lage og selge sine egne produkter.
+uteksaminert, begynte han å lage og selge sine egne produkter.
</p><p>
- Så snart han startet med å utforme sine egne produkter, la han ut
-programvaren og koblingsskjemaene på nettet for å hjelpe til med teknisk
-kundestøtte. Etter noen undersøkelser om lisensbetingelser, valgte han
-Creative Commons-lisenser fordi han hadde sans for <span class="quote">«<span class="quote">avtaler som var
-leselige for mennesker</span>»</span>, og som forklarte lisensvilkårene i
+ Så snart han startet med å utforme sine egne produkter, la han ut
+programvaren og koblingsskjemaene på nettet for å hjelpe til med teknisk
+kundestøtte. Etter noen undersøkelser om lisensbetingelser, valgte han
+Creative Commons-lisenser fordi han hadde sans for <span class="quote">«<span class="quote">avtaler som var
+leselige for mennesker</span>»</span>, og som forklarte lisensvilkårene i
klartekst. SparkFun bruker fortsatt CC-lisenser for alle skjemaer og
fastvare til produktene sine.
</p><p>
Selskapet har vokst fra et soloprosjekt til et konsern med 140
-medarbeidere. I 2015 hadde SparkFun 33 millioner dollar i inntekter. Å
-selge komponenter og dingser til hobbyformål, profesjonelle, og kunstnere er
+medarbeidere. I 2015 hadde SparkFun 33 millioner dollar i inntekter. Å
+selge komponenter og dingser til hobbyformål, profesjonelle, og kunstnere er
fortsatt en viktig del av Sparkfuns virksomhet. De selger sine egne
-produkter, men de samarbeider også med Arduino (også presentert i denne
+produkter, men de samarbeider også med Arduino (også presentert i denne
boken) med produksjon av brett for videresalg under Arduinos merke.
</p><p>
- SparkFun har også en utdanningsavdeling som har til oppgave å fokusere på å
-lage en helt konkret læreplan for å lære elevene om elektronikk ved å bruke
-prototype-deler. Fordi SparkFun alltid har vært konsentrert om å gjøre andre
-i stand til å gjenskape og reparere sine produkter på egenhånd, er det
-senere fokuset på å innføre unge i teknologi en naturlig forlengelse av
+ SparkFun har også en utdanningsavdeling som har til oppgave å fokusere på å
+lage en helt konkret læreplan for å lære elevene om elektronikk ved å bruke
+prototype-deler. Fordi SparkFun alltid har vært konsentrert om å gjøre andre
+i stand til å gjenskape og reparere sine produkter på egenhånd, er det
+senere fokuset på å innføre unge i teknologi en naturlig forlengelse av
kjernevirksomheten.
- </p><p><span class="quote">«<span class="quote">Vi har byrden og muligheten til å utdanne den neste generasjonen av
-tekniske borgere</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Vårt mål er å påvirke livene
-til tre hundre og femti tusen videregående elever i 2020</span>»</span>.
+ </p><p><span class="quote">«<span class="quote">Vi har byrden og muligheten til å utdanne den neste generasjonen av
+tekniske borgere</span>»</span>, sier Nathan. <span class="quote">«<span class="quote">Vårt mål er å påvirke livene
+til tre hundre og femti tusen videregående elever i 2020</span>»</span>.
</p><p>
At Creative Commons-lisensen ligger under alle Sparkfuns produkter, er
-sentralt i dette oppdraget. Lisensen signaliserer ikke bare en vilje til å
-dele, men det uttrykker også et ønske om at andre skal gå inn og fikle med
-produktene deres, både for å lære, og å forbedre produktene deres. SparkFun
+sentralt i dette oppdraget. Lisensen signaliserer ikke bare en vilje til å
+dele, men det uttrykker også et ønske om at andre skal gå inn og fikle med
+produktene deres, både for å lære, og å forbedre produktene deres. SparkFun
bruker Attribution-ShareAlike-lisens (CC BY-SA), som er en
-<span class="quote">«<span class="quote">copyleft</span>»</span>-lisens som tillater folk å gjøre hva som helst med
-innholdet, så lenge de navngir opphavet, og gjør eventuelle tilpasninger
-tilgjengelige under de samme lisensvilkårene.
+<span class="quote">«<span class="quote">copyleft</span>»</span>-lisens som tillater folk å gjøre hva som helst med
+innholdet, så lenge de navngir opphavet, og gjør eventuelle tilpasninger
+tilgjengelige under de samme lisensvilkårene.
</p><p>
- Fra begynnelsen har Nathan forsøkt å lage et arbeidsmiljø hos SparkFun som
-han selv ønsker å arbeide i. Resultatet er hva som synes å være en ganske
+ Fra begynnelsen har Nathan forsøkt å lage et arbeidsmiljø hos SparkFun som
+han selv ønsker å arbeide i. Resultatet er hva som synes å være en ganske
morsom arbeidsplass. Det amerikanske selskapet ligger i Boulder,
-Colorado. De har et åttitusen kvadratfot stort anlegg (omtrent
+Colorado. De har et åttitusen kvadratfot stort anlegg (omtrent
syvtusenfirehundre kvadratmeter), der de designer og produserer sine
produkter. De tilbyr publikum turer i anlegget flere ganger i uken, og de
-åpner sine dører for publikum til en konkurranse en gang i året.
- </p><p>
- Denne åpne samlingen kalles «Autonomous Vehicle Competition» (Selvstyrt
-kjøretøyskonkurranse), og samler mellom tusen og to tusen kunder og andre
-teknologientusiaster fra området rundt, til å kjøre sine egne selvlagde
-roboter mot hverandre, delta på treningsverksteder, samt bli kjent. Fra et
-forretningsperspektiv, sier Nathan at dette er en forferdelig idé. Men de
-arrangerer ikke samlingen i forretningsøyemed. <span class="quote">«<span class="quote">Grunnen til at vi gjør
-det, er fordi jeg får reise og ha kontakt med kundene våre hele tiden, mens
-de fleste av våre ansatte får ikke det,</span>»</span> sa han. <span class="quote">«<span class="quote">Denne
-hendelsen gir ansatte mulighet til å få kontakt ansikt til ansikt med
-kundene våre.</span>»</span> Samlingen gir arbeidet deres et menneskelig element,
-noe som gjør den mer meningsfylt.
- </p><p>
- Nathan har jobbet hardt for å gi en dypere mening i arbeidet SparkFun
-gjør. Selskapet er selvfølgelig fokusert på finansiell ansvarlighet, men er,
-når alt kommer til alt, drevet av noe annet enn penger. <span class="quote">«<span class="quote">Fortjeneste
-er ikke målet. Det er resultatet av en godt gjennomført plan</span>»</span>, sier
-Nathan.<span class="quote">«<span class="quote"> Vårt fokus er større innvirkning på verden.</span>»</span> Nathan
-mener de får noen av de smarteste og mest fantastiske ansatte fordi de ikke
-bare fokuserer på bunnlinjen.
- </p><p>
- Selskapet er forpliktet til åpenhet, og deler alle sine økonomiopplysninger
-med sine ansatte. De ønsker også generelt å unngå å bli en annen sjelløs
-bedrift. De prøver aktivt å vise menneskene bak selskapet, og de arbeider
-for å sikre at folk ikke bare finner et uforanderlig innhold når de kommer
-til nettområdet deres.
- </p><p>
- Sparkfuns kundebase består hovedsakelig av flittige
+åpner sine dører for publikum til en konkurranse en gang i året.
+ </p><p>
+ Denne åpne samlingen kalles «Autonomous Vehicle Competition» (Selvstyrt
+kjøretøyskonkurranse), og samler mellom tusen og to tusen kunder og andre
+teknologientusiaster fra området rundt, til å kjøre sine egne selvlagde
+roboter mot hverandre, delta på treningsverksteder, samt bli kjent. Fra et
+forretningsperspektiv, sier Nathan at dette er en forferdelig idé. Men de
+arrangerer ikke samlingen i forretningsøyemed. <span class="quote">«<span class="quote">Grunnen til at vi gjør
+det, er fordi jeg får reise og ha kontakt med kundene våre hele tiden, mens
+de fleste av våre ansatte får ikke det,</span>»</span> sa han. <span class="quote">«<span class="quote">Denne
+hendelsen gir ansatte mulighet til å få kontakt ansikt til ansikt med
+kundene våre.</span>»</span> Samlingen gir arbeidet deres et menneskelig element,
+noe som gjør den mer meningsfylt.
+ </p><p>
+ Nathan har jobbet hardt for å gi en dypere mening i arbeidet SparkFun
+gjør. Selskapet er selvfølgelig fokusert på finansiell ansvarlighet, men er,
+når alt kommer til alt, drevet av noe annet enn penger. <span class="quote">«<span class="quote">Fortjeneste
+er ikke målet. Det er resultatet av en godt gjennomført plan</span>»</span>, sier
+Nathan.<span class="quote">«<span class="quote"> Vårt fokus er større innvirkning på verden.</span>»</span> Nathan
+mener de får noen av de smarteste og mest fantastiske ansatte fordi de ikke
+bare fokuserer på bunnlinjen.
+ </p><p>
+ Selskapet er forpliktet til åpenhet, og deler alle sine økonomiopplysninger
+med sine ansatte. De ønsker også generelt å unngå å bli en annen sjelløs
+bedrift. De prøver aktivt å vise menneskene bak selskapet, og de arbeider
+for å sikre at folk ikke bare finner et uforanderlig innhold når de kommer
+til nettområdet deres.
+ </p><p>
+ Sparkfuns kundebase består hovedsakelig av flittige
elektronikkentusiaster. De har kunder som er regelmessig involvert i
-selskapets kundeservice, og på egen hånd svarer på spørsmål i fora og
-seksjonene med produktkommentarer. Kunder bringer også produktidéer til
-selskapet. SparkFun går regelmessig gjennom forslag fra kunder, og forsøker
-å basere seg på dem der de kan. <span class="quote">«<span class="quote">Fra begynnelsen har vi lyttet til
-fellesskapet</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Kundene vil identifisere en plage,
-og vi vil finne en løsning som tar av den.</span>»</span>
- </p><p>
- Men denne typen kundedeltakelse fører ikke alltid til at folk aktivt bidrar
-til Sparkfuns prosjekter. Selskapet har en felles kildebrønn med
-programvarekode på nettet til hver av sine enheter. I et spesielt aktivt
-prosjekt vil det bare være rundt to dusin mennesker som bidrar med
+selskapets kundeservice, og på egen hånd svarer på spørsmål i fora og
+seksjonene med produktkommentarer. Kunder bringer også produktidéer til
+selskapet. SparkFun går regelmessig gjennom forslag fra kunder, og forsøker
+å basere seg på dem der de kan. <span class="quote">«<span class="quote">Fra begynnelsen har vi lyttet til
+fellesskapet</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Kundene vil identifisere en plage,
+og vi vil finne en løsning som tar av den.</span>»</span>
+ </p><p>
+ Men denne typen kundedeltakelse fører ikke alltid til at folk aktivt bidrar
+til Sparkfuns prosjekter. Selskapet har en felles kildebrønn med
+programvarekode på nettet til hver av sine enheter. I et spesielt aktivt
+prosjekt vil det bare være rundt to dusin mennesker som bidrar med
betydelige forbedringer. Den store majoriteten av prosjekter er relativt
-uberørt av publikum. <span class="quote">«<span class="quote">Det er en teori om at hvis du bruker fri
-programmvare, så kommer folk til deg</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Det er i
-virkeligheten ikke riktig.</span>»</span>
- </p><p>
- Heller enn å fokusere på å lage ting sammen med sine kunder, fokuserer
-SparkFun i stedet på å få folk til å kopiere, fikse, og forbedre produktene
-på egen hånd. De investerer tungt i veiledninger og annet materiale som
-hjelper folk å forstå hvordan produktene fungerer, slik at de selv kan fikse
-og forbedre ting. <span class="quote">«<span class="quote">Det gir meg glede når folk tar et oppsett fra fri
-programvare, og deretter bygger sine egne kretskort basert på vår
-utforming</span>»</span>, sier Nathan.
- </p><p>
- Selvfølgelig er å åpne designet av produktene deres nødvendig hvis målet
-deres er å gi offentligheten større innflytelse. Nathan mener bestemt at det
-gir dem større inntekter, fordi det krever at de fokuserer på hvordan de kan
-levere maksimal verdi. I stedet for å designe et nytt produkt og beskytte
-det, for å trekke ut så mye penger som mulig, gir de fra seg de nøklene som
+uberørt av publikum. <span class="quote">«<span class="quote">Det er en teori om at hvis du bruker fri
+programmvare, så kommer folk til deg</span>»</span>, sa Nathan. <span class="quote">«<span class="quote">Det er i
+virkeligheten ikke riktig.</span>»</span>
+ </p><p>
+ Heller enn å fokusere på å lage ting sammen med sine kunder, fokuserer
+SparkFun i stedet på å få folk til å kopiere, fikse, og forbedre produktene
+på egen hånd. De investerer tungt i veiledninger og annet materiale som
+hjelper folk å forstå hvordan produktene fungerer, slik at de selv kan fikse
+og forbedre ting. <span class="quote">«<span class="quote">Det gir meg glede når folk tar et oppsett fra fri
+programvare, og deretter bygger sine egne kretskort basert på vår
+utforming</span>»</span>, sier Nathan.
+ </p><p>
+ Selvfølgelig er å åpne designet av produktene deres nødvendig hvis målet
+deres er å gi offentligheten større innflytelse. Nathan mener bestemt at det
+gir dem større inntekter, fordi det krever at de fokuserer på hvordan de kan
+levere maksimal verdi. I stedet for å designe et nytt produkt og beskytte
+det, for å trekke ut så mye penger som mulig, gir de fra seg de nøklene som
skal til for at andre kan bygge det selv, og bruker deretter selskapets tid
-og ressurser på innovasjon og service. I et kortsiktig perspektiv kan
-SparkFun miste et par dollar når andre kopierer deres produkter. Men i det
-lange løp gjør det dem til en kvikkere, mer innovativ bedrift. Med andre
-ord, det gjør dem til et slikt selskap de har satt seg fore å være.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapittel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- TeachAIDS er et nonprofit selskap som lager pedagogisk materiell for å lære
+og ressurser på innovasjon og service. I et kortsiktig perspektiv kan
+SparkFun miste et par dollar når andre kopierer deres produkter. Men i det
+lange løp gjør det dem til en kvikkere, mer innovativ bedrift. Med andre
+ord, det gjør dem til et slikt selskap de har satt seg fore å være.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapittel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ TeachAIDS er et nonprofit selskap som lager pedagogisk materiell for å lære
folk over hele verden om HIV og AIDS. Grunnlagt i 2005 i USA.
</p><p>
<a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Sponsing
</p><p><span class="strong"><strong>Intervjudato</strong></span>: 24. mars 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Piya Sorcar, administrerende
-direktør, og Shuman Ghosemajumder, styret
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+direktør, og Shuman Ghosemajumder, styret
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
TeachAIDS er et ukonvensjonelt medieselskap med en konvensjonell
inntektsmodell. Som de fleste medieselskaper er de subsidiert med
-reklame. Selskaper betaler for å ha sine logoer på utdanningsmaterialet som
+reklame. Selskaper betaler for å ha sine logoer på utdanningsmaterialet som
TeachAIDS distribuerer.
</p><p>
Men i motsetning til de fleste medieselskaper, er TeachAIDS en ideell
-organisasjon med en rent sosial misjon. TeachAIDS er dedikert til å utdanne
+organisasjon med en rent sosial misjon. TeachAIDS er dedikert til å utdanne
den globale befolkningen om HIV og AIDS, spesielt i deler av verden hvor
-utdanningsinnsats historisk har vært mislykket. Utdanningsinnholdet deres
-formidles med interaktiv programvare som bruker metoder basert på den nyeste
-forskningen om hvordan folk lærer. TeachAIDS gir innhold til mer enn åtti
+utdanningsinnsats historisk har vært mislykket. Utdanningsinnholdet deres
+formidles med interaktiv programvare som bruker metoder basert på den nyeste
+forskningen om hvordan folk lærer. TeachAIDS gir innhold til mer enn åtti
land over hele verden. I hvert tilfelle er innholdet oversatt til det lokale
-språket, og tilpasset for å samsvare med lokale normer og skikker. Alt
+språket, og tilpasset for å samsvare med lokale normer og skikker. Alt
innhold er gratis og gjort tilgjengelig under en Creative Commons-lisens.
</p><p>
- TeachAIDS bygger på nestekjærligheten til grunnlegger og administrerende
-direktør Piya Sorcar, som lønnes med en dollar i året i dette ideelle
-foretaket. Prosjektet vokste ut fra forskning hun utførte mens hun arbeidet
+ TeachAIDS bygger på nestekjærligheten til grunnlegger og administrerende
+direktør Piya Sorcar, som lønnes med en dollar i året i dette ideelle
+foretaket. Prosjektet vokste ut fra forskning hun utførte mens hun arbeidet
med sin doktorgrad ved Stanford University. Hun leste rapporter om India, og
-merket seg at det ville bli det neste vekstområdet for mennesker med
+merket seg at det ville bli det neste vekstområdet for mennesker med
HIV. Til tross for at internasjonale og nasjonale organisasjoner brukte
-hundrevis av millioner dollar på HIV-forebyggende arbeid, viste rapportene
-at kunnskapsnivået fortsatt var lavt. For eksempel var folk ikke klar over
-om viruset kunne overføres via hoste og nysing. Støttet av et tverrfaglig
-team av eksperter ved Stanford, gjennomførte Piya lignende studier, som
-bekreftet tidligere forskning. De fant at den primære årsaken til begrenset
-forståelse var at HIV, og problemer knyttet til det, ofte ble betraktet som
-for tabu til å diskutere fullt ut. Det andre store problemet var at det
+hundrevis av millioner dollar på HIV-forebyggende arbeid, viste rapportene
+at kunnskapsnivået fortsatt var lavt. For eksempel var folk ikke klar over
+om viruset kunne overføres via hoste og nysing. Støttet av et tverrfaglig
+team av eksperter ved Stanford, gjennomførte Piya lignende studier, som
+bekreftet tidligere forskning. De fant at den primære årsaken til begrenset
+forståelse var at HIV, og problemer knyttet til det, ofte ble betraktet som
+for tabu til å diskutere fullt ut. Det andre store problemet var at det
meste av utdanningen om dette emnet skjedde gjennom TV-reklame,
reklametavler og andre kampanjer i massemedia, noe som betydde at folk bare
fikk bruddstykker av informasjon.
</p><p>
I slutten av 2005 brukte Piya og hennes team forskningsbasert utforming for
-å skape nytt pedagogisk materiell, og jobbet med lokale partnere i India for
-å distribuere det. Så snart den animerte programvaren var publisert på
-nettet, fikk Piyas team forespørsler fra enkeltpersoner og myndigheter som
-var interessert i å få denne modellen til flere land. <span class="quote">«<span class="quote">Vi skjønte
-raskt at å utdanne store befolkningsgrupper om et emne som var ansett for å
-være tabu, ville være utfordrende. Vi gikk i gang med å identifisere
-passende lokale partnere, og jobbet for å skape en effektiv, kulturelt
-tilpasset utdanning</span>»</span>, sa Piya.
- </p><p>
- Like etter den første utgivelsen, besluttet Piyas team å ta med sin oppgave
+å skape nytt pedagogisk materiell, og jobbet med lokale partnere i India for
+å distribuere det. Så snart den animerte programvaren var publisert på
+nettet, fikk Piyas team forespørsler fra enkeltpersoner og myndigheter som
+var interessert i å få denne modellen til flere land. <span class="quote">«<span class="quote">Vi skjønte
+raskt at å utdanne store befolkningsgrupper om et emne som var ansett for å
+være tabu, ville være utfordrende. Vi gikk i gang med å identifisere
+passende lokale partnere, og jobbet for å skape en effektiv, kulturelt
+tilpasset utdanning</span>»</span>, sa Piya.
+ </p><p>
+ Like etter den første utgivelsen, besluttet Piyas team å ta med sin oppgave
til en uavhengig, ideell organisasjon fra Stanford University. De besluttet
-også å bruke Creative Commons-lisenser på materialet.
+også å bruke Creative Commons-lisenser på materialet.
</p><p>
- Med sine pedagogiske formål hadde TeachAIDS en åpenbar interesse av å få
-materialet delt så mye som mulig. Men de trengte også å sikre integriteten
+ Med sine pedagogiske formål hadde TeachAIDS en åpenbar interesse av å få
+materialet delt så mye som mulig. Men de trengte også å sikre integriteten
til den medisinske informasjonen i innholdet. De valgte
Attribution-NonCommercial-NoDerivs-lisensen (CC BY-NC-ND), som i hovedsak ga
publikum rett til distribuere bare ordrette kopier av innholdet, og for
-ikke-kommersielt formål. <span class="quote">«<span class="quote">Vi ønsket henvisning til TeachAIDS, og vi
-kunne ikke stå bak avledede verk uten nøye gjennomgang av dem</span>»</span>, sa
-medstifter og styreleder Shuman Ghosemajumder. <span class="quote">«<span class="quote">Det krevde lite
-tenking å gå for en CC-lisens fordi det fantes en ferdiglaget løsning på
-akkurat dette problemet. Det har tillatt oss å skalere opp våre materialer
-raskt , sikkert og globalt, og samtidig bevare innholdet vårt og beskytte
-oss.</span>»</span>
- </p><p>
- Å velge en lisens som ikke tillater tilpasning av innholdet, var en
+ikke-kommersielt formål. <span class="quote">«<span class="quote">Vi ønsket henvisning til TeachAIDS, og vi
+kunne ikke stå bak avledede verk uten nøye gjennomgang av dem</span>»</span>, sa
+medstifter og styreleder Shuman Ghosemajumder. <span class="quote">«<span class="quote">Det krevde lite
+tenking å gå for en CC-lisens fordi det fantes en ferdiglaget løsning på
+akkurat dette problemet. Det har tillatt oss å skalere opp våre materialer
+raskt , sikkert og globalt, og samtidig bevare innholdet vårt og beskytte
+oss.</span>»</span>
+ </p><p>
+ Å velge en lisens som ikke tillater tilpasning av innholdet, var en
fremvekst ut fra den forsiktige presisjonen som TeachAIDS behandler sitt
-innhold med. Organisasjonen investerer tungt i forskning og testing for å
-bestemme den beste metoden for å formidle informasjon. <span class="quote">«<span class="quote">Å lage innhold
-med høy kvalitet er det som betyr mest for oss</span>»</span>, sa
-Piya. <span class="quote">«<span class="quote">Forskning styrer alt vi gjør.</span>»</span>
- </p><p>
- Et viktig funn var at folk aksepterer budskapet best når det kommer fra
-velkjente stemmer de stoler på og beundrer. For å få dette til ser TeachAIDS
-etter kulturelle ikoner som best appellerer til målgruppene sine, og
-rekrutterer dem til å donere sin støtte og stemme til bruk i den animerte
+innhold med. Organisasjonen investerer tungt i forskning og testing for å
+bestemme den beste metoden for å formidle informasjon. <span class="quote">«<span class="quote">Å lage innhold
+med høy kvalitet er det som betyr mest for oss</span>»</span>, sa
+Piya. <span class="quote">«<span class="quote">Forskning styrer alt vi gjør.</span>»</span>
+ </p><p>
+ Et viktig funn var at folk aksepterer budskapet best når det kommer fra
+velkjente stemmer de stoler på og beundrer. For å få dette til ser TeachAIDS
+etter kulturelle ikoner som best appellerer til målgruppene sine, og
+rekrutterer dem til å donere sin støtte og stemme til bruk i den animerte
programvaren. Hvilke kjendiser som involveres varierer for hver lokalt
tilpassede versjon av materialet.
</p><p>
- Lokalisering er trolig alene det viktigste aspektet når TeachAIDS lager
-innholdet. Mens hver regional versjon bygger på den samme kjernen av
-vitenskapelige materialer, legger de mye ressurser inn i å tilpasse
+ Lokalisering er trolig alene det viktigste aspektet når TeachAIDS lager
+innholdet. Mens hver regional versjon bygger på den samme kjernen av
+vitenskapelige materialer, legger de mye ressurser inn i å tilpasse
innholdet til en bestemt populasjon. Fordi de bruker en CC-lisens som ikke
-tillater publikum å tilpasse innholdet, fører TeachAIDS nøye kontroll med
-lokaliseringsprosessen. Innholdet oversettes til det lokale språket, men det
-er også endringer i stoff og format for å reflektere kulturelle
-forskjeller. Denne prosessen resulterer i mindre endringer, som å velger
-ulike uttrykk basert på det lokale språket, og betydelige endringer, som å
-lage ulike versjoner etter kjønn for områder der hvor folk sannsynligvis
-lettere mottar informasjon fra noen av det samme kjønn.
+tillater publikum å tilpasse innholdet, fører TeachAIDS nøye kontroll med
+lokaliseringsprosessen. Innholdet oversettes til det lokale språket, men det
+er også endringer i stoff og format for å reflektere kulturelle
+forskjeller. Denne prosessen resulterer i mindre endringer, som å velger
+ulike uttrykk basert på det lokale språket, og betydelige endringer, som å
+lage ulike versjoner etter kjønn for områder der hvor folk sannsynligvis
+lettere mottar informasjon fra noen av det samme kjønn.
</p><p>
Lokaliseringsprosessen er avhengig av frivillige. Deres gruppe med
-frivillige er sterkt engasjert i saken, og organisasjonen har vært heldigere
-med kvalitetskontrollen på materialet når de hører på frivillige istedenfor
+frivillige er sterkt engasjert i saken, og organisasjonen har vært heldigere
+med kvalitetskontrollen på materialet når de hører på frivillige istedenfor
betalte oversettere. Til kvalitetskontroll har TeachAIDS tre separate
-frivillige lag som oversetter materialet fra engelsk til det lokale språket,
+frivillige lag som oversetter materialet fra engelsk til det lokale språket,
og tilpasser innholdet til lokale skikker og normer. De tre versjonene blir
deretter analysert og kombinert til en enkelt hovedoversettelse. TeachAIDS
-har flere team av frivillige som så oversetter denne versjonen tilbake til
-engelsk for å se hvor godt den stemmer overens med det opprinnelige
-materialet. De gjentar denne prosessen til de når en oversatt versjon som
+har flere team av frivillige som så oversetter denne versjonen tilbake til
+engelsk for å se hvor godt den stemmer overens med det opprinnelige
+materialet. De gjentar denne prosessen til de når en oversatt versjon som
tilfredsstiller deres krav. For den tibetanske versjonen gikk de gjennom
denne syklusen elleve ganger.
</p><p>
- TeachAIDS benytter heltidsansatte, innleide på kontrakt og frivillige, alle
-i ulike roller og organisatoriske fordelinger. De er bevisste på å bruke
-mennesker med forskjellig bakgrunn til å lage materiale, inkludert lærere,
-studenter og leger, samt enkeltpersoner som har erfaring med å jobbe i en
-NGO-sammenheng. Dette mangfoldet og denne kunnskapsbredden bidrar til å
+ TeachAIDS benytter heltidsansatte, innleide på kontrakt og frivillige, alle
+i ulike roller og organisatoriske fordelinger. De er bevisste på å bruke
+mennesker med forskjellig bakgrunn til å lage materiale, inkludert lærere,
+studenter og leger, samt enkeltpersoner som har erfaring med å jobbe i en
+NGO-sammenheng. Dette mangfoldet og denne kunnskapsbredden bidrar til å
sikre at materialet deres appellerer til folk fra alle samfunnslag. I
-tillegg samarbeider TeachAIDS tett med manusforfattere og regissører for å
-sikre at konseptene er underholdende og lette å forstå. Den inkluderende,
-men nøye kontrollerte, kreative prosessen utføres kun av folk som er tatt
-spesielt inn for å bistå i et bestemt prosjekt, snarere enn vanlige
+tillegg samarbeider TeachAIDS tett med manusforfattere og regissører for å
+sikre at konseptene er underholdende og lette å forstå. Den inkluderende,
+men nøye kontrollerte, kreative prosessen utføres kun av folk som er tatt
+spesielt inn for å bistå i et bestemt prosjekt, snarere enn vanlige
ansatte. Det endelige produktet de lager er utformet slik at det kreves null
-opplæring av folkene som skal ta seg av den praktiske
-gjennomføringen. <span class="quote">«<span class="quote">I vår forskning</span>»</span>, forteller Piya, <span class="quote">«<span class="quote">fant
-vi at vi ikke kunne stole på at folk formidler informasjonen riktig, selv
+opplæring av folkene som skal ta seg av den praktiske
+gjennomføringen. <span class="quote">«<span class="quote">I vår forskning</span>»</span>, forteller Piya, <span class="quote">«<span class="quote">fant
+vi at vi ikke kunne stole på at folk formidler informasjonen riktig, selv
med de beste intensjoner. Vi trenger materiale hvor det holder at du kan
-trykke start på avspilleren</span>»</span>.
- </p><p>
- Piyas team var i stand til å produsere alle disse versjonene i løpet av
-flere år med mannskap som aldri var mer enn åtte
-heltidsansatte. Organisasjonen er i stand til å begrense kostnadene ved å
-stole tungt på frivillige og andre personlige bidrag. Likevel trengte denne
-ideelle organisasjonen en bærekraftig inntektsmodell til å subsidiere
-innholdproduksjon og fysisk distribusjon av materiale. Å ta betalt, selv en
-lav pris, var rett og slett ikke et alternativ. <span class="quote">«<span class="quote">Lærere fra ulike
+trykke start på avspilleren</span>»</span>.
+ </p><p>
+ Piyas team var i stand til å produsere alle disse versjonene i løpet av
+flere år med mannskap som aldri var mer enn åtte
+heltidsansatte. Organisasjonen er i stand til å begrense kostnadene ved å
+stole tungt på frivillige og andre personlige bidrag. Likevel trengte denne
+ideelle organisasjonen en bærekraftig inntektsmodell til å subsidiere
+innholdproduksjon og fysisk distribusjon av materiale. Å ta betalt, selv en
+lav pris, var rett og slett ikke et alternativ. <span class="quote">«<span class="quote">Lærere fra ulike
ideelle organisasjoner verden over laget sitt eget materiale med hva de
-kunne finne gratis på nettet</span>»</span>, sa Shuman. <span class="quote">«<span class="quote">Den eneste måten å
-overtale dem til å bruke vår svært effektive modell, var å gjøre det helt
-gratis.</span>»</span>
+kunne finne gratis på nettet</span>»</span>, sa Shuman. <span class="quote">«<span class="quote">Den eneste måten å
+overtale dem til å bruke vår svært effektive modell, var å gjøre det helt
+gratis.</span>»</span>
</p><p>
- Som mange innholdsleverandører som tilbyr sitt arbeid gratis, endte de med
-annonsering som finansieringsmodell. Men de var svært forsiktig med å la
+ Som mange innholdsleverandører som tilbyr sitt arbeid gratis, endte de med
+annonsering som finansieringsmodell. Men de var svært forsiktig med å la
reklame invadere deres troverdighet, eller undergrave den tunge innsatsen de
-legger i å skape kvalitetsinnhold. Sponsorer av innholdet har ikke mulighet
-til å påvirke substansen i innholdet, og de kan ikke engang lage
-reklameinnhold. Sponsorer får bare rett til å ha sin logo vist før og etter
+legger i å skape kvalitetsinnhold. Sponsorer av innholdet har ikke mulighet
+til å påvirke substansen i innholdet, og de kan ikke engang lage
+reklameinnhold. Sponsorer får bare rett til å ha sin logo vist før og etter
det pedagogiske innholdet. Alt innhold er fortsatt merket som TeachAIDS.
</p><p>
- TeachAIDS er forsiktig med å søke midler for å dekke kostnadene for et
-bestemt prosjekt. I stedet er sponsing strukturert som ikke-øremerkede
+ TeachAIDS er forsiktig med å søke midler for å dekke kostnadene for et
+bestemt prosjekt. I stedet er sponsing strukturert som ikke-øremerkede
donasjoner til TeachAIDS. Dette gir TeachAIDS mer stabilitet, men enda
-viktigere, det gjør det mulig å subsidiere prosjekter tilpasset områder der
-det ikke finnes sponsorer. <span class="quote">«<span class="quote">Hvis vi bare opprettet versjoner basert
-på hvor vi kunne få sponsing, ville vi bare hatt materiale for rikere
-land</span>»</span>, sa Shuman.
- </p><p>
- I 2016 hadde TeachAIDS dusinvis av sponsorer. <span class="quote">«<span class="quote">Når vi går inn i et
-nytt land, hører ulike selskaper om oss og tar kontakt med oss</span>»</span>, sa
-Piya. <span class="quote">«<span class="quote">Vi trenger ikke å gjøre mye for å finne eller trekke dem til
-oss</span>»</span>. De tror sponsorater er lette å selge fordi de gir så mye verdi
-tilbake til sponsorer. TeachAIDSs sponsorater gir bedrifter muligheten til å
-få nye øyne til å se deres merkevarer, og til en mye lavere kostnad enn
-andre annonseringskanaler. Målgruppen for innholdet til TeachAIDS tenderer
-også mot de yngre, som ofte er en demografi ønsket av merkevarer. I
-motsetning til tradisjonell reklame er innholdet ikke tidssensitivt, så en
-sponsorinvestering kan gi fordeler for et merke i mange år framover.
- </p><p>
- Viktigere er at verdien for bedriftssponsorer går ut over kommersielle
+viktigere, det gjør det mulig å subsidiere prosjekter tilpasset områder der
+det ikke finnes sponsorer. <span class="quote">«<span class="quote">Hvis vi bare opprettet versjoner basert
+på hvor vi kunne få sponsing, ville vi bare hatt materiale for rikere
+land</span>»</span>, sa Shuman.
+ </p><p>
+ I 2016 hadde TeachAIDS dusinvis av sponsorer. <span class="quote">«<span class="quote">Når vi går inn i et
+nytt land, hører ulike selskaper om oss og tar kontakt med oss</span>»</span>, sa
+Piya. <span class="quote">«<span class="quote">Vi trenger ikke å gjøre mye for å finne eller trekke dem til
+oss</span>»</span>. De tror sponsorater er lette å selge fordi de gir så mye verdi
+tilbake til sponsorer. TeachAIDSs sponsorater gir bedrifter muligheten til å
+få nye øyne til å se deres merkevarer, og til en mye lavere kostnad enn
+andre annonseringskanaler. Målgruppen for innholdet til TeachAIDS tenderer
+også mot de yngre, som ofte er en demografi ønsket av merkevarer. I
+motsetning til tradisjonell reklame er innholdet ikke tidssensitivt, så en
+sponsorinvestering kan gi fordeler for et merke i mange år framover.
+ </p><p>
+ Viktigere er at verdien for bedriftssponsorer går ut over kommersielle
hensyn. Som en ideell organisasjon med en tydelig formulert sosial oppgave
-er bedriftssponsing donasjoner til en sak. <span class="quote">«<span class="quote">Dette er noe selskaper
-internt kan være stolt av</span>»</span>, sa Shuman. Noen selskaper har til og med
+er bedriftssponsing donasjoner til en sak. <span class="quote">«<span class="quote">Dette er noe selskaper
+internt kan være stolt av</span>»</span>, sa Shuman. Noen selskaper har til og med
bygget reklamekampanjer rundt det faktum at de har sponset disse
initiativene.
</p><p>
- Kjerneoppgaven til TeachAIDS – å sikre global tilgang til livreddende
-utdanning – er grunnlaget for alt organisasjonen gjør. Det underbygger
-arbeidet; og motiverer grunnleggerne. CC-lisensen på materialet de lager,
+ Kjerneoppgaven til TeachAIDS – å sikre global tilgang til livreddende
+utdanning – er grunnlaget for alt organisasjonen gjør. Det underbygger
+arbeidet; og motiverer grunnleggerne. CC-lisensen på materialet de lager,
fremmer dette oppdraget, slik at de trygt og raskt kan skalere sitt
-materiale over hele verden. <span class="quote">«<span class="quote">Creative Commons-lisensen har endret
-forutsetningene for TeachAIDS</span>»</span>, fortalte Piya.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapittel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Tribe of Noise er en inntektsgivende musikkplattform som på nettet betjener
+materiale over hele verden. <span class="quote">«<span class="quote">Creative Commons-lisensen har endret
+forutsetningene for TeachAIDS</span>»</span>, fortalte Piya.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapittel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
+ Tribe of Noise er en inntektsgivende musikkplattform som på nettet betjener
film-, TV-, video-, spill- og i-butikk-media-industriene. Grunnlagt i 2008 i
Nederland.
</p><p>
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 26. januar 2016
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Hessel van Oorschot,
medgrunnlegger
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- I starten av 2000-tallet var Hessel van Oorschot en entreprenør som drev et
-firma der han trente andre mellomstore gründere i hvordan man oppretter en
-Internett-bedrift. Han var også medforfatter i flere arbeidsbøker for små
-til mellomstore bedrifter om å optimalisere sin virksomhet på
+ I starten av 2000-tallet var Hessel van Oorschot en entreprenør som drev et
+firma der han trente andre mellomstore gründere i hvordan man oppretter en
+Internett-bedrift. Han var også medforfatter i flere arbeidsbøker for små
+til mellomstore bedrifter om å optimalisere sin virksomhet på
nettet. Gjennom dette tidlige arbeidet ble Hessel kjent med prinsippene for
-åpen lisensiering, inkludert bruk av fri programvare og Creative Commons.
+åpen lisensiering, inkludert bruk av fri programvare og Creative Commons.
</p><p>
I 2005 lanserte Hessel og Sandra Brandenburg et nisjeinitiativ med
-video-produksjon. Nesten umiddelbart fikk de problemer med å finne, og
+video-produksjon. Nesten umiddelbart fikk de problemer med å finne, og
lisensiere musikkspor. Alt de fant var standard, kald lager-musikk. De ville
lete opp nettsteder der de kunne lisensiere musikk direkte fra musikeren
-uten å gå gjennom plateselskaper eller agenter. Men i 2005 var ikke
-muligheten til å lisensiere musikk direkte fra en rettighetshaver lett
+uten å gå gjennom plateselskaper eller agenter. Men i 2005 var ikke
+muligheten til å lisensiere musikk direkte fra en rettighetshaver lett
tilgjengelig.
</p><p>
- De leide to advokater til å utrede ytterligere, og mens de avdekket fem
+ De leide to advokater til å utrede ytterligere, og mens de avdekket fem
eller seks eksempler, fant Hessel at forretningsmodellen
-manglet. Advokatene uttrykte interesse for å være deres juridiske team hvis
-de skulle bestemme seg for å forfølge dette som en
-forretningsmulighet. Hessel sier, <span class="quote">«<span class="quote">Når advokater er interessert i en
-satsing som dette, har du kanskje noe spesielt</span>»</span>. Så etter noen flere
-undersøkelser, bestemte Hessel og Sandra tidlig i 2008 å bygge en plattform.
- </p><p>
- Å bygge en plattform ga et ekte høna og egget-problem. Plattformen måtte
-bygge et nettbasert fellesskap av rettighetshavere til musikk, og på samme
-tid gi fellesskapet informasjon og idéer om hvordan den nye økonomien
-virker. Fellesskapets villighet til å prøve nye forretningsmodeller for
+manglet. Advokatene uttrykte interesse for å være deres juridiske team hvis
+de skulle bestemme seg for å forfølge dette som en
+forretningsmulighet. Hessel sier, <span class="quote">«<span class="quote">Når advokater er interessert i en
+satsing som dette, har du kanskje noe spesielt</span>»</span>. Så etter noen flere
+undersøkelser, bestemte Hessel og Sandra tidlig i 2008 å bygge en plattform.
+ </p><p>
+ Å bygge en plattform ga et ekte høna og egget-problem. Plattformen måtte
+bygge et nettbasert fellesskap av rettighetshavere til musikk, og på samme
+tid gi fellesskapet informasjon og idéer om hvordan den nye økonomien
+virker. Fellesskapets villighet til å prøve nye forretningsmodeller for
musikk krever et tillitsforhold.
</p><p>
- I juli 2008 åpnet Tribe of Noise sine virtuelle dører med et par hundre
-musikere som var villige til å bruke CC BY-SA-lisensen
+ I juli 2008 åpnet Tribe of Noise sine virtuelle dører med et par hundre
+musikere som var villige til å bruke CC BY-SA-lisensen
(Attribution-ShareAlike) for en begrenset del av repertoaret. De to
-gründerne ønsket å ta smerten vekk for medieprodusenter som ønsket å
-lisensiere musikk, og løse de problemene de to personlig hadde erfart for å
+gründerne ønsket å ta smerten vekk for medieprodusenter som ønsket å
+lisensiere musikk, og løse de problemene de to personlig hadde erfart for å
finne denne musikken.
</p><p>
Etter hvert som de bygget opp fellesskapet, fikk Hessel en telefon fra et
selskap som laget i-butikken musikkspillelister som spurte om de hadde nok
musikk lisensiert med Creative Commons som de kunne bruke. Butikkene
-trengte kvalitetsmusikk som var god å lytte til, men ikke nødvendigvis
-slagere, litt som en radio uten DJ. Dette åpnet en ny mulighet for Tribe of
+trengte kvalitetsmusikk som var god å lytte til, men ikke nødvendigvis
+slagere, litt som en radio uten DJ. Dette åpnet en ny mulighet for Tribe of
Noise. De startet sin i-butikken Music Service, og brukte musikk (lisensiert
med CC BY-SA) lastet opp av Tribe of Noise sitt fellesskap av
musikere.<a href="#ftn.idm2154" class="footnote" name="idm2154"><sup class="footnote">[154]</sup></a>
</p><p>
I de fleste land blir kunstnere, forfattere og musikere med i en
-vederlagsorganisasjon som administrerer lisensiering, og hjelper til med å
+vederlagsorganisasjon som administrerer lisensiering, og hjelper til med å
samle inn royalty. Vederlagsorganisasjoner i EU har vanligvis monopol i sine
respektive nasjonale markeder. I tillegg krever de at medlemmene deres
-overfører eksklusive rettighet til å administrere medlemmets verk. Dette
-kompliserer bildet for Tribe of Noise, som ønsker å representere kunstnere,
+overfører eksklusive rettighet til å administrere medlemmets verk. Dette
+kompliserer bildet for Tribe of Noise, som ønsker å representere kunstnere,
eller i det minste en del av deres repertoar. Hessel og hans juridiske team
tok kontakt med disse selskapene, og startet med dem i Nederland. Hva ville
-være den beste juridiske veien videre som ville respektere ønskene til
-komponister og musikere som var interessert i å prøve ut nye modeller som
+være den beste juridiske veien videre som ville respektere ønskene til
+komponister og musikere som var interessert i å prøve ut nye modeller som
i-butikken musikktjeneste (In-store Music Service)? Vederlagsorganisasjone
-var først nølende og sa nei, men Tribe of Noise sto fast og hevdet at de
-primært arbeidet med ukjente artister, og gir dem eksponering i deler av
-verden hvor de vanligvis ikke får sendetid og inntekter – og dette
-overbeviste dem om at det var OK. <span class="quote">«<span class="quote">Imidlertid</span>»</span>, sier Hessel,
-<span class="quote">«<span class="quote">vi kjemper fortsatt for en god sak hver eneste dag</span>»</span>.
+var først nølende og sa nei, men Tribe of Noise sto fast og hevdet at de
+primært arbeidet med ukjente artister, og gir dem eksponering i deler av
+verden hvor de vanligvis ikke får sendetid og inntekter – og dette
+overbeviste dem om at det var OK. <span class="quote">«<span class="quote">Imidlertid</span>»</span>, sier Hessel,
+<span class="quote">«<span class="quote">vi kjemper fortsatt for en god sak hver eneste dag</span>»</span>.
</p><p>
- I stedet for å bygge opp en stor salgsorganisasjon, samarbeider Tribe of
+ I stedet for å bygge opp en stor salgsorganisasjon, samarbeider Tribe of
Noise med store organisasjoner med mange klienter, som kan fungere som en
-slags Tribe of Noise-forhandler. Det største telefonselskapet i Nederland,
+slags Tribe of Noise-forhandler. Det største telefonselskapet i Nederland,
for eksempel, selger Tribes In-store Music Service-abonnementer til sine
bedriftskunder, som inkluderer moteforhandlere og treningssentre. De har en
lignende avtale med den ledende bransjeorganisasjonen for hoteller og
-restauranter i landet. Hessel håper å <span class="quote">«<span class="quote">klippe og lime</span>»</span> denne
-tjenesten til andre land der vederlagsorganisasjoner forstår hva du kan
-gjøre med Creative Commons. Etter Nederland fulgte oppfølgingen i
+restauranter i landet. Hessel håper å <span class="quote">«<span class="quote">klippe og lime</span>»</span> denne
+tjenesten til andre land der vederlagsorganisasjoner forstår hva du kan
+gjøre med Creative Commons. Etter Nederland fulgte oppfølgingen i
Skandinavia, Belgia, og USA.
</p><p>
- Tribe of Noise betaler ikke musikere på forhånd; de får betalt når musikken
+ Tribe of Noise betaler ikke musikere på forhånd; de får betalt når musikken
ender opp i Tribe of Noises i-butikken musikkanaler. Musikerne aksjeandel er
-på 42,5 prosent. Det er ikke uvanlig i en tradisjonell modell for kunstneren
-å bare få fra 5 til 10 prosent, slik at en andel på over 40 prosent er en
-betydelig bedre avtale. Her viser de et eksempel på sin hjemmeside:
+på 42,5 prosent. Det er ikke uvanlig i en tradisjonell modell for kunstneren
+å bare få fra 5 til 10 prosent, slik at en andel på over 40 prosent er en
+betydelig bedre avtale. Her viser de et eksempel på sin hjemmeside:
</p><p>
Noen av sangene [lisensiert med CC BY-SA], for eksempel til sammen fem,
velges som en skreddersydd i-butikken musikkanal som kringkaster i en stor,
landsomfattende forhandlerkjede med 1000 butikker. I dette tilfellet
-inneholder den samlede spillelisten 350 sanger så musikerens andel er 5/350
+inneholder den samlede spillelisten 350 sanger så musikerens andel er 5/350
= 1,43 %. Lisensavgiften man er enige med denne forhandleren om er US dollar
-12 pr. måned pr. play-out. Så hvis 42,5 % deles med Tribes musikere i denne
+12 pr. måned pr. play-out. Så hvis 42,5 % deles med Tribes musikere i denne
spillelisten, og din del er 1,43 %, ender du opp med US dollar 12 * 1000
-butikker * 0.425 * 0.0143 = US dollar 73 pr. m
åned.<a href="#ftn.idm2164" class="footnote" name="idm2164"><sup class="footnote">[155]</sup></a>
+butikker * 0.425 * 0.0143 = US dollar 73 pr. m
åned.<a href="#ftn.idm2164" class="footnote" name="idm2164"><sup class="footnote">[155]</sup></a>
</p><p>
Tribe of Noise har en annen modell som ikke involverer Creative Commons. I
-en undersøkelse med medlemmer sa de fleste de likte eksponeringen som bruk
-av Creative Commons gir dem, og måten den lar dem nå ut til andre til å dele
+en undersøkelse med medlemmer sa de fleste de likte eksponeringen som bruk
+av Creative Commons gir dem, og måten den lar dem nå ut til andre til å dele
og remikse. De hadde imidlertid litt av en mental kamp med at Creative
Commons-lisenser er evigvarende. Mange musikere tenker slik at en dag kan en
av sangene deres bli en hit over natten. Hvis det skjedde, ville CC
-BY-SA-lisensen utelukke dem fra å bli rik fra salg av den sangen.
+BY-SA-lisensen utelukke dem fra å bli rik fra salg av den sangen.
</p><p>
Hessels juridiske team tok til seg tilbakemeldingen, og opprettet en ekstra
-modell og et eget område på plattformen kalt Tribe of Noise Pro. Sanger som
+modell og et eget område på plattformen kalt Tribe of Noise Pro. Sanger som
lastes opp til Tribe of Noise Pro er ikke Creative Commons-lisensiert. Tribe
-of Noise har i stedet opprettet en kontrakt for <span class="quote">«<span class="quote">ikke-eksklusiv
-utnyttelse</span>»</span>, som ligner på en Creative Commons-lisens, men tillater
-musikere å velge når de ønsker å gå ut. Når en velger å trekke seg,
-aksepterer Tribe of Noise å ta musikken vekk fra Tribe of Noise-plattformen
-innen en til to måneder. Dette lar musikeren gjenbruke sangen med en bedre
+of Noise har i stedet opprettet en kontrakt for <span class="quote">«<span class="quote">ikke-eksklusiv
+utnyttelse</span>»</span>, som ligner på en Creative Commons-lisens, men tillater
+musikere å velge når de ønsker å gå ut. Når en velger å trekke seg,
+aksepterer Tribe of Noise å ta musikken vekk fra Tribe of Noise-plattformen
+innen en til to måneder. Dette lar musikeren gjenbruke sangen med en bedre
avtale.
</p><p>
- Tribe of Noise er primært rettet mot medieprodusenter som leter etter
-musikk. Hvis de kjøper en lisens fra denne katalogen, trenger de ikke å
-oppgi navnet på produsenten; de lisensierer bare sangen for et bestemt
-beløp. Dette er et stort pluss for medieprodusenter. Og musikere kan trekke
+ Tribe of Noise er primært rettet mot medieprodusenter som leter etter
+musikk. Hvis de kjøper en lisens fra denne katalogen, trenger de ikke å
+oppgi navnet på produsenten; de lisensierer bare sangen for et bestemt
+beløp. Dette er et stort pluss for medieprodusenter. Og musikere kan trekke
sitt repertoar til enhver tid. Hessel ser dette som en mer direkte og ren
avtale.
</p><p>
- Mange av Tribe of Noises musikere laster opp sanger til både Tribe of Noise
-Pro og fellesskapsområdet til Tribe of Noise. Det er ikke så mange kunstnere
+ Mange av Tribe of Noises musikere laster opp sanger til både Tribe of Noise
+Pro og fellesskapsområdet til Tribe of Noise. Det er ikke så mange kunstnere
som bare laster opp til Tribe of Noise Pro, som har et mindre
-musikkrepertoar enn fellesområdet.
+musikkrepertoar enn fellesområdet.
</p><p>
- Hessel ser de to som komplementære. Begge er nødvendige for at modellen skal
-kunne virke. Med en hel generasjon musikere interessert i delingsøkonomien,
+ Hessel ser de to som komplementære. Begge er nødvendige for at modellen skal
+kunne virke. Med en hel generasjon musikere interessert i delingsøkonomien,
kan de bygge tillit i fellesskapet til Tribe of Noice, lage eksponering og
-få inntekter. Og etter dette kan musikere bli mer interessert i å utforske
+få inntekter. Og etter dette kan musikere bli mer interessert i å utforske
andre modeller som Tribe of Noise Pro.
</p><p>
- Hver person som blir med i Tribe of Noise får sin egen hjemmeside, og gratis
-et ubegrenset webområde til å laste opp så mye av sin egen musikk som de
-vil. Tribe of Noise er også et sosialt nettverk. Andre musikere og fagfolk
+ Hver person som blir med i Tribe of Noise får sin egen hjemmeside, og gratis
+et ubegrenset webområde til å laste opp så mye av sin egen musikk som de
+vil. Tribe of Noise er også et sosialt nettverk. Andre musikere og fagfolk
kan stemme for, kommentere, og like din musikk. Fellesskapsansvarlige
-samhandler med, og støtter medlemmer, og musikkveiledere velger og vraker
-fra de opplastede sangene for å avspille i-butikken, eller promoterer dem
-for mediaprodusenter. Medlemmene liker virkelig å ha folk som arbeider for
+samhandler med, og støtter medlemmer, og musikkveiledere velger og vraker
+fra de opplastede sangene for å avspille i-butikken, eller promoterer dem
+for mediaprodusenter. Medlemmene liker virkelig å ha folk som arbeider for
plattformen, og som virkelig engasjerer seg med dem.
</p><p>
- En annen måte Tribe of Noise skaper fellesskap og interesse på er
+ En annen måte Tribe of Noise skaper fellesskap og interesse på er
konkurranser, som er organisert i samarbeid med klientene til Tribe of
Noise. Klienten angir hva de vil ha, og alle medlemmer kan sende inn en
-sang. Konkurranser innebærer vanligvis premier, eksponering og penger. I
-tillegg til å bygge medlemsengasjement, hjelper konkurranser medlemmene til
-å lære hvordan arbeide med klienter: Lytte til dem, forstå hva de vil, og
-lage en sang for å møte det behovet.
- </p><p>
- Tribe of Noise har nå syvogtyve tusen medlemmer fra 192 land, og mange
-utforsker gjør-det-selv-modeller (DIY - Do it yourself ) for å skaffe
-inntekter. Noen kom fra plateselskaper og utgivere, og har gått gjennom den
-tradisjonelle måten med musikklisensiering, og ser nå om denne nye modellen
+sang. Konkurranser innebærer vanligvis premier, eksponering og penger. I
+tillegg til å bygge medlemsengasjement, hjelper konkurranser medlemmene til
+å lære hvordan arbeide med klienter: Lytte til dem, forstå hva de vil, og
+lage en sang for å møte det behovet.
+ </p><p>
+ Tribe of Noise har nå syvogtyve tusen medlemmer fra 192 land, og mange
+utforsker gjør-det-selv-modeller (DIY - Do it yourself ) for å skaffe
+inntekter. Noen kom fra plateselskaper og utgivere, og har gått gjennom den
+tradisjonelle måten med musikklisensiering, og ser nå om denne nye modellen
er fornuftig for dem. Andre er unge musikere, som vokste opp med en
-DIY-mentalitet, og ser liten grunn til å signere med en tredjepart, eller gi
-fra seg noe av kontrollen. Fremdeles følger en liten, men voksende gruppe av
+DIY-mentalitet, og ser liten grunn til å signere med en tredjepart, eller gi
+fra seg noe av kontrollen. Fremdeles følger en liten, men voksende gruppe av
Tribe-medlemmer en hybridmodell med lisensiering av noen av sine sanger
under CC BY-SA, og velger andre opphavsrettsselskaper som ASCAP eller BMI.
</p><p>
- Det er ikke uvanlig for organisasjoner som håndterer fremføringsrettigheter,
-plateselskaper og musikkutgivere å signere kontrakter med musikere basert på
-eksklusivitet. En slik ordning hindrer disse musikerne i å laste opp
-musikken til Tribe of Noise. I USA kan du ha en vederlagsorganisasjon til å
-håndtere noen av sporene, mens i mange land i Europa foretrekker en
-vederlagsorganisasjon å representere hele repertoaret (selv om
-Europakommisjonen gjør noen endringer). Tribe of Noise håndterer dette
+ Det er ikke uvanlig for organisasjoner som håndterer fremføringsrettigheter,
+plateselskaper og musikkutgivere å signere kontrakter med musikere basert på
+eksklusivitet. En slik ordning hindrer disse musikerne i å laste opp
+musikken til Tribe of Noise. I USA kan du ha en vederlagsorganisasjon til å
+håndtere noen av sporene, mens i mange land i Europa foretrekker en
+vederlagsorganisasjon å representere hele repertoaret (selv om
+Europakommisjonen gjør noen endringer). Tribe of Noise håndterer dette
problemet hele tiden, og gir deg en advarsel hver gang du laster opp en
-sang. Hvis vederlagsorganisasjonene er villig til å være åpne og fleksible,
-og gjøre det meste de kan for sine medlemmer, kan de vurdere organisasjoner
+sang. Hvis vederlagsorganisasjonene er villig til å være åpne og fleksible,
+og gjøre det meste de kan for sine medlemmer, kan de vurdere organisasjoner
som Tribe of Noise som et kjekt tillegg, som genererer mer eksponering og
-inntekter for musikere de representerer. Så langt har Tribe of Noise vært i
-stand til å gjøre alt dette arbeidet uten rettstvister.
- </p><p>
- For Hessel er tillit nøkkelen til Tribe of Noises suksess. Det faktum at
-Creative Commons-lisenser fungerer på samme måte over hele verden, og har
-blitt oversatt til alle språk, hjelper virkelig å bygge den tilliten. Tribe
-of Noise tror på en modell som skapes ved å arbeide sammen med musikere. De
-kan kun gjøre det hvis de har et spenstig og levende samfunn, med folk som
-tror at Tribe of Noise-laget har til hensikt å ivareta deres
-interesser. Creative Commons gjør det mulig å opprette en ny
-forretningsmodell for musikk, en modell basert på tillit.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2154" class="footnote"><p><a href="#idm2154" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2164" class="footnote"><p><a href="#idm2164" class="para"><sup class="para">[155] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapittel 27. Wikimedia-stiftelsen</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+inntekter for musikere de representerer. Så langt har Tribe of Noise vært i
+stand til å gjøre alt dette arbeidet uten rettstvister.
+ </p><p>
+ For Hessel er tillit nøkkelen til Tribe of Noises suksess. Det faktum at
+Creative Commons-lisenser fungerer på samme måte over hele verden, og har
+blitt oversatt til alle språk, hjelper virkelig å bygge den tilliten. Tribe
+of Noise tror på en modell som skapes ved å arbeide sammen med musikere. De
+kan kun gjøre det hvis de har et spenstig og levende samfunn, med folk som
+tror at Tribe of Noise-laget har til hensikt å ivareta deres
+interesser. Creative Commons gjør det mulig å opprette en ny
+forretningsmodell for musikk, en modell basert på tillit.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2154" class="footnote"><p><a href="#idm2154" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2164" class="footnote"><p><a href="#idm2164" class="para"><sup class="para">[155] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapittel 27. Wikimedia-stiftelsen</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Wikimedia-stiftelsen er den ideelle organisasjonen som huser Wikipedia med
-søsterprosjekter. Grunnlagt i 2003 i USA.
+søsterprosjekter. Grunnlagt i 2003 i USA.
</p><p>
<a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
</p><p><span class="strong"><strong>Inntektsmodell</strong></span>: Donasjoner
</p><p><span class="strong"><strong>Dato for intervju</strong></span>: 18. desember 2015
</p><p><span class="strong"><strong>Intervjuet</strong></span>: Luis Villa, tidligere sjef
for Community Engagement, og Stephen LaPorte, advokat
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profilen skrevet av Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Nesten hver person som er på nettet vet om Wikipedia.
+ Nesten hver person som er på nettet vet om Wikipedia.
</p><p>
- På mange måter er dette et fremragende åpent prosjekt: Dette nettleksikonet
+ På mange måter er dette et fremragende åpent prosjekt: Dette nettleksikonet
er utelukkende laget av frivillige. Hvem som helst i verden kan redigere
-artikler. Alt innhold er tilgjengelig gratis for alle på nettet. Alt innhold
-er utgitt under en Creative Commons-lisens som gjør det mulig å bruke og
-tilpasse det til hvilket som helst formål.
+artikler. Alt innhold er tilgjengelig gratis for alle på nettet. Alt innhold
+er utgitt under en Creative Commons-lisens som gjør det mulig å bruke og
+tilpasse det til hvilket som helst formål.
</p><p>
- I desember 2016 var det mer enn førtito millioner artikler på 295 språk i
-nettleksikonet, ifølge, selvfølgelig, Wikipedia-artikkelen om Wikipedia.
+ I desember 2016 var det mer enn førtito millioner artikler på 295 språk i
+nettleksikonet, ifølge, selvfølgelig, Wikipedia-artikkelen om Wikipedia.
</p><p>
Wikimedia Foundation er en USA-basert ideell organisasjon som eier
domenenavnet Wikipedia og huser nettstedet, sammen med mange andre
beslektede nettsteder som Wikidata og Wikimedia Commons. Stiftelsen
-sysselsetter ca. to hundre og åtti personer, som alle arbeider for å støtte
+sysselsetter ca. to hundre og åtti personer, som alle arbeider for å støtte
disse prosjektene. Men det virkelige hjertet til Wikipedia og dets
-søsterprosjekter er fellesskapet (community). Antallet mennesker i
+søsterprosjekter er fellesskapet (community). Antallet mennesker i
fellesskapet varierer, men omtrent 75 000 frivillige redigerer og forbedrer
-Wikipedia-artikler hver måned. Frivillige er organisert på en rekke måter
+Wikipedia-artikler hver måned. Frivillige er organisert på en rekke måter
over hele verden, inkludert formelle Wikimedia-avdelinger (hovedsakelig
-nasjonale), grupper fokusert på et bestemt tema, brukergrupper, og mange
+nasjonale), grupper fokusert på et bestemt tema, brukergrupper, og mange
tusen som ikke er koblet til en bestemt organisasjon.
</p><p>
- Som Wikimedias juridiske rådgiver Stephen LaPorte fortalte oss: <span class="quote">«<span class="quote">Det
+ Som Wikimedias juridiske rådgiver Stephen LaPorte fortalte oss: <span class="quote">«<span class="quote">Det
er et vanlig ordtak at Wikipedia fungerer i praksis, men ikke i
-teorien</span>»</span>. Mens det utvilsomt har sine utfordringer og feil, er
-Wikipedia og dets søsterprosjekter et slående eksempel på betydningen av
+teorien</span>»</span>. Mens det utvilsomt har sine utfordringer og feil, er
+Wikipedia og dets søsterprosjekter et slående eksempel på betydningen av
kraften i menneskelig samarbeid.
</p><p>
- På grunn av sin ekstraordinære bredde og sitt omfang føles det litt som en
-enhjørning. Det er faktisk ingenting som Wikipedia. Likevel, mye av det som
-gjør at prosjektene er vellykket – fellesskapet, gjennomsiktighet, en sterk
-misjon, tillit – faller sammen med hva som mer generelt kreves for å være
-gjort med Creative Commons. Med Wikipedia skjer bare alt i et enestående
+ På grunn av sin ekstraordinære bredde og sitt omfang føles det litt som en
+enhjørning. Det er faktisk ingenting som Wikipedia. Likevel, mye av det som
+gjør at prosjektene er vellykket – fellesskapet, gjennomsiktighet, en sterk
+misjon, tillit – faller sammen med hva som mer generelt kreves for å være
+gjort med Creative Commons. Med Wikipedia skjer bare alt i et enestående
omfang.
</p><p>
- Historien om Wikipedia har blitt fortalt mange ganger. For vårt formål er
-det nok å vite at eksperimentet startet i 2001 i liten skala, inspirert av
-den sprøe idéen om at kanskje et virkelig åpent samarbeidsprosjekt kunne
-lage noe meningsfullt. I dag er Wikipedia så allestedsnærværende og
-innblandet i våre digitale liv at det faktum at det eksisterer, synes
+ Historien om Wikipedia har blitt fortalt mange ganger. For vårt formål er
+det nok å vite at eksperimentet startet i 2001 i liten skala, inspirert av
+den sprøe idéen om at kanskje et virkelig åpent samarbeidsprosjekt kunne
+lage noe meningsfullt. I dag er Wikipedia så allestedsnærværende og
+innblandet i våre digitale liv at det faktum at det eksisterer, synes
mindre bemerkelsesverdig. Men i tillegg til dataprogrammer, er Wikipedia
-kanskje det mest fantastiske enkelteksempel på et vellykket samvirke. Hver
-dag opprettes syv tusen nye artikler på Wikipedia, og nesten femten tusen
-redigeringer utføres hver time.
+kanskje det mest fantastiske enkelteksempel på et vellykket samvirke. Hver
+dag opprettes syv tusen nye artikler på Wikipedia, og nesten femten tusen
+redigeringer utføres hver time.
</p><p>
Egenskapene til innholdet som fellesskapet lager er ideelt for asynkron
-samproduksjon. <span class="quote">«<span class="quote">Et leksikon er noe der fellesskapets trinnvise
-forbedring virkelig fungerer</span>»</span>, fortalte Luis Villa, tidligere sjef
+samproduksjon. <span class="quote">«<span class="quote">Et leksikon er noe der fellesskapets trinnvise
+forbedring virkelig fungerer</span>»</span>, fortalte Luis Villa, tidligere sjef
for fellesskapsengasjementet (Chief Officer of Community Engagement)
-oss. Reglene og prosessene som styrer samproduksjonen på Wikipedia, og dets
-søsterprosjekter, er alle fellesskapsdrevet og varierer fra språk til
-språk. Hele bøker er skrevet om kompleksitetene i systemene deres, men
-generelt er det svært få unntak fra regelen om at alle kan redigere alle
-artikler, selv uten å registrere seg i systemet deres. Den omfattende
-fagfellevurderingsprosessen inkluderer omfattende systemer for å løse
-tvister, metoder for å håndtere kontroversielle fagområder, en
+oss. Reglene og prosessene som styrer samproduksjonen på Wikipedia, og dets
+søsterprosjekter, er alle fellesskapsdrevet og varierer fra språk til
+språk. Hele bøker er skrevet om kompleksitetene i systemene deres, men
+generelt er det svært få unntak fra regelen om at alle kan redigere alle
+artikler, selv uten å registrere seg i systemet deres. Den omfattende
+fagfellevurderingsprosessen inkluderer omfattende systemer for å løse
+tvister, metoder for å håndtere kontroversielle fagområder, en
diskusjonsside som forklarer beslutninger, og mye, mye mer. Wikimedia
-Foundation sin beslutning om å overlate styring av prosjekter til
-fellesskapet er veldig bevisst. <span class="quote">«<span class="quote">Vi ser på det fellesskapet kan gjøre
-godt, og vi ønsker å la dem gjøre de tingene</span>»</span>, fortalte Stephen
-oss. I stedet konsentrerer stiftelsen sin tid og sine ressurser på det
-fellesskapet ikke kan gjøre effektivt, som å utvikle programvaren som
-støtter nettstedenes tekniske infrastruktur. I 2015-2016 gikk omtrent
-halvparten av stiftelsens budsjett til direkte støtte til Wikimedias
+Foundation sin beslutning om å overlate styring av prosjekter til
+fellesskapet er veldig bevisst. <span class="quote">«<span class="quote">Vi ser på det fellesskapet kan gjøre
+godt, og vi ønsker å la dem gjøre de tingene</span>»</span>, fortalte Stephen
+oss. I stedet konsentrerer stiftelsen sin tid og sine ressurser på det
+fellesskapet ikke kan gjøre effektivt, som å utvikle programvaren som
+støtter nettstedenes tekniske infrastruktur. I 2015-2016 gikk omtrent
+halvparten av stiftelsens budsjett til direkte støtte til Wikimedias
nettsteder.
</p><p>
- Noe av det er rettet mot tjenermaskiner og generell IT-støtte, men Wikipedia
-Foundation investerer betydelig i arkitektur som utformes for å bidra til at
-nettstedet er så effektivt som mulig. <span class="quote">«<span class="quote">Det er et system i stadig
-utvikling for å holde balansen på plass for å unngå at Wikipedia blir
-verdens største graffitivegg</span>»</span>, sa Luis. Avhengig av hvordan du måler
-det, er et sted mellom 90 til 98 prosent av endringer på Wikipedia
-positive. En del av den suksessen skyldes verktøyene Wikimedia har på plass
-for å prøve å stimulere til god oppførsel. <span class="quote">«<span class="quote">Hemmeligheten bak et sunt
-fellesskap er å få de rette folkene til å komme tilbake</span>»</span>, sa
-Luis. <span class="quote">«<span class="quote">Vandalene pleier å gå lei, og forsvinne. Det er delvis slik vår
+ Noe av det er rettet mot tjenermaskiner og generell IT-støtte, men Wikipedia
+Foundation investerer betydelig i arkitektur som utformes for å bidra til at
+nettstedet er så effektivt som mulig. <span class="quote">«<span class="quote">Det er et system i stadig
+utvikling for å holde balansen på plass for å unngå at Wikipedia blir
+verdens største graffitivegg</span>»</span>, sa Luis. Avhengig av hvordan du måler
+det, er et sted mellom 90 til 98 prosent av endringer på Wikipedia
+positive. En del av den suksessen skyldes verktøyene Wikimedia har på plass
+for å prøve å stimulere til god oppførsel. <span class="quote">«<span class="quote">Hemmeligheten bak et sunt
+fellesskap er å få de rette folkene til å komme tilbake</span>»</span>, sa
+Luis. <span class="quote">«<span class="quote">Vandalene pleier å gå lei, og forsvinne. Det er delvis slik vår
modell arbeider, og delvis bare den menneskelige
-naturen</span>»</span>. Mesteparten av tiden ønsker folk å gjøre det som er riktig.
+naturen</span>»</span>. Mesteparten av tiden ønsker folk å gjøre det som er riktig.
</p><p>
- Wikipedia baserer seg ikke bare på god oppførsel i fellesskapet og på sine
-nettsteder, men også hos alle andre når innholdet forlater Wikipedia. Hele
+ Wikipedia baserer seg ikke bare på god oppførsel i fellesskapet og på sine
+nettsteder, men også hos alle andre når innholdet forlater Wikipedia. Hele
teksten i Wikipedia er tilgjengelig med en Attribution-ShareAlike-lisens (CC
-BY-SA), som betyr at det kan brukes til alle formål, og endres så lenge
+BY-SA), som betyr at det kan brukes til alle formål, og endres så lenge
henvisning gis og alt nytt deles tilbake til offentligheten med samme
lisens. I teorien betyr det at alle kan kopiere innholdet og starte en ny
-Wikipedia. Men som Stephen forklarte, <span class="quote">«<span class="quote">Å være åpen har bare gjort
-Wikipedia større og sterkere. Ønsket om å beskytte er ikke alltid det som er
-best for alle</span>»</span>.
- </p><p>
- Selvfølgelig er den primære årsaken til at ingen har lykkes i å lage sin
-egen versjon av Wikipedia, er at kopieringsforsøkene ikke har
-Wikipedia-fellesskapet til å holde ved like det de gjør. Wikipedia er ikke
-bare en kilde til kontinuerlig oppdatert innhold for ethvert tema – det er
-også et verdensomspennende lappeteppe av mennesker som jobber sammen på en
-million forskjellige måter, med en million forskjellige utgangspunkt, av en
-million forskjellige grunner. Mange har forsøkt å gjette hva som gjør
-Wikipedia-arbeid så bra som det er, men det finnes ingen enkel
-forklaring. <span class="quote">«<span class="quote">I en bevegelse som er like stor som vår, er det et
-utrolig mangfold av motivasjoner</span>»</span>, sa Stephen. Det er for eksempel en
-redaktør av den engelske Wikipedia-utgaven som har rettet en enkel
-grammatisk feil i artikler mer enn førtiåtte tusen ganger.<a href="#ftn.idm2210" class="footnote" name="idm2210"><sup class="footnote">[156]</sup></a> Bare en brøkdel av Wikipedia-brukere er også
-redaktører. Redigering er ikke den eneste måten å bidra til
-Wikipedia. <span class="quote">«<span class="quote">Noen donerer tekst, noen donerer bilder, noen donerer
-økonomisk</span>»</span>, fortalte Stephen oss. <span class="quote">«<span class="quote">De er alle
-bidragsytere.</span>»</span>
+Wikipedia. Men som Stephen forklarte, <span class="quote">«<span class="quote">Å være åpen har bare gjort
+Wikipedia større og sterkere. Ønsket om å beskytte er ikke alltid det som er
+best for alle</span>»</span>.
+ </p><p>
+ Selvfølgelig er den primære årsaken til at ingen har lykkes i å lage sin
+egen versjon av Wikipedia, er at kopieringsforsøkene ikke har
+Wikipedia-fellesskapet til å holde ved like det de gjør. Wikipedia er ikke
+bare en kilde til kontinuerlig oppdatert innhold for ethvert tema – det er
+også et verdensomspennende lappeteppe av mennesker som jobber sammen på en
+million forskjellige måter, med en million forskjellige utgangspunkt, av en
+million forskjellige grunner. Mange har forsøkt å gjette hva som gjør
+Wikipedia-arbeid så bra som det er, men det finnes ingen enkel
+forklaring. <span class="quote">«<span class="quote">I en bevegelse som er like stor som vår, er det et
+utrolig mangfold av motivasjoner</span>»</span>, sa Stephen. Det er for eksempel en
+redaktør av den engelske Wikipedia-utgaven som har rettet en enkel
+grammatisk feil i artikler mer enn førtiåtte tusen ganger.<a href="#ftn.idm2210" class="footnote" name="idm2210"><sup class="footnote">[156]</sup></a> Bare en brøkdel av Wikipedia-brukere er også
+redaktører. Redigering er ikke den eneste måten å bidra til
+Wikipedia. <span class="quote">«<span class="quote">Noen donerer tekst, noen donerer bilder, noen donerer
+økonomisk</span>»</span>, fortalte Stephen oss. <span class="quote">«<span class="quote">De er alle
+bidragsytere.</span>»</span>
</p><p>
Men de aller fleste av oss som bruker Wikipedia er ikke bidragsytere; vi er
-passive lesere. Wikimedia Foundation overlever hovedsakelig på individuelle
+passive lesere. Wikimedia Foundation overlever hovedsakelig på individuelle
donasjoner, med ca. 15 dollar som gjennomsnittet. Da Wikipedia er en av de
-ti mest populære nettstedene i totale sidevisninger, kan donasjoner fra en
-liten del av målgruppen bety mange penger. I regnskapsåret 2015-2016 fikk de
+ti mest populære nettstedene i totale sidevisninger, kan donasjoner fra en
+liten del av målgruppen bety mange penger. I regnskapsåret 2015-2016 fikk de
mer enn 77 millioner dollar fra mer enn fem millioner givere.
</p><p>
- Stiftelsen har et pengeinnsamlingsteam som arbeider året rundt med å samle
+ Stiftelsen har et pengeinnsamlingsteam som arbeider året rundt med å samle
inn penger, men mesteparten av inntektene deres kommer inn under
desemberkampanjen i Australia, Canada, Irland, New Zealand, Storbritannia og
-USA. De engasjere seg i omfattende sluttbrukertesting og forskning for å
+USA. De engasjere seg i omfattende sluttbrukertesting og forskning for å
maksimere rekkevidden av sine pengeinnsamlingskampanjer. Deres grunnleggende
-pengeinnsamlingsbudskap er enkelt: Vi gir våre lesere og verden en enorm
-verdi, så gi tilbake. Hver liten del hjelper. Med nok øyne har de rett.
+pengeinnsamlingsbudskap er enkelt: Vi gir våre lesere og verden en enorm
+verdi, så gi tilbake. Hver liten del hjelper. Med nok øyne har de rett.
</p><p>
- Wikimedia Foundation er en verden der hvert eneste menneske fritt kan få del
-i summen av kunnskap. De arbeider for å realisere denne visjonen ved å sette
-folk over hele verden i stand til å gjøre pedagogisk innhold fritt
-tilgjengelig med en åpen lisens, eller i det offentlige rom. Stephen og Luis
+ Wikimedia Foundation er en verden der hvert eneste menneske fritt kan få del
+i summen av kunnskap. De arbeider for å realisere denne visjonen ved å sette
+folk over hele verden i stand til å gjøre pedagogisk innhold fritt
+tilgjengelig med en åpen lisens, eller i det offentlige rom. Stephen og Luis
sa oppgaven, som er forankret i den samme filosofien som Creative Commons,
-er grunnleggende for alt fondet gjør.
+er grunnleggende for alt fondet gjør.
</p><p>
- Filosofien bak innsatsen gjør også fondet i stand til å være økonomisk
-bærekraftig. Det skaper tillit hos leserskaren, noe som er avgjørende for en
-inntektsstrategi som bygger på lesernes donasjoner. Det inngir også tillit i
+ Filosofien bak innsatsen gjør også fondet i stand til å være økonomisk
+bærekraftig. Det skaper tillit hos leserskaren, noe som er avgjørende for en
+inntektsstrategi som bygger på lesernes donasjoner. Det inngir også tillit i
fellesskapet deres.
</p><p>
- Enhver enkeltstående endring på Wikipedia kan være motivert av nesten
+ Enhver enkeltstående endring på Wikipedia kan være motivert av nesten
uendelig ulike grunner. Men det sosiale oppdraget prosjektet har, er det som
-binder det globale samfunnet sammen. <span class="quote">«<span class="quote">Wikipedia er et eksempel på
-hvordan et oppdrag kan motivere en hel bevegelse</span>»</span>, fortalte Stephen
+binder det globale samfunnet sammen. <span class="quote">«<span class="quote">Wikipedia er et eksempel på
+hvordan et oppdrag kan motivere en hel bevegelse</span>»</span>, fortalte Stephen
oss.
</p><p>
- Selvfølgelig, resultatet fra bevegelsen er blitt en av Internetts store
-offentlige ressurser. <span class="quote">«<span class="quote">Internett har mange bedrifter og butikker, men
-det mangler de digitale motstykkene til parker og åpne offentlige
-områder</span>»</span>, sa Stephen. <span class="quote">«<span class="quote">Wikipedia har klart å bli et slikt åpent
-offentlig område.</span>»</span>
+ Selvfølgelig, resultatet fra bevegelsen er blitt en av Internetts store
+offentlige ressurser. <span class="quote">«<span class="quote">Internett har mange bedrifter og butikker, men
+det mangler de digitale motstykkene til parker og åpne offentlige
+områder</span>»</span>, sa Stephen. <span class="quote">«<span class="quote">Wikipedia har klart å bli et slikt åpent
+offentlig område.</span>»</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2210" class="footnote"><p><a href="#idm2210" class="para"><sup class="para">[156] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliografi</title>}\addcontentsline{toc}{chapter}{<title>Bibliografi</title>}<p>
Alperovitz, Gar. What Then Must We Do? Straight Talk about the Next American
Revolution; Democratizing Wealth and Building a Community-Sustaining Economy
from the Ground Up. White River Junction, VT: Chelsea Green, 2013.
</p><p>
- Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+ Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
</p><p>
- ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
+ ———. Makers: The New Industrial Revolution. New York: Signal, 2012.
</p><p>
Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
Decisions. Oppdatert utgave. New York: Harper Perennial, 2010.
</p><p>
- Bacon, Jono. The Art of Community. Andre utgave. Sebastopol, CA: O’Reilly
+ Bacon, Jono. The Art of Community. Andre utgave. Sebastopol, CA: O’Reilly
Media, 2012.
</p><p>
Benkler, Yochai. The Wealth of Networks: How Social Production Transforms
commissioned by the Next Systems Project. Washington, DC: Democracy
Collaborative, 2016. <a class="ulink" href="http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/" target="_top">http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/</a>.
</p><p>
- ———. Think Like a Commoner: A Short Introduction to the Life of the
+ ———. Think Like a Commoner: A Short Introduction to the Life of the
Commons. Gabriola Island, BC: New Society, 2014.
</p><p>
Bollier, David, and Pat Conaty. Democratic Money and Capital for the
Commons: Strategies for Transforming Neoliberal Finance through
Commons-Based Alternatives. A report on a Commons Strategies Group Workshop
-in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
+in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
<a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
For mer informasjon, se <a class="ulink" href="http://bollier.org/blog/democratic-money-and-capital-commons" target="_top">http://bollier.org/blog/democratic-money-and-capital-commons</a>.
</p><p>
Bollier, David, og Silke Helfrich, red. The Wealth of the Commons: A World
Beyond Market and State. Amherst, MA: Levellers Press, 2012.
</p><p>
- Botsman, Rachel, og Roo Rogers. What’s Mine Is Yours: The Rise of
+ Botsman, Rachel, og Roo Rogers. What’s Mine Is Yours: The Rise of
Collaborative Consumption. New York: Harper Business, 2010.
</p><p>
Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation
Landscape. Boston: Harvard Business School Press, 2006.
</p><p>
- ———. Open Innovation: The New Imperative for Creating and Profiting from
+ ———. Open Innovation: The New Imperative for Creating and Profiting from
Technology. Boston: Harvard Business Review Press, 2006.
</p><p>
City of Bologna. Regulation on Collaboration between Citizens and the City
(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna,
2014). <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
</p><p>
- Cole, Daniel H. <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons.</span>»</span> Kapittel 2 i Frischmann,
+ Cole, Daniel H. <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons.</span>»</span> Kapittel 2 i Frischmann,
Madison, og Strandburg, Governing Knowledge Commons.
</p><p>
Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
Commons, 2015. <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p><p>
- Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
-Age. San Francisco: McSweeney’s, 2014.
+ Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
+Age. San Francisco: McSweeney’s, 2014.
</p><p>
- Eckhardt, Giana, og Fleura Bardhi. <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
-Sharing at All.</span>»</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
+ Eckhardt, Giana, og Fleura Bardhi. <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
»</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p><p>
Elliott, Patricia W., og Daryl H. Hepting, red. (2015). Free Knowledge:
Confronting the Commodification of Human Discovery. Regina, SK: University
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
</p><p>
- Farley, Joshua, og Ida Kubiszewski. <span class="quote">«<span class="quote">The Economics of Information in a
-Post-Carbon Economy.</span>»</span> Kapittel 11 in Elliott and Hepting, Free
+ Farley, Joshua, og Ida Kubiszewski. <span class="quote">«<span class="quote">The Economics of Information in a
+Post-Carbon Economy.</span>»</span> Kapittel 11 in Elliott and Hepting, Free
Knowledge.
</p><p>
- Foster, William Landes, Peter Kim, og Barbara Christiansen. <span class="quote">«<span class="quote">Ten
-Nonprofit Funding Models.</span>»</span> Stanford Social Innovation Review, Spring
+ Foster, William Landes, Peter Kim, og Barbara Christiansen. <span class="quote">«<span class="quote">Ten
+Nonprofit Funding Models.</span>»</span> Stanford Social Innovation Review, Spring
2009. <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p><p>
Frischmann, Brett M. Infrastructure: The Social Value of Shared
red. Governing Knowledge Commons. New York: Oxford University Press, 2014.
</p><p>
Frischmann, Brett M., Michael J. Madison, og Katherine J.
-Strandburg. <span class="quote">«<span class="quote">Governing Knowledge Commons.</span>»</span> Kapittel 1 i
+Strandburg. <span class="quote">«<span class="quote">Governing Knowledge Commons.</span>»</span> Kapittel 1 i
Frischmann, Madison, og Strandburg, Governing Knowledge Commons.
</p><p>
Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Nyutgivelse
Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
Farrar, Straus and Giroux, 2010.
</p><p>
- ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
+ ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
Books edition. New York: Vintage Books, 2007.
</p><p>
Kelley, Tom, og David Kelley. Creative Confidence: Unleashing the Potential
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
Discovered. New York: Workman, 2014.
</p><p>
- ———. Steal Like an Artist: 10 Things Nobody Told You about Being
+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
Creative. New York: Workman, 2012.
</p><p>
Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
York: Morgan James, 2016.
</p><p>
- Lee, David. <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet.</span>»</span> BBC News, 2016-03-03. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
+ Lee, David. <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet.</span>
»</span> BBC News, 2016-03-03. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
</p><p>
Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
Economy. New York: Penguin Press, 2008.
<a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
</p><p>
Osterwalder, Alex, og Yves Pigneur. Business Model Generation. Hoboken, NJ:
-John Wiley and Sons, 2010. En forhåndsvisning av boken er tilgjengelig fra
+John Wiley and Sons, 2010. En forhåndsvisning av boken er tilgjengelig fra
<a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p><p>
Osterwalder, Alex, Yves Pigneur, Greg Bernarda, og Adam Smith. Value
Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. En
-forh
åndsvisning av denne boken er tilgjengelig fra <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
+forh
åndsvisning av denne boken er tilgjengelig fra <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
</p><p>
Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help. New York: Grand Central, 2014.
the Results? The Hague, Netherlands: Europeana Foundation, 2014. <a class="ulink" href="http://pro.europeana.eu/publication/democratising-the-rijksmuseum" target="_top">http://pro.europeana.eu/publication/democratising-the-rijksmuseum</a>
(lisensiert med CC BY-SA).
</p><p>
- Ramos, José Maria, red. The City as Commons: A Policy Reader. Melbourne,
+ Ramos, José Maria, red. The City as Commons: A Policy Reader. Melbourne,
Australia: Commons Transition Coalition, 2016. <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
(lisensiert med CC BY-NC-ND).
</p><p>
Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
Source by an Accidental Revolutionary. Revidert utgave. Sebastopol, CA:
-O
’Reilly Media, 2001. Se spesielt <span class="quote">«<span class="quote">The Magic Cauldron.</span>»</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+O
â\80\99Reilly Media, 2001. Se spesielt <span class="quote">«<span class="quote">The Magic Cauldron.</span>»</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p><p>
- Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
+ Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
Innovation to Create Radically Successful Businesses. New York: Crown
Business, 2011.
</p><p>
Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
Enemy of Prosperity. New York: Portfolio, 2016.
</p><p>
- Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
York: Farrar, Straus and Giroux, 2012.
</p><p>
Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
Collaborators. London, England: Penguin Books, 2010.
</p><p>
- Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
+ Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
Books, 2015.
</p><p>
Stephany, Alex. The Business of Sharing: Making in the New Sharing
Performance. Boston: Harvard Business Review Press, 2015.
</p>\chapter*{<title>Takk til</title>}\addcontentsline{toc}{chapter}{<title>Takk til</title>}<p>
Vi vil spesielt takke daglig leder for Creative Commons Ryan Merkley, styret
-for Creative Commons, og alle våre kolleger for deres entusiastiske støtte
-til vårt arbeid. En spesiell takk til William and Flora Hewlett Foundation
-for startstøtten som fikk oss i gang med prosjektet.
+for Creative Commons, og alle våre kolleger for deres entusiastiske støtte
+til vårt arbeid. En spesiell takk til William and Flora Hewlett Foundation
+for startstøtten som fikk oss i gang med prosjektet.
</p><p>
- En stor takk til alle de intervjuede i Gjort med Creative Commons for å ha
+ En stor takk til alle de intervjuede i Gjort med Creative Commons for å ha
delt sine historier med oss. Dere gir liv til allmenningen. Tusen takk for
inspirasjonen.
</p><p>
Vi intervjuet flere enn de tjuefire organisasjonene omtalt i denne
boken. Spesiell takk rettes til Gooru, OERu, Sage Bionetworks, og Medium for
-å ha delt sine historier med oss. Selv om de ikke er med i referansestudiene
+å ha delt sine historier med oss. Selv om de ikke er med i referansestudiene
i denne boken, er hver og en av dere like interessante, og vi vil oppmuntre
-våre lesere til å besøke nettstedene deres og utforske det de har gjort.
+våre lesere til å besøke nettstedene deres og utforske det de har gjort.
</p><p>
- Denne boken ble mulig takket være den generøse støtten til de 1 687
-Kickstarter-støttespillerne som er listet opp under. Vi vil spesielt takke
-våre mange med-redaktører som leste tidlige utkast av verket vårt og ga
-uvurderlige tilbakemeldinger. Ektefølt takk til dere alle.
+ Denne boken ble mulig takket være den generøse støtten til de 1 687
+Kickstarter-støttespillerne som er listet opp under. Vi vil spesielt takke
+våre mange med-redaktører som leste tidlige utkast av verket vårt og ga
+uvurderlige tilbakemeldinger. Ektefølt takk til dere alle.
</p><p>
- Medredaktør-støttespillere fra Kickstarter (alfabetisk på fornavn): Abraham
+ Medredaktør-støttespillere fra Kickstarter (alfabetisk på fornavn): Abraham
Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
-Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler.
</p><p>
- Alle de som støttet via Kickstarter (alfabetisk etter fornavn): A. Lee,
+ Alle de som støttet via Kickstarter (alfabetisk etter fornavn): A. Lee,
Aaron C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
-Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">«<span class="quote">Macro</span>»</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">«<span class="quote">Macro</span>»</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">«<span class="quote">TalkToMeGuy</span>»</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">«<span class="quote">TalkToMeGuy</span>»</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Gemaakt met Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemaakt met Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Gemaakt met Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="nl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gemaakt met Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
This book is published under a CC BY-SA license, which means that you can
copy, redistribute, remix, transform, and build upon the content for any
purpose, even commercially, as long as you give appropriate credit, provide
transform, or build upon the material, you must distribute your
contributions under the same license as the original. License details:
<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Lijst van afbeeldingen</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Lijst van afbeeldingen</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">“<span class="quote">a red
-herring.</span>”</span>
+the pursuit of viable business models through CC <span class="quote">“<span class="quote">a red
+herring.</span>”</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">“<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">“<span class="quote">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.</span>”</span>
+profit. Money is a means to a social end, not the end itself.</span>”</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">“<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesn’t Want to Be Free: <span class="quote">“<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>”</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>”</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">“<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>”</span>
+Against Humanity says it best in their case study: <span class="quote">“<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>”</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">“<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span>”</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>”</span>
+<span class="quote">“<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>”</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
-Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">“<span class="quote">The Zones of
+Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">“<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>”</span>
+people they come to know, and sometimes like.</span>”</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all made of people.</span>”</span>
+Johnathan Nightingale often says, <span class="quote">“<span class="quote">It’s all made of people.</span>”</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
+ This book shows the world how sharing can be good for business—but with a
twist.
</p><p>
We began the project intending to explore how creators, organizations, and
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">“<span class="quote">open
-business model canvas,</span>”</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">“<span class="quote">open
+business model canvas,</span>”</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">“<span class="quote">business as usual.</span>”</span>
+Creative Commons is not <span class="quote">“<span class="quote">business as usual.</span>”</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Deel I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Hoofdstuk 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Deel I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Hoofdstuk 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">“<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
build the commons. Beyond money, laws and regulations regarding property,
copyright, business, and finance can all be designed to foster the commons.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Afbeelding 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Afbeelding 1.2. Four aspects of resource management">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Afbeelding 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Afbeelding 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Afbeelding 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">“<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
+<span class="quote">“<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. <a class="xref" href="#fig-5" title="Afbeelding 1.5. The commons is gradually superseded by the state.">1.5</a>).
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">“<span class="quote">The Tragedy of the Commons,</span>”</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
-Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">“<span class="quote">The Tragedy of the
+Commons</span>”</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+Raymond’s essay <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing cities,</span>”</span> looking
+Seoul and Amsterdam call themselves <span class="quote">“<span class="quote">sharing cities,</span>”</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">“<span class="quote">A book on open business models</span>”</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">“<span class="quote">open process</span>”</span> involving
+is. Developed over nine years using an <span class="quote">“<span class="quote">open process</span>”</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which conceives of a
+ It contains a <span class="quote">“<span class="quote">business model canvas,</span>”</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">“<span class="quote">type of open environment that the business fits
-in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">“<span class="quote">type of open environment that the business fits
+in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">“<span class="quote">digital for free
-but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">“<span class="quote">digital for free
+but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>”</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
+<span class="quote">“<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of Information,</span>”</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">“<span class="quote">Economics of Information,</span>”</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open-source software,</span>”</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
+ Wikipedia, s.v. <span class="quote">“<span class="quote">Open Government Partnership,</span>”</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">“<span class="quote">Stockholm
-Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">“<span class="quote">Stockholm
+Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
+ We’ve made the <span class="quote">“<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">“<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Hoofdstuk 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Hoofdstuk 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
+with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
+mean.</span>”</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">“<span class="quote">Creators usually
-start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">“<span class="quote">Creators usually
+start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
+told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">“<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
+Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
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, <span class="quote">“<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
+going day to day.</span>”</span>
</p><p>
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
</p><p>
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
-<span class="quote">“<span class="quote">problem zero.</span>”</span>
+<span class="quote">“<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">“<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
+ While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">“<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
+discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">“<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">“<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>”</span> Instead, they started releasing
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">“<span class="quote">Using CC
-licenses shows you get the Internet.</span>”</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">“<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">“<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
+cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">“<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>”</span>
+of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
-creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
+expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">“<span class="quote">Song-A-Day</span>”</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+<span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>”</span>
+Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>”</span>
+human species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
+content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>”</span>
+says, without hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
-people to pay.</span>”</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>”</span> The
+language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+being <span class="quote">“<span class="quote">the product,</span>”</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>”</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>”</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
-communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>”</span> There
+based on a very shallow view of what motivates human behavior.</span>”</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>”</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
-first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">“<span class="quote">If you want fans, you have to be a fan
+first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
+Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
-family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
+family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">“<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">“<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>”</span>The only department where I wasn’t open to input was the
+said,</span>”</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
+<span class="quote">“<span class="quote">making in public</span>”</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>”</span>
+124. Surowiecki says, <span class="quote">“<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>”</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
-Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">“<span class="quote">Ten
+Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Hoofdstuk 3. The Creative Commons Licenses</h2></div></div></div><p>
All of the Creative Commons licenses grant a basic set of permissions. At a
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 <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
+often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
+worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Deel
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Deel
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Hoofdstuk 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Inhoudsopgave</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5.
Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Hoofdstuk 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+ </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
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
-<span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>”</span>
+<span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
-trust a product.</span>”</span>
+product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
-<span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">“<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>”</span>
+apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+<span class="quote">“<span class="quote">Send In the Clones,</span>”</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
-things that help other people make things.</span>”</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
+things that help other people make things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
-democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
-learn.</span>”</span>
+protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Hoofdstuk 5.
Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Hoofdstuk 5.
Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>”</span>
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>”</span>
+future, like a course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+flexible,</span>”</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>”</span>
+formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">“<span class="quote">Good
-content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">“<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
-said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
-another image of what it looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Hoofdstuk 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Hoofdstuk 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>”</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>”</span>
+so that the project could live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
-Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">“<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">“<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>”</span> he said. <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
-believe it.</span>’</span></span>”</span>
+people,</span>”</span> he said. <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
+believe it.</span>’</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>”</span> Francesco
-said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>”</span>
+needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>”</span>
+community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
Francesco said.
</p><p>
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. <span class="quote">“<span class="quote">Once a project is over,
-everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>”</span>
+specific project and ask for funding. <span class="quote">“<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
-he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
+goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>”</span> Ton said.
+reproduce what you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Hoofdstuk 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Hoofdstuk 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">“<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">“<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>”</span> Max said.
+make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
+kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
+make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
said.
</p><p>
- But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> 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 <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
+website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>”</span>
+engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>”</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
-said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>”</span>
+line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>”</span>
+world, and we have never spent a dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
-said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>”</span>
+quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">“<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>”</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
+causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>”</span>
+the game into it.</span>”</span>
</p><p>
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.
- </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">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.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Hoofdstuk 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Hoofdstuk 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">“<span class="quote">members and
-funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
-members,</span>”</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">“<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+ With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Hoofdstuk 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Hoofdstuk 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
-adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>”</span>
+selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>”</span>
-he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>”</span>
+importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
-<span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
-what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before
+rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>”</span>
+sane.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>”</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
-them thieves,</span>”</span> he said.
+people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
</p><p>
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. <span class="quote">“<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
+career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>”</span>
+spread.</span>”</span>
</p><p>
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
</p><p>
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. <span class="quote">“<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">“<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>”</span> he said. Cory’s own website routinely
+they interact with it,</span>”</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>”</span> he said. <span class="quote">“<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">“<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>”</span>
+slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>”</span>
+possibility that I’ll get something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>”</span>
+calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>”</span> Cory
+audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">“<span class="quote">If
-you look at the history of artists, most die in penury,</span>”</span> he
-said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>”</span>
+stay connected to those people who have been touched by your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>”</span>
+in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Hoofdstuk 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Hoofdstuk 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">“<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>”</span>
+its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Hoofdstuk 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Hoofdstuk 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>”</span> But understanding the basic facts sometimes requires
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>”</span>
+future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Hoofdstuk 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Hoofdstuk 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
-model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
+model</span>”</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
+support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Hoofdstuk 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Hoofdstuk 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Hoofdstuk 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Hoofdstuk 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+<span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+<span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> 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 <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
+songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>”</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
-Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>”</span>
+be able to be shared.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+copy, interact with, and remix his music. <span class="quote">“<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>”</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
-he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>”</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he
-said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>”</span>
+work is a song rather than news. <span class="quote">“<span class="quote">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,</span>”</span> he
+said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
+ </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Hoofdstuk 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Hoofdstuk 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
-off.</span>”</span>
+of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
+its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>”</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>”</span>
+other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Hoofdstuk 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Hoofdstuk 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">“<span class="quote">nodes.</span>”</span>
+<span class="quote">“<span class="quote">nodes.</span>”</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">“<span class="quote">open
-licenses</span>”</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
+licenses</span>”</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>”</span>
+offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Hoofdstuk 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Hoofdstuk 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
-not the goods.</span>”</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>”</span> Opendesk now has relationships with
+how we have moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
-making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
+making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>”</span>
+mass-production and an affordable way to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re
+Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">“<span class="quote">open,</span>”</span> not IP.
+<span class="quote">“<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Hoofdstuk 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Hoofdstuk 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
-license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Hoofdstuk 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Hoofdstuk 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>”</span>
+doing that.</span>”</span>
</p><p>
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. <span class="quote">“<span class="quote">On
-the one hand, we have this beautiful shareability,</span>”</span> Amanda
-said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>”</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
</p><p>
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
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. <span class="quote">“<span class="quote">All
-I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">“<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>”</span>
+art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
-crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">“<span class="quote">pay what
-you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+<span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
-got into this because we wanted to share the joy of music,</span>”</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
</p><p>
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. <span class="quote">“<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>”</span> Amanda wrote.
+listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>”</span>
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>”</span> she wrote. There really
+ </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> 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 <span class="quote">“<span class="quote">weird little
-family.</span>”</span>
+consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
+family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>”</span>
+creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
+this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>”</span>
+genuinely of value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Hoofdstuk 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Hoofdstuk 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Hoofdstuk 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Hoofdstuk 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+<span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">“<span class="quote">like</span>”</span> works and compile your
+a bit like Pinterest. You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
-great art.</span>”</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">“<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>”</span>
+their experience: <span class="quote">“<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Hoofdstuk 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Hoofdstuk 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
-economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
+more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>”</span> he
-said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>”</span>
+now.</span>”</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
-economy</span>”</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
-on that role.</span>”</span> The small team behind the nonprofit publication truly
+dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>”</span> Neal said. While they started out with a
+metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">“<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">“<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>”</span> Neal said. The rest of the content is either contributed by
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
-licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>”</span>
+our work have much bigger audiences than we do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
-attract passionate people,</span>”</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>”</span> he
-said. <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
-start making calls.</span>”</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>”</span> Neal said. Enabling others to create their own events
+to the event,</span>”</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Hoofdstuk 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Hoofdstuk 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Hoofdstuk 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Hoofdstuk 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
-Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>”</span>
+our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
-our natural human instinct to share,</span>”</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
-<span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>”</span>
+safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
-years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>”</span>
+is for us, it’s better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
-stuff they should be competing on.</span>”</span>
+support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
-something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
+was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>”</span>
+2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+<span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>”</span> The
+employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
-said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
-been listening to the community,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Customers
+tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>”</span>
+it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
-open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
-really true.</span>”</span>
+relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
+really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>”</span>
+independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Hoofdstuk 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Hoofdstuk 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>”</span> Piya said.
+education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>”</span>
+protecting us at the same time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
-high-quality content is what matters most to us,</span>”</span> Piya
-said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
+determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>”</span> Piya said. <span class="quote">“<span class="quote">We need
-materials where you can push play and they will work.</span>”</span>
+training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">“<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>”</span>
+online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>”</span> Shuman said.
+countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>”</span> Piya
-said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
-companies can be proud of internally,</span>”</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Hoofdstuk 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Hoofdstuk 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>”</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
-still fighting for a good cause every single day.</span>”</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
+restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Hoofdstuk 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Hoofdstuk 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>”</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">“<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">“<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">“<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>”</span>
-Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>”</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">“<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>”</span>
+best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>”</span> Stephen said. For example, there is one
+explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
-financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
-contributors.</span>”</span>
+Wikipedia. <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
+contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>”</span> Stephen told us.
+community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
-open public space.</span>”</span>
+spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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</p><p>
- Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
+ Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
</p><p>
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Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our
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</p><p>
- ———. Think Like a Commoner: A Short Introduction to the Life of the
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+in cooperation with the Heinrich Böll Foundation, Berlin, Germany, 2015.
<a class="ulink" href="http://bollier.org/democratic-money-and-capital-commons-report-pdf" target="_top">http://bollier.org/democratic-money-and-capital-commons-report-pdf</a>.
For more information, see <a class="ulink" href="http://bollier.org/blog/democratic-money-and-capital-commons" target="_top">http://bollier.org/blog/democratic-money-and-capital-commons</a>.
</p><p>
Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World
Beyond Market and State. Amherst, MA: Levellers Press, 2012.
</p><p>
- Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
+ Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of
Collaborative Consumption. New York: Harper Business, 2010.
</p><p>
Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation
Landscape. Boston: Harvard Business School Press, 2006.
</p><p>
- ———. Open Innovation: The New Imperative for Creating and Profiting from
+ ———. Open Innovation: The New Imperative for Creating and Profiting from
Technology. Boston: Harvard Business Review Press, 2006.
</p><p>
City of Bologna. Regulation on Collaboration between Citizens and the City
(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna,
2014). <a class="ulink" href="http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf" target="_top">http://www.labgov.it/wp-content/uploads/sites/9/Bologna-Regulation-on-collaboration-between-citizens-and-the-city-for-the-cure-and-regeneration-of-urban-commons1.pdf</a>.
</p><p>
- Cole, Daniel H. <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in Frischmann,
+ Cole, Daniel H. <span class="quote">“<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons.</span>”</span> Chap. 2 in Frischmann,
Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative
Commons, 2015. <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p><p>
- Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
-Age. San Francisco: McSweeney’s, 2014.
+ Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet
+Age. San Francisco: McSweeney’s, 2014.
</p><p>
- Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
-Sharing at All.</span>
”</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">“<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
”</span> Harvard Business Review, January 28, 2015. <a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p><p>
Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
Confronting the Commodification of Human Discovery. Regina, SK: University
Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan
Hoover. New York: Portfolio, 2014.
</p><p>
- Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of Information in
-a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott and Hepting, Free
+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">“<span class="quote">The Economics of Information in
+a Post-Carbon Economy.</span>”</span> Chap. 11 in Elliott and Hepting, Free
Knowledge.
</p><p>
- Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">“<span class="quote">Ten
-Nonprofit Funding Models.</span>”</span> Stanford Social Innovation Review, Spring
+ Foster, William Landes, Peter Kim, and Barbara Christiansen. <span class="quote">“<span class="quote">Ten
+Nonprofit Funding Models.</span>”</span> Stanford Social Innovation Review, Spring
2009. <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p><p>
Frischmann, Brett M. Infrastructure: The Social Value of Shared
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</p><p>
Frischmann, Brett M., Michael J. Madison, and Katherine J.
-Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
+Strandburg. <span class="quote">“<span class="quote">Governing Knowledge Commons.</span>”</span> Chap. 1 in
Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
</p><p>
Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with
Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York:
Farrar, Straus and Giroux, 2010.
</p><p>
- ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
+ ———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage
Books edition. New York: Vintage Books, 2007.
</p><p>
Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get
Discovered. New York: Workman, 2014.
</p><p>
- ———. Steal Like an Artist: 10 Things Nobody Told You about Being
+ ———. Steal Like an Artist: 10 Things Nobody Told You about Being
Creative. New York: Workman, 2012.
</p><p>
Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New
York: Morgan James, 2016.
</p><p>
- Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet.</span>
”</span> BBC News, March 3, 2016. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
+ Lee, David. <span class="quote">“<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet.</span>
”</span> BBC News, March 3, 2016. <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>
</p><p>
Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
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(licensed under CC BY-SA).
</p><p>
- Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
+ Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
Australia: Commons Transition Coalition, 2016. <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
(licensed under CC BY-NC-ND).
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Raymond, Eric S. The Cathedral and the Bazaar: Musings on Linux and Open
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“<span class="quote">The Magic Cauldron.</span>”</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+Source by an Accidental Revolutionary. Rev. ed. Sebastopol, CA: O’Reilly
+Media, 2001. See esp. <span class="quote">
“<span class="quote">The Magic Cauldron.</span>”</span> <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p><p>
- Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
+ Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous
Innovation to Create Radically Successful Businesses. New York: Crown
Business, 2011.
</p><p>
Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the
Enemy of Prosperity. New York: Portfolio, 2016.
</p><p>
- Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
York: Farrar, Straus and Giroux, 2012.
</p><p>
Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into
Collaborators. London, England: Penguin Books, 2010.
</p><p>
- Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
+ Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR
Books, 2015.
</p><p>
Stephany, Alex. The Business of Sharing: Making in the New Sharing
Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
-Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
-Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Wykonane zgodnie z licencją Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Wykonane zgodnie z licencją Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
- Ta książka jest wydana zgodnie z licencją CC BY-SA co oznacza, że można ją
-kopiować, rozpowszechniać ponownie, remiksować, przekształcać i tworzyć nowe
-teksty na podstawie jej zawartości — w dowolnym celu, nawet komercyjnie, pod
-warunkiem, że załączone zostaną odpowiednie podziękowania, udostępniony
-zostanie odsyłacz do licencji i wskazane zostaną zmiany (jeśli zostały
-wprowadzone). Jeśli remiksujesz, przekształcasz lub wykorzystujesz ten
-materiał, musisz go rozpowszechniać na tej samej licencji, co
-orygina
ł. Szczegóły licencji: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Wykonane zgodnie z licencjÄ\85 Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pl" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Wykonane zgodnie z licencjÄ\85 Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+ Ta książka jest wydana zgodnie z licencją CC BY-SA co oznacza, że można ją
+kopiować, rozpowszechniać ponownie, remiksować, przekształcać i tworzyć nowe
+teksty na podstawie jej zawartości — w dowolnym celu, nawet komercyjnie, pod
+warunkiem, że załączone zostaną odpowiednie podziękowania, udostępniony
+zostanie odsyłacz do licencji i wskazane zostaną zmiany (jeśli zostały
+wprowadzone). Jeśli remiksujesz, przekształcasz lub wykorzystujesz ten
+materiał, musisz go rozpowszechniać na tej samej licencji, co
+orygina
ł. Szczegóły licencji: <a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Spis tre
ści</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Przedmowa</a></span></dt><dt><span class="preface"><a href="#introduction">Wprowadzenie</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Spis rysunków</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Przedmowa</h1></div></div></div><p>
- Trzy lata temu, jak tylko otrzymałem najwyższe stanowisko zarządzające w
-Creative Commons (ang. Chief Executive Officer — CEO), spotkałem się z Cory
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Spis tre
ści</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Przedmowa</a></span></dt><dt><span class="preface"><a href="#introduction">Wprowadzenie</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Spis rysunków</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Przedmowa</h1></div></div></div><p>
+ Trzy lata temu, jak tylko otrzymałem najwyższe stanowisko zarządzające w
+Creative Commons (ang. Chief Executive Officer — CEO), spotkałem się z Cory
Doctorow w barze hotelu Gladstone w Toronto. Jako jeden z najbardziej
-znanych zwolenników CC — jako zwolennik, który również zrobił karierę jako
-pisarz, dzielący się swoją pracą z innymi za pomocą CC — powiedziałem mu, że
-sądzę, iż CC odegrały pewną rolę w zdefiniowaniu i pogłębianiu modeli
-otwartego biznesu. Cory Doctorow uprzejmie nie zgodził się ze mną, nazywając
-prowadzenie opłacalnych modeli biznesowych, zgodnych z CC, mianem
-<span class="quote">„<span class="quote">fałszywego tropu (ang. red herring).</span>”</span>)
+znanych zwolenników CC — jako zwolennik, który również zrobił karierę jako
+pisarz, dzielący się swoją pracą z innymi za pomocą CC — powiedziałem mu, że
+sądzę, iż CC odegrały pewną rolę w zdefiniowaniu i pogłębianiu modeli
+otwartego biznesu. Cory Doctorow uprzejmie nie zgodził się ze mną, nazywając
+prowadzenie opłacalnych modeli biznesowych, zgodnych z CC, mianem
+<span class="quote">„<span class="quote">fałszywego tropu (ang. red herring).</span>”</span>)
</p><p>
- W pewien sposób, miał całkowitą rację — ci, którzy coś robią zgodnie z
-Creative Commons, mają ukryte motywy, jak to Paul Stacey wyjaśnia w tej
-książce: <span class="quote">„<span class="quote">Bez względu na status prawny, wszyscy oni mają do spełnienia
-misję społeczną. Ich głównym powodem bycia jest uczynić świat miejscem
-lepszym do życia, a nie wyłącznie do osiągania korzyści. Pieniądze są
-środkami do osiągania celów społecznych, a nie celem samym w sobie.</span>”</span>
+ W pewien sposób, miał całkowitą rację — ci, którzy coś robią zgodnie z
+Creative Commons, mają ukryte motywy, jak to Paul Stacey wyjaśnia w tej
+książce: <span class="quote">„<span class="quote">Bez względu na status prawny, wszyscy oni mają do spełnienia
+misję społeczną. Ich głównym powodem bycia jest uczynić świat miejscem
+lepszym do życia, a nie wyłącznie do osiągania korzyści. Pieniądze są
+środkami do osiągania celów społecznych, a nie celem samym w sobie.</span>”</span>
</p><p>
- Sarah Hinchliff Pearson, w studium przypadku o Cory Doctorow, cytuje słowa z
-jego książki <span class="quote">„<span class="quote">Information Doesn’t Want to Be Free:</span>”</span>
-<span class="quote">„<span class="quote">Wejście w dziedzinę sztuki tylko dlatego, aby stać się bogatym, jest
-jak kupno losu na loterię tylko w tym celu, aby się wzbogacić. To może
-zadziałać, ale przeważnie nie ma szans powodzenia. Chociaż, oczywiście, ktoś
-zawsze na loterii wygrywa.</span>”</span>
+ Sarah Hinchliff Pearson, w studium przypadku o Cory Doctorow, cytuje słowa z
+jego książki <span class="quote">„<span class="quote">Information Doesn’t Want to Be Free:</span>”</span>
+<span class="quote">„<span class="quote">Wejście w dziedzinę sztuki tylko dlatego, aby stać się bogatym, jest
+jak kupno losu na loterię tylko w tym celu, aby się wzbogacić. To może
+zadziałać, ale przeważnie nie ma szans powodzenia. Chociaż, oczywiście, ktoś
+zawsze na loterii wygrywa.</span>”</span>
</p><p>
- Obecnie, prawa autorskie są jak bilety na loterię — każdy ma jakieś prawa,
-lecz przeważnie nikt nie wygrywa. To, co nam zwykle nie mówią, to fakt, że
-jeśli podzielimy sie z innymi ludźmi swoją pracą — korzyści mogą być
-znaczące i długotrwałe. Ta książka jest wypełniona opowieściami tych, którzy
-podjęli o wiele większe ryzyko niż tylko zapłacenie kilku złotych za bilet
-na loterię — zamiast tego, odnieśli oni korzyści z przeforsowania swoich
-osobistych pasji, zgodnie z własnymi wartościami życiowymi.
+ Obecnie, prawa autorskie są jak bilety na loterię — każdy ma jakieś prawa,
+lecz przeważnie nikt nie wygrywa. To, co nam zwykle nie mówią, to fakt, że
+jeśli podzielimy sie z innymi ludźmi swoją pracą — korzyści mogą być
+znaczące i długotrwałe. Ta książka jest wypełniona opowieściami tych, którzy
+podjęli o wiele większe ryzyko niż tylko zapłacenie kilku złotych za bilet
+na loterię — zamiast tego, odnieśli oni korzyści z przeforsowania swoich
+osobistych pasji, zgodnie z własnymi wartościami życiowymi.
</p><p>
- A więc, ta książka nie jest o pieniądzach. Ale także: jest. Znajdowanie
-środków, aby tworzyć i dzielić się swoją pracą
-z innymi, często wymaga nakładów finansowych. Max Temkin, z Cards Against
-Humanity, ujął to w swoim studium przypadku następująco: <span class="quote">„<span class="quote">Nie robimy
-dowcipów i gier, aby robić pieniądze — robimy pieniądze, abyśmy mogli robić
-więcej dowcipów i gier.</span>”</span>
+ A więc, ta książka nie jest o pieniądzach. Ale także: jest. Znajdowanie
+środków, aby tworzyć i dzielić się swoją pracą
+z innymi, często wymaga nakładów finansowych. Max Temkin, z Cards Against
+Humanity, ujął to w swoim studium przypadku następująco: <span class="quote">„<span class="quote">Nie robimy
+dowcipów i gier, aby robić pieniądze — robimy pieniądze, abyśmy mogli robić
+więcej dowcipów i gier.</span>”</span>
</p><p>
- Creative Commons skupia się na budowaniu dynamicznego, powszechnego
-dziedzictwa, opartego na współpracy
-i wdzięczności. Centralnym punktem w naszej strategii jest stworzenie pola
-dla społecznej współpracy w różnych dziedzinach twórczości. Projekt tej
-książki został rozpoczęty właśnie dlatego, aby ukazać i wzmocnić wszystkie,
-wspomniane powyżej, aspekty naszej działalności. Projekt, prowadzony przez
-Paul'a i Sarah, powstał po to, aby określić i rozszerzyć najlepsze modele
-otwartego biznesu. Paul i Sarah okazali się idealnymi autorami do napisania
-książki Zrobione na licencji Creative Commons.
+ Creative Commons skupia się na budowaniu dynamicznego, powszechnego
+dziedzictwa, opartego na współpracy
+i wdzięczności. Centralnym punktem w naszej strategii jest stworzenie pola
+dla społecznej współpracy w różnych dziedzinach twórczości. Projekt tej
+książki został rozpoczęty właśnie dlatego, aby ukazać i wzmocnić wszystkie,
+wspomniane powyżej, aspekty naszej działalności. Projekt, prowadzony przez
+Paul'a i Sarah, powstał po to, aby określić i rozszerzyć najlepsze modele
+otwartego biznesu. Paul i Sarah okazali się idealnymi autorami do napisania
+książki Zrobione na licencji Creative Commons.
</p><p>
- Paul marzy o przyszłości, w której nowe modele twórczości oraz innowacyności
-przezwyciężą nierówności i braki najgorszych obszarów kapitalizmu. Siłą
-napędową działań Paul'a są relacje międzyludzkie w społecznościach
-twórców. Posiada on szerokie horyzonty myślowe, które sprawiają, że jest o
-wiele lepszym, bardziej wnikliwym pedagogiem i badaczem, niż wiekszość
-podobnych mu ludzi, a także — uzdolnionym ogrodnikiem. Jego spokojny,
-zrównoważony głos i ton wypowiedzi sprawia, że potrafi swoją pasją
-zainspirować kolegów i społeczności lokalne.
+ Paul marzy o przyszłości, w której nowe modele twórczości oraz innowacyności
+przezwyciężą nierówności i braki najgorszych obszarów kapitalizmu. Siłą
+napędową działań Paul'a są relacje międzyludzkie w społecznościach
+twórców. Posiada on szerokie horyzonty myślowe, które sprawiają, że jest o
+wiele lepszym, bardziej wnikliwym pedagogiem i badaczem, niż wiekszość
+podobnych mu ludzi, a także — uzdolnionym ogrodnikiem. Jego spokojny,
+zrównoważony głos i ton wypowiedzi sprawia, że potrafi swoją pasją
+zainspirować kolegów i społeczności lokalne.
</p><p>
- Sarah jest najlepszym rodzajem prawnika — prawdziwym adwokatem, który wierzy
-w naturalne dobro tkwiące w każdym człowieku. Posiada też moc do
-kolektywnego działania, nakierowanego na przemianę świata na lepszy. Przez
-cały ubiegły rok byłem świadkiem heroicznych zmagań Sarah, zaangażowanej w
-kampanię polityczną, która nie do końca spełniła jej oczekiwania. Obecnie,
-Sarah jest jak nigdy dotąd zdeterminowana, aby żyć zgodnie ze swoimi
-wartościami życiowymi. Zawsze mogę liczyć na Sarah i jestem przekonany, że
-potrafi ona przeforsować każde działanie Creative Commons skupione na jednym
-celu — uczynić rzecz główną, rzeczą faktycznie główną. Sarah jest kobietą
-bystrą, praktyczną, zorientowaną na szczegóły. W moim zespole nie ma nikogo,
-z kim mógłbym tak przyjemnie debatować o wielu różnych sprawach.
+ Sarah jest najlepszym rodzajem prawnika — prawdziwym adwokatem, który wierzy
+w naturalne dobro tkwiące w każdym człowieku. Posiada też moc do
+kolektywnego działania, nakierowanego na przemianę świata na lepszy. Przez
+cały ubiegły rok byłem świadkiem heroicznych zmagań Sarah, zaangażowanej w
+kampanię polityczną, która nie do końca spełniła jej oczekiwania. Obecnie,
+Sarah jest jak nigdy dotąd zdeterminowana, aby żyć zgodnie ze swoimi
+wartościami życiowymi. Zawsze mogę liczyć na Sarah i jestem przekonany, że
+potrafi ona przeforsować każde działanie Creative Commons skupione na jednym
+celu — uczynić rzecz główną, rzeczą faktycznie główną. Sarah jest kobietą
+bystrą, praktyczną, zorientowaną na szczegóły. W moim zespole nie ma nikogo,
+z kim mógłbym tak przyjemnie debatować o wielu różnych sprawach.
</p><p>
- Jako współautorzy, Paul i Sarah doskonale się wzajemnie
-uzupełniają. Prowadzili badania, analizowali, dowodzili swoich racji i
-pracowali jako zespół, czasami razem, czasami osobno. Zagłębiali się w
-badania i pracę pisemną z pasją i zaciekawieniem, a także z głebokim
-szacunkiem do tego, co składa się na budowanie powszechnego dziedzictwa i
-współdzielenie go w skali ogólnoświatowej. Pozostawali otwarci na nowe idee,
-łacznie z taką możliwością, że ich wstępne teorie mogą wymagać
-przeorganizowania lub mogą okazać się całkowicie błędne. To była odważna
-postawa, która sprawiła, że książka stała się lepsza, bardziej wnikliwa i
-pożyteczna.
+ Jako współautorzy, Paul i Sarah doskonale się wzajemnie
+uzupełniają. Prowadzili badania, analizowali, dowodzili swoich racji i
+pracowali jako zespół, czasami razem, czasami osobno. Zagłębiali się w
+badania i pracę pisemną z pasją i zaciekawieniem, a także z głebokim
+szacunkiem do tego, co składa się na budowanie powszechnego dziedzictwa i
+współdzielenie go w skali ogólnoświatowej. Pozostawali otwarci na nowe idee,
+łacznie z taką możliwością, że ich wstępne teorie mogą wymagać
+przeorganizowania lub mogą okazać się całkowicie błędne. To była odważna
+postawa, która sprawiła, że książka stała się lepsza, bardziej wnikliwa i
+pożyteczna.
</p><p>
- CC od samego początku chciała stworzyć ten projekt w oparciu o zasady i
-wartości otwartej współpracy. Książka została stworzona, sfinansowana,
-oparta na badaniach naukowych i napisana w sposób całkowicie otwarty. Jest
-współdzielona otwarcie na licencji CC BY-SA — dla każdego, kto chce jej
-używać lub remiksować /modyfikować w oparciu o przypisane jej cechy,
-wynikające /zawarte w licencji. Jest to, sam w sobie, przykład otwartego
+ CC od samego początku chciała stworzyć ten projekt w oparciu o zasady i
+wartości otwartej współpracy. Książka została stworzona, sfinansowana,
+oparta na badaniach naukowych i napisana w sposób całkowicie otwarty. Jest
+współdzielona otwarcie na licencji CC BY-SA — dla każdego, kto chce jej
+używać lub remiksować /modyfikować w oparciu o przypisane jej cechy,
+wynikające /zawarte w licencji. Jest to, sam w sobie, przykład otwartego
modelu biznesowego.
</p><p>
- Sarah organizowała i prowadziła kampanię na witrynie Kickstarter, generując
-podstawowe fundusze dla książki, przez cały sierpień 2015 roku. Pozostałe
-fundusze pochodziły od szlachetnych darczyńców CC i osoby /instytucje
-wspierające. Ostatecznie, projekt stał się najbardziej udanym projektem
-książkowym na Kickstarter, z rewelacyjnie wysoką liczbą ponad 1600
-darczyńców, z których większość to nowe osoby /instytucje wspierajace
+ Sarah organizowała i prowadziła kampanię na witrynie Kickstarter, generując
+podstawowe fundusze dla książki, przez cały sierpień 2015 roku. Pozostałe
+fundusze pochodziły od szlachetnych darczyńców CC i osoby /instytucje
+wspierające. Ostatecznie, projekt stał się najbardziej udanym projektem
+książkowym na Kickstarter, z rewelacyjnie wysoką liczbą ponad 1600
+darczyńców, z których większość to nowe osoby /instytucje wspierajace
Creative Commons.
</p><p>
- Paul i Sarah, przez cały czas realizacji projektu, pracowali całkowicie
-otwarcie: publikowali plany, szkice, studia przypadków i analizy;
-zaangażowali też do współpracy społeczności z całego świata, co okazało się
-bardzo pomocne przy pisaniu książki. Ponieważ opinie Sarah i Paul'a różniły
-się wobec niektórych spraw, w różny też sposób skupiali swoje
-zainteresowania, więc zdecydowali się na dwa odrębne, autorskie punkty
-widzenia, w wyniku których powstały dwa odrębne — choć nawzajem
-uzupełniające się — rozdziały książki. Tego rodzaju praca wymagała zarówno
-pokory jak i wzajemnego zaufania. Bez wątpienia — tego rodzaju działania
-przyczyniły się do wysokiej jakości książki i sukcesu wydawniczego «Made
-with Creative Commons».
+ Paul i Sarah, przez cały czas realizacji projektu, pracowali całkowicie
+otwarcie: publikowali plany, szkice, studia przypadków i analizy;
+zaangażowali też do współpracy społeczności z całego świata, co okazało się
+bardzo pomocne przy pisaniu książki. Ponieważ opinie Sarah i Paul'a różniły
+się wobec niektórych spraw, w różny też sposób skupiali swoje
+zainteresowania, więc zdecydowali się na dwa odrębne, autorskie punkty
+widzenia, w wyniku których powstały dwa odrębne — choć nawzajem
+uzupełniające się — rozdziały książki. Tego rodzaju praca wymagała zarówno
+pokory jak i wzajemnego zaufania. Bez wątpienia — tego rodzaju działania
+przyczyniÅ\82y siÄ\99 do wysokiej jakoÅ\9bci ksiÄ\85żki i sukcesu wydawniczego «Made
+with Creative Commons».
</p><p>
- Ci, którzy pracują i dzielą się swoją pracą z innymi, mając świadomość
-własnego wkładu w ogólnoświatowe dziedzictwo kulturowe, nie są zwykłymi
-twórcami. Tworząc w ten sposób — stają się częścią większej całości, o wiele
-większej niż oni sami. Przekazujac w darze owoce swojej pracy innym ludziom
-— zyskują ich wdzięczność i stają się częścią wspólnoty powszechnego
+ Ci, którzy pracują i dzielą się swoją pracą z innymi, mając świadomość
+własnego wkładu w ogólnoświatowe dziedzictwo kulturowe, nie są zwykłymi
+twórcami. Tworząc w ten sposób — stają się częścią większej całości, o wiele
+większej niż oni sami. Przekazujac w darze owoce swojej pracy innym ludziom
+— zyskują ich wdzięczność i stają się częścią wspólnoty powszechnego
dziedzictwa.
</p><p>
- Jonathan Mann, którego profil jest ukazany w tej książce, codziennie pisze
-jedną piosenkę. Kiedy poprosiłam go, aby napisał piosenkę dla naszego
-Kickstarter'a (i zaoferowałam mu pomoc, jeśli „nasz” Kickstarter odniesie
-sukces), zgodził się natychmiast. Dlaczego zgodził się na to? Ponieważ
-podstawą dziedzictwa kulturowego jest współpraca, a wspólnota/społeczność
-jest wartością kluczową tego dziedzictwa; ponieważ licencje CC pomogły tak
-wielu ludziom dzielić się swoją twórczością, na tak wiele sposobów, z
-odbiorcami na całym świecie.
+ Jonathan Mann, którego profil jest ukazany w tej książce, codziennie pisze
+jedną piosenkę. Kiedy poprosiłam go, aby napisał piosenkę dla naszego
+Kickstarter'a (i zaoferowałam mu pomoc, jeśli „nasz” Kickstarter odniesie
+sukces), zgodził się natychmiast. Dlaczego zgodził się na to? Ponieważ
+podstawą dziedzictwa kulturowego jest współpraca, a wspólnota/społeczność
+jest wartością kluczową tego dziedzictwa; ponieważ licencje CC pomogły tak
+wielu ludziom dzielić się swoją twórczością, na tak wiele sposobów, z
+odbiorcami na całym świecie.
</p><p>
- Sara pisze: <span class="quote">„<span class="quote">Prace nad Made with Creative Commons nabierają rozmachu,
-ponieważ wokół tego projektu jest budowana wspólnota celu. Może to oznaczać,
-że ta społeczność współpracuje nad stworzeniem czegoś nowego, lub że tworzy
-się zbiór ludzi podobnie myślących, wzajemnie się poznających, i
-„maszerujących” w rytm wspólnych zainteresowań i przekonań. Do pewnego
-stopnia, utożsamianie się z Made with Creative Commons niesie ze sobą
-element społeczny, pomagający łączyć się z ludźmi podobnie myślącymi,
-uznającymi — i kształtowanymi poprzez — wartości symbolizowane podczas
-używania CC</span>”</span>. Amanda Palmer, również przedstawicielka „muzycznego”
-profilu tej książki, mogłaby z pewnością od siebie dodać: <span class="quote">„<span class="quote">Nie ma
-bardziej satysfakcjonującej nagrody po osiagnięciu ostatecznego celu, niż
-usłyszenie od kogoś, że „[...] to, co ty robisz, ma dla mnie wartość
-wyjątkową”.</span>”</span>
+ Sara pisze: <span class="quote">„<span class="quote">Prace nad Made with Creative Commons nabierają rozmachu,
+ponieważ wokół tego projektu jest budowana wspólnota celu. Może to oznaczać,
+że ta społeczność współpracuje nad stworzeniem czegoś nowego, lub że tworzy
+się zbiór ludzi podobnie myślących, wzajemnie się poznających, i
+„maszerujących” w rytm wspólnych zainteresowań i przekonań. Do pewnego
+stopnia, utożsamianie się z Made with Creative Commons niesie ze sobą
+element społeczny, pomagający łączyć się z ludźmi podobnie myślącymi,
+uznającymi — i kształtowanymi poprzez — wartości symbolizowane podczas
+używania CC</span>”</span>. Amanda Palmer, również przedstawicielka „muzycznego”
+profilu tej książki, mogłaby z pewnością od siebie dodać: <span class="quote">„<span class="quote">Nie ma
+bardziej satysfakcjonującej nagrody po osiagnięciu ostatecznego celu, niż
+usłyszenie od kogoś, że „[...] to, co ty robisz, ma dla mnie wartość
+wyjątkową”.</span>”</span>
</p><p>
- To nie jest typowa książka biznesowa. Ci, którzy w niej szukają recepty lub
-„mapy drogowej”, mogą być rozczarowani. Lecz, ci, którzy szukają w niej
-tego, jak realizować cele społeczne, jak budować coś wielkiego poprzez
-wsþółpracę, jak dołączyć do wielkiej, stale rosnącej społeczności globalnej,
-z pewnością odniosą wiele korzyści z lektury książki. Zrobione na licencji
-Creative Commons oferuje zestaw wartości i zasad, mogących odmienić świat;
-udostępnia Tobie, czytelniku, narzędzia do eksploracji własnego biznesu, a
-także — dwa tuziny dawek „czystej inspiracji”.
+ To nie jest typowa książka biznesowa. Ci, którzy w niej szukają recepty lub
+„mapy drogowej”, mogą być rozczarowani. Lecz, ci, którzy szukają w niej
+tego, jak realizować cele społeczne, jak budować coś wielkiego poprzez
+wsþółpracę, jak dołączyć do wielkiej, stale rosnącej społeczności globalnej,
+z pewnością odniosą wiele korzyści z lektury książki. Zrobione na licencji
+Creative Commons oferuje zestaw wartości i zasad, mogących odmienić świat;
+udostępnia Tobie, czytelniku, narzędzia do eksploracji własnego biznesu, a
+także — dwa tuziny dawek „czystej inspiracji”.
</p><p>
- Założyciel CC, Lawrence Lessig, w artykule <span class="quote">„<span class="quote">The Zones of
-Cyberspace</span>”</span> (Stanford Law Review, 1996) napisał: <span class="quote">„<span class="quote">[...]
-Cyberprzestrzeń jest miejscem. Tam żyją ludzie. Doświadczają oni różnego
-rodzaju rzeczy, których doświadczają też w realnym świecie. Niektórzy
-doświadczają więcej. Odczuwają to nie tylko jako pojedyncze osoby, grające w
-technicznie zaawansowane gry komputerowe; odczuwają to w grupach, w
-społecznościach, wśród obcych, wśród osób, których chcą poznać, i których
-czasami lubią.</span>”</span>
+ Założyciel CC, Lawrence Lessig, w artykule <span class="quote">„<span class="quote">The Zones of
+Cyberspace</span>”</span> (Stanford Law Review, 1996) napisał: <span class="quote">„<span class="quote">[...]
+Cyberprzestrzeń jest miejscem. Tam żyją ludzie. Doświadczają oni różnego
+rodzaju rzeczy, których doświadczają też w realnym świecie. Niektórzy
+doświadczają więcej. Odczuwają to nie tylko jako pojedyncze osoby, grające w
+technicznie zaawansowane gry komputerowe; odczuwają to w grupach, w
+społecznościach, wśród obcych, wśród osób, których chcą poznać, i których
+czasami lubią.</span>”</span>
</p><p>
- Jestem niezmiernie dumny, że Creative Commons jest w stanie opublikować tę
-książkę dla wielu społeczności, które chcemy poznać, i które chcemy
-polubić. Jestem wdzięczny Paulowi i Sarze za ich kreatywność i wnikliwość, a
-globalnym społecznościom za to, że pomogły nam przybliżyć tę książkę Tobie,
-drogi czytelniku. Jak często mówi członek zarządu CC, Johnathan Nightingale:
-<span class="quote">„<span class="quote">To wszystko zostało zrobione przez ludzi (ang. It's all made of
-people).</span>”</span>
+ Jestem niezmiernie dumny, że Creative Commons jest w stanie opublikować tę
+książkę dla wielu społeczności, które chcemy poznać, i które chcemy
+polubić. Jestem wdzięczny Paulowi i Sarze za ich kreatywność i wnikliwość, a
+globalnym społecznościom za to, że pomogły nam przybliżyć tę książkę Tobie,
+drogi czytelniku. Jak często mówi członek zarządu CC, Johnathan Nightingale:
+<span class="quote">„<span class="quote">To wszystko zostało zrobione przez ludzi (ang. It's all made of
+people).</span>”</span>
</p><p>
- To jest właśnie prawdziwa wartość rzeczy, które są Zrobione na licencji
+ To jest właśnie prawdziwa wartość rzeczy, które są Zrobione na licencji
Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Wprowadzenie</h1></div></div></div><p>
- Ta książka pokazuje światu — w niecodzienny sposób — że dzielenie się z
-innymi może być dobre dla biznesu.
+ Ta książka pokazuje światu — w niecodzienny sposób — że dzielenie się z
+innymi może być dobre dla biznesu.
</p><p>
- Rozpoczęliśmy ten projekt, mając na celu zbadanie, w jaki sposób twórcy,
-organizacje i firmy zarabiają na tym, co robią, dzieląc się swoją pracą przy
-uzyciu licencji Creative Commons. Naszym celem nie była identyfikacja
-formuły, której używają modele biznesowe, chcieliśmy natomiast zebrać świeże
-idee i dynamiczne przykłady tego, co prowadzi do powstania nowych,
-innowacyjnych modeli i do pomagania innym w podążaniu za tym, co już
-działa. Na początku ustaliliśmy ramy pojęciowe dla naszych poszukiwań za
-pomocą znanych terminów biznesowych. Stworzyliśmy pusty
-<span class="quote">„<span class="quote">arkusz</span>”</span> modelu otwartego biznesu, interaktywne narzędzie
-online, które może pomóc ludziom zaprojektować i przeanalizować ich własny
+ Rozpoczęliśmy ten projekt, mając na celu zbadanie, w jaki sposób twórcy,
+organizacje i firmy zarabiają na tym, co robią, dzieląc się swoją pracą przy
+uzyciu licencji Creative Commons. Naszym celem nie była identyfikacja
+formuły, której używają modele biznesowe, chcieliśmy natomiast zebrać świeże
+idee i dynamiczne przykłady tego, co prowadzi do powstania nowych,
+innowacyjnych modeli i do pomagania innym w podążaniu za tym, co już
+działa. Na początku ustaliliśmy ramy pojęciowe dla naszych poszukiwań za
+pomocą znanych terminów biznesowych. Stworzyliśmy pusty
+<span class="quote">„<span class="quote">arkusz</span>”</span> modelu otwartego biznesu, interaktywne narzędzie
+online, które może pomóc ludziom zaprojektować i przeanalizować ich własny
model biznesu.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
- Ale kiedy prowadziliśmy nasze badania, wydarzyło się coś
-interesującego. Nasz początkowy sposób kadrowania pracy nie pasował do
-historii, które słyszeliśmy.
+ Ale kiedy prowadziliśmy nasze badania, wydarzyło się coś
+interesującego. Nasz początkowy sposób kadrowania pracy nie pasował do
+historii, które słyszeliśmy.
</p><p>
Those we interviewed were not typical businesses selling to consumers and
seeking to maximize profits and the bottom line. Instead, they were sharing
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>”</span>
+Creative Commons is not <span class="quote">„<span class="quote">business as usual.</span>”</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Część I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może być zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Rozdział 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Narodziny Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>CzÄ\99Å\9bÄ\87 I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Spis treÅ\9bci</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Jak może byÄ\87 zrobione na licencji Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. Licencje Creative Commons</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>RozdziaÅ\82 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Spis treÅ\9bci</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">Narodziny Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">„<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm118" class="footnote" name="idm118"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm123" class="footnote" name="idm123"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
build the commons. Beyond money, laws and regulations regarding property,
copyright, business, and finance can all be designed to foster the commons.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Rysunek 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm144" class="footnote" name="idm144"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Rysunek 1.2. Four aspects of resource management">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Rysunek 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Rysunek 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Rysunek 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm186" class="footnote" name="idm186"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
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.<a href="#ftn.idm214" class="footnote" name="idm214"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">„<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
+<span class="quote">„<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm217" class="footnote" name="idm217"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. <a class="xref" href="#fig-5" title="Rysunek 1.5. The commons is gradually superseded by the state.">1.5</a>).
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">„<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">„<span class="quote">The Tragedy of the Commons,</span>”</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
-Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">„<span class="quote">The Tragedy of the
+Commons</span>”</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm234" class="footnote" name="idm234"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm239" class="footnote" name="idm239"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+Raymond’s essay <span class="quote">„<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm273" class="footnote" name="idm273"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm286" class="footnote" name="idm286"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm315" class="footnote" name="idm315"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>”</span> looking
+Seoul and Amsterdam call themselves <span class="quote">„<span class="quote">sharing cities,</span>”</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm319" class="footnote" name="idm319"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm337" class="footnote" name="idm337"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">„<span class="quote">A book on open business models</span>”</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">„<span class="quote">A book on open business models</span>”</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>”</span> involving
+is. Developed over nine years using an <span class="quote">„<span class="quote">open process</span>”</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm342" class="footnote" name="idm342"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">„<span class="quote">business model canvas,</span>”</span> which conceives of a
+ It contains a <span class="quote">„<span class="quote">business model canvas,</span>”</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm347" class="footnote" name="idm347"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">„<span class="quote">type of open environment that the business fits
-in.</span>
”</span><a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">„<span class="quote">type of open environment that the business fits
+in.</span>
”</span><a href="#ftn.idm351" class="footnote" name="idm351"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">„<span class="quote">digital for free
-but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">„<span class="quote">digital for free
+but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm359" class="footnote" name="idm359"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm144" class="footnote"><p><a href="#idm144" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">„<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm171" class="footnote"><p><a href="#idm171" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm186" class="footnote"><p><a href="#idm186" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">„<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>”</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm203" class="footnote"><p><a href="#idm203" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm214" class="footnote"><p><a href="#idm214" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm217" class="footnote"><p><a href="#idm217" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm234" class="footnote"><p><a href="#idm234" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">„<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
+<span class="quote">„<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm239" class="footnote"><p><a href="#idm239" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>”</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">„<span class="quote">Economics of Information,</span>”</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm262" class="footnote"><p><a href="#idm262" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm262" class="footnote"><p><a href="#idm262" class="para"><sup class="para">[15] </sup></a><span class="quote">„<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm268" class="footnote"><p><a href="#idm268" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>”</span> last modified November
+ Wikipedia, s.v. <span class="quote">„<span class="quote">Open-source software,</span>”</span> last modified November
22, 2016.
</p></div><div id="ftn.idm273" class="footnote"><p><a href="#idm273" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">„<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm279" class="footnote"><p><a href="#idm279" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm286" class="footnote"><p><a href="#idm286" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm286" class="footnote"><p><a href="#idm286" class="para"><sup class="para">[19] </sup></a><span class="quote">„<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm292" class="footnote"><p><a href="#idm292" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm298" class="footnote"><p><a href="#idm298" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>”</span> last modified
+ Wikipedia, s.v. <span class="quote">„<span class="quote">Open Government Partnership,</span>”</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm305" class="footnote"><p><a href="#idm305" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm307" class="footnote"><p><a href="#idm307" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm310" class="footnote"><p><a href="#idm310" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
-Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">„<span class="quote">Stockholm
+Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm315" class="footnote"><p><a href="#idm315" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm327" class="footnote"><p><a href="#idm327" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm331" class="footnote"><p><a href="#idm331" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm337" class="footnote"><p><a href="#idm337" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm342" class="footnote"><p><a href="#idm342" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm347" class="footnote"><p><a href="#idm347" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm351" class="footnote"><p><a href="#idm351" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
+ We’ve made the <span class="quote">„<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">„<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm370" class="footnote"><p><a href="#idm370" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Rozdział 2. Jak może być zrobione na licencji Creative Commons</h2></div></div></div><div class="toc"><p><b>Spis treści</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>RozdziaÅ\82 2. Jak może byÄ\87 zrobione na licencji Creative Commons</h2></div></div></div><div class="toc"><p><b>Spis treÅ\9bci</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
”</span><a href="#ftn.idm397" class="footnote" name="idm397"><sup class="footnote">[37]</sup></a>
+model <span class="quote">„<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
”</span><a href="#ftn.idm397" class="footnote" name="idm397"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
+with him, <span class="quote">„<span class="quote">Business model can mean anything you want it to
+mean.</span>”</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">„<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">„<span class="quote">all rights reserved</span>”</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">„<span class="quote">Creators usually
-start doing what they do for love.</span>
”</span><a href="#ftn.idm411" class="footnote" name="idm411"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">„<span class="quote">Creators usually
+start doing what they do for love.</span>
”</span><a href="#ftn.idm411" class="footnote" name="idm411"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
+told us that the key question when creating something is <span class="quote">„<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">„<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm420" class="footnote" name="idm420"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">„<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>”</span>
+Made with Creative Commons, the definition of <span class="quote">„<span class="quote">enough money</span>”</span>
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, <span class="quote">„<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">„<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
+going day to day.</span>”</span>
</p><p>
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
</p><p>
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
-<span class="quote">„<span class="quote">problem zero.</span>”</span>
+<span class="quote">„<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">„<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>”</span><a href="#ftn.idm439" class="footnote" name="idm439"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>”</span><a href="#ftn.idm439" class="footnote" name="idm439"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>”</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">„<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">„<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">„<span class="quote">your people</span>”</span> online is theoretically easier than
+ While finding <span class="quote">„<span class="quote">your people</span>”</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm447" class="footnote" name="idm447"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
+well.<a href="#ftn.idm447" class="footnote" name="idm447"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">„<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
”</span><a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
”</span><a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">„<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">„<span class="quote">your people,</span>”</span> prohibiting people from
+discovered and find <span class="quote">„<span class="quote">your people,</span>”</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">„<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[48]</sup></a>
+success.</span>
”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">„<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
”</span><a href="#ftn.idm466" class="footnote" name="idm466"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">„<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
”</span><a href="#ftn.idm466" class="footnote" name="idm466"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">„<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">„<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>”</span> Instead, they started releasing
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm472" class="footnote" name="idm472"><sup class="footnote">[50]</sup></a>
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, <span class="quote">„<span class="quote">Using CC
-licenses shows you get the Internet.</span>”</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">„<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">„<span class="quote">©</span>”</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">„<span class="quote">©</span>”</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">„<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
”</span><a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
”</span><a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm513" class="footnote" name="idm513"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm517" class="footnote" name="idm517"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">„<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm517" class="footnote" name="idm517"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm519" class="footnote" name="idm519"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm521" class="footnote" name="idm521"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">„<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">„<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
”</span><a href="#ftn.idm527" class="footnote" name="idm527"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
”</span><a href="#ftn.idm527" class="footnote" name="idm527"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm532" class="footnote" name="idm532"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm532" class="footnote" name="idm532"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>”</span> David said. <span class="quote">„<span class="quote">Change the rules of engagement.</span>”</span>
+cannot. <span class="quote">„<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">„<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">„<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">„<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
”</span><a href="#ftn.idm545" class="footnote" name="idm545"><sup class="footnote">[65]</sup></a>
+not.</span>
”</span><a href="#ftn.idm545" class="footnote" name="idm545"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[68]</sup></a> 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, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">„<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>”</span>
+of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
-creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">„<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
”</span><a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">„<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
”</span><a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">„<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
”</span><a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>”</span> Mann.
+expensive.</span>
”</span><a href="#ftn.idm572" class="footnote" name="idm572"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">„<span class="quote">Song-A-Day</span>”</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm579" class="footnote" name="idm579"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm590" class="footnote" name="idm590"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">„<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+<span class="quote">„<span class="quote">author-processing charge</span>”</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>”</span>
+Like a Commoner, <span class="quote">„<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">„<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>”</span>
+human species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm627" class="footnote" name="idm627"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm629" class="footnote" name="idm629"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>”</span>
+content. Critically, these models are not touted as <span class="quote">„<span class="quote">buying</span>”</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">„<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>”</span>
+says, without hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">„<span class="quote">persuading people to buy</span>”</span> and <span class="quote">„<span class="quote">inviting
-people to pay.</span>”</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>”</span> The
+language like <span class="quote">„<span class="quote">persuading people to buy</span>”</span> and <span class="quote">„<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">„<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">„<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+being <span class="quote">„<span class="quote">the product,</span>”</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">„<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">„<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm666" class="footnote" name="idm666"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm666" class="footnote" name="idm666"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">„<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>”</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">„<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">„<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>”</span>
-with the public.<a href="#ftn.idm673" class="footnote" name="idm673"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">„<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm673" class="footnote" name="idm673"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>”</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
-communicating.</span>”</span><a href="#ftn.idm680" class="footnote" name="idm680"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">„<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">„<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm680" class="footnote" name="idm680"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm682" class="footnote" name="idm682"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm685" class="footnote" name="idm685"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm687" class="footnote" name="idm687"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm692" class="footnote" name="idm692"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm694" class="footnote" name="idm694"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>”</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">„<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">„<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>”</span> There
+based on a very shallow view of what motivates human behavior.</span>”</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">„<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm700" class="footnote" name="idm700"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm700" class="footnote" name="idm700"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">„<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>”</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm704" class="footnote" name="idm704"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
-first.</span>
”</span><a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">„<span class="quote">If you want fans, you have to be a fan
+first.</span>
”</span><a href="#ftn.idm710" class="footnote" name="idm710"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm716" class="footnote" name="idm716"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm718" class="footnote" name="idm718"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm725" class="footnote" name="idm725"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>”</span>
+Community, <span class="quote">„<span class="quote">If there is no belonging, there is no community.</span>”</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
-family.</span>
”</span><a href="#ftn.idm735" class="footnote" name="idm735"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">„<span class="quote">weird little
+family.</span>
”</span><a href="#ftn.idm735" class="footnote" name="idm735"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">„<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
”</span><a href="#ftn.idm738" class="footnote" name="idm738"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
”</span><a href="#ftn.idm738" class="footnote" name="idm738"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
”</span><a href="#ftn.idm742" class="footnote" name="idm742"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">„<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
”</span><a href="#ftn.idm742" class="footnote" name="idm742"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm744" class="footnote" name="idm744"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">„<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">„<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm751" class="footnote" name="idm751"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm755" class="footnote" name="idm755"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm773" class="footnote" name="idm773"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">„<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm777" class="footnote" name="idm777"><sup class="footnote">[106]</sup></a> 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
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,</span>”</span>The only department where I wasn’t open to input was the
+said,</span>”</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm779" class="footnote" name="idm779"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">„<span class="quote">making in public</span>”</span> opens the door to letting people feel more
+<span class="quote">„<span class="quote">making in public</span>”</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm783" class="footnote" name="idm783"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm785" class="footnote" name="idm785"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm411" class="footnote"><p><a href="#idm411" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm420" class="footnote"><p><a href="#idm420" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm423" class="footnote"><p><a href="#idm423" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm427" class="footnote"><p><a href="#idm427" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm439" class="footnote"><p><a href="#idm439" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm461" class="footnote"><p><a href="#idm461" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm466" class="footnote"><p><a href="#idm466" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm472" class="footnote"><p><a href="#idm472" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm476" class="footnote"><p><a href="#idm476" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm489" class="footnote"><p><a href="#idm489" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>”</span>
+124. Surowiecki says, <span class="quote">„<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>”</span>
</p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm513" class="footnote"><p><a href="#idm513" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm527" class="footnote"><p><a href="#idm527" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm532" class="footnote"><p><a href="#idm532" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm539" class="footnote"><p><a href="#idm539" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
-Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">„<span class="quote">Ten
+Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm545" class="footnote"><p><a href="#idm545" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm725" class="footnote"><p><a href="#idm725" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm730" class="footnote"><p><a href="#idm730" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm735" class="footnote"><p><a href="#idm735" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm744" class="footnote"><p><a href="#idm744" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm751" class="footnote"><p><a href="#idm751" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">„<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm758" class="footnote"><p><a href="#idm758" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm766" class="footnote"><p><a href="#idm766" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm768" class="footnote"><p><a href="#idm768" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm790" class="footnote"><p><a href="#idm790" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Rozdzia
ł 3. Licencje Creative Commons</h2></div></div></div><p>
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Rozdzia
ł 3. Licencje Creative Commons</h2></div></div></div><p>
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
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 <span class="quote">„<span class="quote">copyleft</span>”</span> free and open source software
+often compared to <span class="quote">„<span class="quote">copyleft</span>”</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>”</span>).
+worldwide public domain (<span class="quote">„<span class="quote">no rights reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
„<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Cz
ęść II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
„<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Cz
Ä\99Å\9bÄ\87 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Spis tre
ści</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Rozdział 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Spis tre
Å\9bci</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>RozdziaÅ\82 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+ </p><p><span class="quote">„<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
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
-<span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>”</span>
+<span class="quote">„<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
-trust a product.</span>”</span>
+product lives on. In Tom’s view, <span class="quote">„<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>”</span> not
-<span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">„<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">„<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">„<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>”</span>
+apply. David says, <span class="quote">„<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm885" class="footnote" name="idm885"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>”</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">„<span class="quote">It’s good business.</span>”</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">„<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+<span class="quote">„<span class="quote">Send In the Clones,</span>”</span> 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.<a href="#ftn.idm895" class="footnote" name="idm895"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">„<span class="quote">making
-things that help other people make things.</span>”</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">„<span class="quote">making
+things that help other people make things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
-democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">„<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
-learn.</span>”</span>
+protected. Tom says, <span class="quote">„<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm885" class="footnote"><p><a href="#idm885" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm895" class="footnote"><p><a href="#idm895" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Rozdzia
ł 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm885" class="footnote"><p><a href="#idm885" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm895" class="footnote"><p><a href="#idm895" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Rozdzia
Å\82 5. Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">„<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+it an <span class="quote">„<span class="quote">artisan</span>”</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+clients. <span class="quote">„<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+attract large audiences. <span class="quote">„<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">„<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">„<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>”</span> Jorge
-said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">„<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>”</span>
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>”</span> Jorge
-said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">„<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">„<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>”</span>
+future, like a course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">„<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+flexible,</span>”</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">„<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>”</span> Mariana said. <span class="quote">„<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>”</span>
+formats or materials,</span>”</span> Mariana said. <span class="quote">„<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">„<span class="quote">Good
-content is not enough,</span>”</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">„<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">„<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
-said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">„<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">„<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>”</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
-another image of what it looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Rozdzia
ł 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">„<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">„<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Rozdzia
Å\82 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>”</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">„<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">„<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>”</span>
+so that the project could live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>”</span>
-Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">„<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">„<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">„<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">„<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>”</span> he said. <span class="quote">„<span class="quote">They were like, <span class="quote">«<span class="quote">I have to see it to
-believe it.</span>»</span></span>”</span>
+people,</span>â\80\9d</span> he said. <span class="quote">â\80\9e<span class="quote">They were like, <span class="quote">«<span class="quote">I have to see it to
+believe it.</span>»</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>”</span> Francesco
-said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>”</span>
+needs to help on projects. <span class="quote">„<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">„<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>”</span>
+community leader and visionary for their work. <span class="quote">„<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
Francesco said.
</p><p>
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. <span class="quote">„<span class="quote">Once a project is over,
-everyone goes home,</span>”</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>”</span>
+specific project and ask for funding. <span class="quote">„<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">„<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">„<span class="quote">This is our freedom,</span>”</span>
-he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>”</span>
+goal is to grow their subscriber base. <span class="quote">„<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">„<span class="quote">and for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">„<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>”</span> Ton said.
+reproduce what you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Rozdzia
ł 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Rozdzia
Å\82 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">„<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">„<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>”</span> Max said.
+make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">„<span class="quote">horrible people,</span>”</span> according to Cards Against
+kind of people (<span class="quote">„<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">„<span class="quote">It kind of just happened,</span>”</span> he
+make it an ongoing business. <span class="quote">„<span class="quote">It kind of just happened,</span>”</span> he
said.
</p><p>
- But this tale of a <span class="quote">„<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">„<span class="quote">happy accident</span>”</span> 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 <span class="quote">„<span class="quote">Your dumb questions.</span>”</span>
+website <span class="quote">„<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>”</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">„<span class="quote">orgy of consumerism</span>”</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>”</span> he said. <span class="quote">„<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p><span class="quote">„<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">„<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">„<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>”</span>
+engages their fans. <span class="quote">„<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">„<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">„<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>”</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
-said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>”</span>
+line. <span class="quote">„<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">„<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">„<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>”</span>
+world, and we have never spent a dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+polices its brand. <span class="quote">„<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>”</span> Max
-said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">„<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">„<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>”</span>
+quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">„<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>”</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">„<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">„<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">„<span class="quote">We all
+causes. <span class="quote">„<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">„<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>”</span>
+the game into it.</span>”</span>
</p><p>
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.
- </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>”</span> Max said. <span class="quote">„<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">„<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">„<span class="quote">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.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Rozdzia
ł 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Rozdzia
Å\82 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">„<span class="quote">members and
-funders.</span>”</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
-members,</span>”</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">„<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">„<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+ With its tagline, <span class="quote">„<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1076" class="footnote"><p><a href="#idm1076" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Rozdzia
ł 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1076" class="footnote"><p><a href="#idm1076" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Rozdzia
Å\82 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>”</span> and he is
-adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">„<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">„<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>”</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>”</span>
+selling it,</span>”</span> he said. <span class="quote">„<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>”</span>
-he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>”</span>
+importantly, lose the drive that propels him to create. <span class="quote">„<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">„<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">„<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
-<span class="quote">„<span class="quote">make it,</span>”</span> but he says he would be writing no matter
-what. <span class="quote">„<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">„<span class="quote">Long before
+rich. <span class="quote">„<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">„<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">„<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">„<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">„<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>”</span>
+sane.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">It felt morally right,</span>”</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>”</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">„<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">„<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
-them thieves,</span>”</span> he said.
+people they should pay him for his work. <span class="quote">„<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
</p><p>
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. <span class="quote">„<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">„<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>”</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
+career as a writer,</span>”</span> he said. <span class="quote">„<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>”</span>
+spread.</span>”</span>
</p><p>
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
</p><p>
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. <span class="quote">„<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">„<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">„<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>”</span> he said. Cory’s own website routinely
+they interact with it,</span>”</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>”</span> he said. <span class="quote">„<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">„<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">„<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>”</span>
+slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">„<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">„<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">„<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>”</span>
+possibility that I’ll get something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>”</span>
+calls it Cory’s First Law: <span class="quote">„<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">„<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>”</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>”</span> Cory
+audience,</span>”</span> he said. <span class="quote">„<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">„<span class="quote">If
-you look at the history of artists, most die in penury,</span>”</span> he
-said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">„<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">„<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>”</span>
+stay connected to those people who have been touched by your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>”</span>
+in his book, <span class="quote">„<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Rozdzia
ł 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Rozdzia
Å\82 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">„<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>”</span>
+its value proposition to researchers as <span class="quote">„<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1184" class="footnote" name="idm1184"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1187" class="footnote" name="idm1187"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1192" class="footnote" name="idm1192"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1184" class="footnote"><p><a href="#idm1184" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1187" class="footnote"><p><a href="#idm1187" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1192" class="footnote"><p><a href="#idm1192" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Rozdzia
ł 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1184" class="footnote"><p><a href="#idm1184" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1187" class="footnote"><p><a href="#idm1187" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1192" class="footnote"><p><a href="#idm1192" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Rozdzia
Å\82 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1211" class="footnote" name="idm1211"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">„<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>”</span> But understanding the basic facts sometimes requires
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1219" class="footnote" name="idm1219"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+Figure.NZ uses <span class="quote">„<span class="quote">high-trust contracts,</span>”</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1229" class="footnote" name="idm1229"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">„<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>”</span>
+future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">„<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+the <span class="quote">„<span class="quote">network effect</span>”</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1211" class="footnote"><p><a href="#idm1211" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1219" class="footnote"><p><a href="#idm1219" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1229" class="footnote"><p><a href="#idm1229" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1233" class="footnote"><p><a href="#idm1233" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Rozdzia
ł 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1211" class="footnote"><p><a href="#idm1211" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1219" class="footnote"><p><a href="#idm1219" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1229" class="footnote"><p><a href="#idm1229" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1233" class="footnote"><p><a href="#idm1233" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Rozdzia
Å\82 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
-model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">„<span class="quote">ice cream
+model</span>”</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">„<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">„<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">„<span class="quote">Free ride</span>”</span> is more like community
+support open access. <span class="quote">„<span class="quote">Free ride</span>”</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1286" class="footnote"><p><a href="#idm1286" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1291" class="footnote"><p><a href="#idm1291" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1302" class="footnote"><p><a href="#idm1302" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Rozdzia
ł 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1286" class="footnote"><p><a href="#idm1286" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1291" class="footnote"><p><a href="#idm1291" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1302" class="footnote"><p><a href="#idm1302" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Rozdzia
Å\82 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1326" class="footnote"><p><a href="#idm1326" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Rozdzia
ł 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1326" class="footnote"><p><a href="#idm1326" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Rozdzia
Å\82 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">„<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+<span class="quote">„<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">„<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+<span class="quote">„<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>”</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">„<span class="quote">hustling</span>”</span> 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 <span class="quote">„<span class="quote">song-a-day guy.</span>”</span>
+songwriting, and he is widely known as the <span class="quote">„<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">„<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>”</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>”</span>
-Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">„<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">„<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>”</span>
+be able to be shared.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+copy, interact with, and remix his music. <span class="quote">„<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>”</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
-he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>”</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">„<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">„<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">„<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">„<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+music. In his song <span class="quote">„<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">„<span class="quote">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,</span>”</span> he
-said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>”</span>
+work is a song rather than news. <span class="quote">„<span class="quote">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,</span>”</span> he
+said. <span class="quote">„<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">„<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">„<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">„<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">„<span class="quote">To a certain
+ </p><p><span class="quote">„<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">„<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Rozdzia
ł 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Rozdzia
Å\82 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1429" class="footnote" name="idm1429"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1429" class="footnote" name="idm1429"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">„<span class="quote">digital dust</span>”</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">„<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
-off.</span>”</span>
+of attribution statements. For Edward, <span class="quote">„<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>”</span> for
+its use. You can use what’s called the <span class="quote">„<span class="quote">Playground API</span>”</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>”</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">„<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">„<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>”</span>
+other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1460" class="footnote" name="idm1460"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1429" class="footnote"><p><a href="#idm1429" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1446" class="footnote"><p><a href="#idm1446" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1460" class="footnote"><p><a href="#idm1460" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Rozdzia
ł 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1429" class="footnote"><p><a href="#idm1429" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1446" class="footnote"><p><a href="#idm1446" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1460" class="footnote"><p><a href="#idm1460" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Rozdzia
Å\82 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1489" class="footnote" name="idm1489"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">„<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1499" class="footnote" name="idm1499"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+for participation. Jeni says, <span class="quote">„<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">„<span class="quote">nodes.</span>”</span>
+<span class="quote">„<span class="quote">nodes.</span>”</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1519" class="footnote" name="idm1519"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1525" class="footnote" name="idm1525"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">„<span class="quote">open
-licenses</span>”</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">„<span class="quote">open
+licenses</span>”</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>”</span>
+offer. According to Jeni, <span class="quote">„<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1547" class="footnote" name="idm1547"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1489" class="footnote"><p><a href="#idm1489" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1499" class="footnote"><p><a href="#idm1499" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1519" class="footnote"><p><a href="#idm1519" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1525" class="footnote"><p><a href="#idm1525" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1547" class="footnote"><p><a href="#idm1547" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Rozdzia
ł 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1489" class="footnote"><p><a href="#idm1489" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1499" class="footnote"><p><a href="#idm1499" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1519" class="footnote"><p><a href="#idm1519" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1525" class="footnote"><p><a href="#idm1525" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1547" class="footnote"><p><a href="#idm1547" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Rozdzia
Å\82 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
-not the goods.</span>”</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">„<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">„<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">„<span class="quote">reputational glow.</span>”</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1573" class="footnote" name="idm1573"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">„<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>”</span> Opendesk now has relationships with
+how we have moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1580" class="footnote" name="idm1580"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1600" class="footnote" name="idm1600"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
-making</span>”</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">„<span class="quote">open
+making</span>”</span>: <span class="quote">„<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>”</span>
+mass-production and an affordable way to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">„<span class="quote">open making</span>”</span> business model. They’re
+Opendesk and the <span class="quote">„<span class="quote">open making</span>”</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1625" class="footnote" name="idm1625"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">„<span class="quote">open,</span>”</span> not IP.
+<span class="quote">„<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1573" class="footnote"><p><a href="#idm1573" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1580" class="footnote"><p><a href="#idm1580" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1600" class="footnote"><p><a href="#idm1600" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1625" class="footnote"><p><a href="#idm1625" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Rozdzia
ł 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1573" class="footnote"><p><a href="#idm1573" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1580" class="footnote"><p><a href="#idm1580" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1600" class="footnote"><p><a href="#idm1600" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1625" class="footnote"><p><a href="#idm1625" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Rozdzia
Å\82 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1672" class="footnote" name="idm1672"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>”</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">„<span class="quote">OER 2.0.</span>”</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
-license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">„<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1665" class="footnote"><p><a href="#idm1665" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1672" class="footnote"><p><a href="#idm1672" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Rozdzia
ł 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1665" class="footnote"><p><a href="#idm1665" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1672" class="footnote"><p><a href="#idm1672" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Rozdzia
Å\82 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">„<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+a <span class="quote">„<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1719" class="footnote" name="idm1719"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">„<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>”</span>
+doing that.</span>”</span>
</p><p>
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. <span class="quote">„<span class="quote">On
-the one hand, we have this beautiful shareability,</span>”</span> Amanda
-said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>”</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">„<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">„<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
</p><p>
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
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. <span class="quote">„<span class="quote">All
-I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">„<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">„<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>”</span>
+art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
-crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">„<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">„<span class="quote">pay what
-you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">„<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">„<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">„<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+<span class="quote">„<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">„<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">„<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
-got into this because we wanted to share the joy of music,</span>”</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">„<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
</p><p>
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. <span class="quote">„<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">„<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>”</span> Amanda wrote.
+listen. <span class="quote">„<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">„<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>”</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">„<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>”</span>
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>”</span> she wrote. There really
+ </p><p><span class="quote">„<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> 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 <span class="quote">„<span class="quote">weird little
-family.</span>”</span>
+consciously cultivated a feeling of belonging to their <span class="quote">„<span class="quote">weird little
+family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">„<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>”</span>
+creator. <span class="quote">„<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">„<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">„<span class="quote">but my
+this connection. <span class="quote">„<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">„<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>”</span>
+genuinely of value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1719" class="footnote"><p><a href="#idm1719" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Rozdzia
ł 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1719" class="footnote"><p><a href="#idm1719" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Rozdzia
Å\82 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1797" class="footnote"><p><a href="#idm1797" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1800" class="footnote"><p><a href="#idm1800" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Rozdzia
ł 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1797" class="footnote"><p><a href="#idm1797" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1800" class="footnote"><p><a href="#idm1800" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Rozdzia
Å\82 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1823" class="footnote" name="idm1823"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">„<span class="quote">own</span>”</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">„<span class="quote">own</span>”</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">„<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+<span class="quote">„<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">„<span class="quote">like</span>”</span> works and compile your
+a bit like Pinterest. You can <span class="quote">„<span class="quote">like</span>”</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1847" class="footnote" name="idm1847"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
-great art.</span>”</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">„<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">„<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>”</span>
+their experience: <span class="quote">„<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1823" class="footnote"><p><a href="#idm1823" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1835" class="footnote"><p><a href="#idm1835" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1843" class="footnote"><p><a href="#idm1843" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1847" class="footnote"><p><a href="#idm1847" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1852" class="footnote"><p><a href="#idm1852" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Rozdzia
ł 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1852" class="footnote"><p><a href="#idm1852" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Rozdzia
Å\82 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
-economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">„<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">«<span class="quote">Borg.</span>»</span></span>”</span>
+more. He wrote, <span class="quote">„<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">«<span class="quote">Borg.</span>»</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>”</span> he
-said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">„<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">„<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>”</span>
+now.</span>”</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
-economy</span>”</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">„<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">„<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>”</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
-on that role.</span>”</span> The small team behind the nonprofit publication truly
+dots,</span>”</span> Neal said. <span class="quote">„<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>”</span> Neal said. While they started out with a
+metrics for success. <span class="quote">„<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">„<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+the physical commons like <span class="quote">„<span class="quote">sharing cities</span>”</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">„<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">„<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>”</span> Neal said. The rest of the content is either contributed by
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
-licensing,</span>”</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">„<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">„<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>”</span>
+our work have much bigger audiences than we do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
-attract passionate people,</span>”</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">„<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>”</span> he
-said. <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+while you do something you love. <span class="quote">„<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">„<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
-start making calls.</span>”</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">„<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">„<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>”</span> Neal said. Enabling others to create their own events
+to the event,</span>”</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Rozdzia
ł 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Rozdzia
Å\82 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1925" class="footnote" name="idm1925"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1925" class="footnote" name="idm1925"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1931" class="footnote" name="idm1931"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1937" class="footnote" name="idm1937"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">„<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">„<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1956" class="footnote" name="idm1956"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1956" class="footnote" name="idm1956"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1925" class="footnote"><p><a href="#idm1925" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1931" class="footnote"><p><a href="#idm1931" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1937" class="footnote"><p><a href="#idm1937" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1956" class="footnote"><p><a href="#idm1956" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Rozdzia
ł 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1925" class="footnote"><p><a href="#idm1925" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1931" class="footnote"><p><a href="#idm1931" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1937" class="footnote"><p><a href="#idm1937" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1956" class="footnote"><p><a href="#idm1956" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Rozdzia
Å\82 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
-Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">„<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">„<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>”</span>
+our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
-our natural human instinct to share,</span>”</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">„<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>”</span> Nathan said.
-<span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">„<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">„<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>”</span>
+safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
-years ago,</span>”</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">„<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">„<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>”</span>
+is for us, it’s better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">„<span class="quote">This is the
-stuff they should be competing on.</span>”</span>
+support. <span class="quote">„<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">„<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
-something,</span>”</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+there was a void in the market. <span class="quote">„<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">„<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>”</span> that explain the
+was drawn to the <span class="quote">„<span class="quote">human-readable deeds</span>”</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">„<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>”</span>
+2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">„<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+<span class="quote">„<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">„<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>”</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>”</span> The
+employees don’t,</span>”</span> he said. <span class="quote">„<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
-said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">„<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">„<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
-been listening to the community,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Customers
+tries to build on them where they can. <span class="quote">„<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">„<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>”</span>
+it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
-open-source it, they will come,</span>”</span> Nathan said. <span class="quote">„<span class="quote">That’s not
-really true.</span>”</span>
+relatively untouched by the public. <span class="quote">„<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">„<span class="quote">That’s not
+really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>”</span>
+independently. <span class="quote">„<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Rozdzia
ł 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Rozdzia
Å\82 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">„<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>”</span> Piya said.
+education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">„<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">„<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">„<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>”</span>
+protecting us at the same time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
-high-quality content is what matters most to us,</span>”</span> Piya
-said. <span class="quote">„<span class="quote">Research drives everything we do.</span>”</span>
+determine the best method of conveying the information. <span class="quote">„<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">„<span class="quote">Research drives everything we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>”</span> Piya said. <span class="quote">„<span class="quote">We need
-materials where you can push play and they will work.</span>”</span>
+training for people to implement in practice. <span class="quote">„<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">„<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">„<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>”</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>”</span>
+online,</span>”</span> Shuman said. <span class="quote">„<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">„<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">„<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>”</span> Shuman said.
+countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>”</span> Piya
-said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">„<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">„<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
-companies can be proud of internally,</span>”</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">„<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Rozdzia
ł 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">„<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Rozdzia
Å\82 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>”</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">„<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
-still fighting for a good cause every single day.</span>”</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">„<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>”</span>
+restaurants in the country. Hessel hopes to <span class="quote">„<span class="quote">copy and paste</span>”</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">„<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2091" class="footnote"><p><a href="#idm2091" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2100" class="footnote"><p><a href="#idm2100" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Rozdzia
ł 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2091" class="footnote"><p><a href="#idm2091" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2100" class="footnote"><p><a href="#idm2100" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Rozdzia
Å\82 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">„<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">„<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>”</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">„<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">„<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">„<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">„<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>”</span>
-Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>”</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">„<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">„<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">„<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>”</span>
+best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>”</span> Stephen said. For example, there is one
+explanation. <span class="quote">„<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2146" class="footnote" name="idm2146"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
-financially,</span>”</span> Stephen told us. <span class="quote">„<span class="quote">They are all
-contributors.</span>”</span>
+Wikipedia. <span class="quote">„<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">„<span class="quote">They are all
+contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>”</span> Stephen told us.
+community together. <span class="quote">„<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">„<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>”</span> Stephen said. <span class="quote">„<span class="quote">Wikipedia has found a way to be that
-open public space.</span>”</span>
+spaces,</span>”</span> Stephen said. <span class="quote">„<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2146" class="footnote"><p><a href="#idm2146" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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+ Lee, David. <span class="quote">„<span class="quote">Inside Medium: An Attempt to Bring Civility to the
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+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
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MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
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+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
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Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
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+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
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Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
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+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
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+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
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Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
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-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
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+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
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Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
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+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
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Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
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+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
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+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
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+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
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-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
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+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
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-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
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+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
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+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
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+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
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+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
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-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
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+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
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+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">„<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">„<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
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+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
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Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
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+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
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+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
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+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">„<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
ISO-8859-1"><title>Gjord med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="sv" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjord med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=
UTF-8"><title>Gjord med Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets V1.79.1"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="sv" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Gjord med Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
This book is published under a CC BY-SA license, which means that you can
copy, redistribute, remix, transform, and build upon the content for any
purpose, even commercially, as long as you give appropriate credit, provide
transform, or build upon the material, you must distribute your
contributions under the same license as the original. License details:
<a class="ulink" href="http://creativecommons.org/licenses/by-sa/4.0/" target="_top">http://creativecommons.org/licenses/by-sa/4.0/</a>
- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figurförteckning</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Figurförteckning</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">”<span class="quote">a red
-herring.</span>”</span>
+the pursuit of viable business models through CC <span class="quote">”<span class="quote">a red
+herring.</span>”</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">”<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">”<span class="quote">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.</span>”</span>
+profit. Money is a means to a social end, not the end itself.</span>”</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">”<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesn’t Want to Be Free: <span class="quote">”<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>”</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>”</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">”<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>”</span>
+Against Humanity says it best in their case study: <span class="quote">”<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>”</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">”<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">”<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span>”</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>”</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">”<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>”</span>
+<span class="quote">”<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>”</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">”<span class="quote">The Zones of
-Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">”<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">”<span class="quote">The Zones of
+Cyberspace</span>”</span>, CC founder Lawrence Lessig wrote, <span class="quote">”<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>”</span>
+people they come to know, and sometimes like.</span>”</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">”<span class="quote">It’s all made of people.</span>”</span>
+Johnathan Nightingale often says, <span class="quote">”<span class="quote">It’s all made of people.</span>”</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
+ This book shows the world how sharing can be good for business—but with a
twist.
</p><p>
We began the project intending to explore how creators, organizations, and
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">”<span class="quote">open
-business model canvas,</span>”</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">”<span class="quote">open
+business model canvas,</span>”</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">”<span class="quote">business as usual.</span>”</span>
+Creative Commons is not <span class="quote">”<span class="quote">business as usual.</span>”</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Del I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Kapitel 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">”<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">”<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
”</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
build the commons. Beyond money, laws and regulations regarding property,
copyright, business, and finance can all be designed to foster the commons.
</p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figur 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Figur 1.2. Four aspects of resource management">1.2</a>).
</p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figur 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figur 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Figur 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">”<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
+<span class="quote">”<span class="quote">commoners</span>”</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
managed. (See Fig. <a class="xref" href="#fig-5" title="Figur 1.5. The commons is gradually superseded by the state.">1.5</a>).
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">”<span class="quote">The Tragedy of the Commons,</span>”</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">”<span class="quote">The Tragedy of the Commons,</span>”</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">”<span class="quote">The Tragedy of the
-Commons</span>”</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardin’s <span class="quote">”<span class="quote">The Tragedy of the
+Commons</span>”</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">”<span class="quote">The Magic Cauldron</span>”</span> does a great job of
+Raymond’s essay <span class="quote">”<span class="quote">The Magic Cauldron</span>”</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">”<span class="quote">sharing cities,</span>”</span> looking
+Seoul and Amsterdam call themselves <span class="quote">”<span class="quote">sharing cities,</span>”</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">”<span class="quote">A book on open business models</span>”</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">”<span class="quote">A book on open business models</span>”</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">”<span class="quote">open process</span>”</span> involving
+is. Developed over nine years using an <span class="quote">”<span class="quote">open process</span>”</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">”<span class="quote">business model canvas,</span>”</span> which conceives of a
+ It contains a <span class="quote">”<span class="quote">business model canvas,</span>”</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">”<span class="quote">type of open environment that the business fits
-in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">”<span class="quote">type of open environment that the business fits
+in.</span>
”</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">”<span class="quote">digital for free
-but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">”<span class="quote">digital for free
+but physical for a fee,</span>”</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">”<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">”<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>”</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">”<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>”</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">”<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>”</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">”<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
+<span class="quote">”<span class="quote">Governing Knowledge Commons,</span>”</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">”<span class="quote">Economics of Information,</span>”</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">”<span class="quote">Economics of Information,</span>”</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">”<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">”<span class="quote">What Is Free Software?</span>”</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">”<span class="quote">Open-source software,</span>”</span> last modified November
+ Wikipedia, s.v. <span class="quote">”<span class="quote">Open-source software,</span>”</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">”<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">”<span class="quote">The Magic Cauldron,</span>”</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">”<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">”<span class="quote">Licensing Considerations,</span>”</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">”<span class="quote">Open Government Partnership,</span>”</span> last modified
+ Wikipedia, s.v. <span class="quote">”<span class="quote">Open Government Partnership,</span>”</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">”<span class="quote">Stockholm
-Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">”<span class="quote">Stockholm
+Statement</span>
”</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">”<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
+ We’ve made the <span class="quote">”<span class="quote">Open Business Model Canvas,</span>”</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">”<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">”<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
”</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Kapitel 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Innehållsförteckning</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">”<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">”<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
”</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">”<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
+with him, <span class="quote">”<span class="quote">Business model can mean anything you want it to
+mean.</span>”</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">”<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">”<span class="quote">all rights reserved</span>”</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">”<span class="quote">Creators usually
-start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">”<span class="quote">Creators usually
+start doing what they do for love.</span>
”</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">”<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
+told us that the key question when creating something is <span class="quote">”<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>”</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">”<span class="quote">If analog dollars have
+book Information Doesn’t Want to Be Free, <span class="quote">”<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>”</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">”<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">”<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
”</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">”<span class="quote">enough money</span>”</span>
+Made with Creative Commons, the definition of <span class="quote">”<span class="quote">enough money</span>”</span>
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, <span class="quote">”<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">”<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
+going day to day.</span>”</span>
</p><p>
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
</p><p>
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
-<span class="quote">”<span class="quote">problem zero.</span>”</span>
+<span class="quote">”<span class="quote">problem zero.</span>”</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">”<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">”<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>”</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">”<span class="quote">hits</span>”</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">”<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">”<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">”<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
”</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">”<span class="quote">your people</span>”</span> online is theoretically easier than
+ While finding <span class="quote">”<span class="quote">your people</span>”</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">”<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">”<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">”<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
”</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, too—<span class="quote">”<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
”</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">”<span class="quote">your people,</span>”</span> prohibiting people from
+discovered and find <span class="quote">”<span class="quote">your people,</span>”</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">”<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">”<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
”</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">”<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">”<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
”</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">”<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">”<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>”</span> Instead, they started releasing
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">”<span class="quote">Using CC
-licenses shows you get the Internet.</span>”</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">”<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">”<span class="quote">©</span>”</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">”<span class="quote">©</span>”</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">”<span class="quote">Take whatever it is you
+Google’s Eric Schmidt, the idea is simple: <span class="quote">”<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
”</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">”<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">”<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
’t think as much about how they consume them.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">”<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">”<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
”</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">”<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>”</span> David said. <span class="quote">”<span class="quote">Change the rules of engagement.</span>”</span>
+cannot. <span class="quote">”<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">”<span class="quote">Change the rules of engagement.</span>”</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">”<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">”<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
”</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">”<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">”<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>”</span>
+of gravity.</span>”</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">”<span class="quote">Every abundance
-creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">”<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">”<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">”<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
”</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">”<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">”<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">”<span class="quote">Song-A-Day</span>”</span> Mann.
+expensive.</span>
”</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">”<span class="quote">Song-A-Day</span>”</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">”<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+<span class="quote">”<span class="quote">author-processing charge</span>”</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">”<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>”</span>
+Like a Commoner, <span class="quote">”<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">”<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">”<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>”</span>
+human species survive and evolve.</span>”</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">”<span class="quote">buying</span>”</span>
+content. Critically, these models are not touted as <span class="quote">”<span class="quote">buying</span>”</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">”<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">”<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>”</span>
+says, without hesitation: of course.</span>”</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">”<span class="quote">persuading people to buy</span>”</span> and <span class="quote">”<span class="quote">inviting
-people to pay.</span>”</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">”<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>”</span> The
+language like <span class="quote">”<span class="quote">persuading people to buy</span>”</span> and <span class="quote">”<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">”<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">”<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+being <span class="quote">”<span class="quote">the product,</span>”</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">”<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">”<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
”</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">”<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">”<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>”</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">”<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">”<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">”<span class="quote">humanizing your interactions</span>”</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">”<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">”<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>”</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">”<span class="quote">You can fix almost anything by authentically
-communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">”<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">”<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">”<span class="quote">irrational</span>”</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">”<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">”<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">”<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>”</span> There
+based on a very shallow view of what motivates human behavior.</span>”</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">”<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">”<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
”</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">”<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">”<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>”</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">”<span class="quote">If you want fans, you have to be a fan
-first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">”<span class="quote">If you want fans, you have to be a fan
+first.</span>
”</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">”<span class="quote">If there is no belonging, there is no community.</span>”</span>
+Community, <span class="quote">”<span class="quote">If there is no belonging, there is no community.</span>”</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">”<span class="quote">weird little
-family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">”<span class="quote">weird little
+family.</span>
”</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">”<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">”<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
”</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">”<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">”<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
”</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">”<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">”<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">”<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">”<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>”</span>The only department where I wasn’t open to input was the
+said,</span>”</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">”<span class="quote">making in public</span>”</span> opens the door to letting people feel more
+<span class="quote">”<span class="quote">making in public</span>”</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">”<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>”</span>
+124. Surowiecki says, <span class="quote">”<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>”</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">”<span class="quote">Ten
-Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">”<span class="quote">Ten
+Nonprofit Funding Models,</span>”</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">”<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>”</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">”<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
”</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
</p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Kapitel 3. The Creative Commons Licenses</h2></div></div></div><p>
All of the Creative Commons licenses grant a basic set of permissions. At a
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 <span class="quote">”<span class="quote">copyleft</span>”</span> free and open source software
+often compared to <span class="quote">”<span class="quote">copyleft</span>”</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">”<span class="quote">no rights reserved</span>”</span>).
+worldwide public domain (<span class="quote">”<span class="quote">no rights reserved</span>”</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
”<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
”<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Del
 II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>Inneh
ållsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>Inneh
Ã¥llsförteckning</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Kapitel 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">”<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+ </p><p><span class="quote">”<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
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
-<span class="quote">”<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>”</span>
+<span class="quote">”<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">”<span class="quote">Open sourcing makes it easier to
-trust a product.</span>”</span>
+product lives on. In Tom’s view, <span class="quote">”<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">”<span class="quote">I need this thing,</span>”</span> not
-<span class="quote">”<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">”<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">”<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">”<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>”</span>
+apply. David says, <span class="quote">”<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">”<span class="quote">It’s good business.</span>”</span> When they started,
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">”<span class="quote">It’s good business.</span>”</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">”<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+<span class="quote">”<span class="quote">Send In the Clones,</span>”</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">”<span class="quote">making
-things that help other people make things.</span>”</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">”<span class="quote">making
+things that help other people make things.</span>”</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">”<span class="quote">the
-democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">”<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">”<span class="quote">Technology is a literacy everyone should
-learn.</span>”</span>
+protected. Tom says, <span class="quote">”<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>Kapitel 5.
Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">”<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+it an <span class="quote">”<span class="quote">artisan</span>”</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">”<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+clients. <span class="quote">”<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">”<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+attract large audiences. <span class="quote">”<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">”<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">”<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">”<span class="quote">How can you offer an
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">”<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>”</span>
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">”<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">”<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>”</span>
+future, like a course or a book.</span>”</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">”<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">”<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+flexible,</span>”</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">”<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">”<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>”</span> Mariana said. <span class="quote">”<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>”</span>
+formats or materials,</span>”</span> Mariana said. <span class="quote">”<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">”<span class="quote">Good
-content is not enough,</span>”</span> Jorge said. <span class="quote">”<span class="quote">We also think that it is
+ At the core of everything Ártica does is a set of values. <span class="quote">”<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">”<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">”<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
-said. <span class="quote">”<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">”<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">”<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">”<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>”</span> Mariana said. <span class="quote">”<span class="quote">We try to show them
-another image of what it looks like.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">”<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">”<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Kapitel 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">”<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>”</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">”<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">”<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">”<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>”</span>
+so that the project could live.</span>”</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">”<span class="quote">Software should be free and open to hack,</span>”</span>
-Francesco said. <span class="quote">”<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">”<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">”<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">”<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">”<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>”</span> he said. <span class="quote">”<span class="quote">They were like, <span class="quote">’<span class="quote">I have to see it to
-believe it.</span>’</span></span>”</span>
+people,</span>”</span> he said. <span class="quote">”<span class="quote">They were like, <span class="quote">’<span class="quote">I have to see it to
+believe it.</span>’</span></span>”</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">”<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>”</span> Francesco
-said. <span class="quote">”<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>”</span>
+needs to help on projects. <span class="quote">”<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">”<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>”</span>
+community leader and visionary for their work. <span class="quote">”<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
Francesco said.
</p><p>
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. <span class="quote">”<span class="quote">Once a project is over,
-everyone goes home,</span>”</span> he said. <span class="quote">”<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>”</span>
+specific project and ask for funding. <span class="quote">”<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">”<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">”<span class="quote">This is our freedom,</span>”</span>
-he told us, <span class="quote">”<span class="quote">and for artists, freedom is everything.</span>”</span>
+goal is to grow their subscriber base. <span class="quote">”<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">”<span class="quote">and for artists, freedom is everything.</span>”</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">”<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">”<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>”</span> Ton said.
+reproduce what you did,</span>”</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Kapitel 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">”<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">”<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>”</span> Max said.
+make,</span>”</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">”<span class="quote">horrible people,</span>”</span> according to Cards Against
+kind of people (<span class="quote">”<span class="quote">horrible people,</span>”</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">”<span class="quote">It kind of just happened,</span>”</span> he
+make it an ongoing business. <span class="quote">”<span class="quote">It kind of just happened,</span>”</span> he
said.
</p><p>
- But this tale of a <span class="quote">”<span class="quote">happy accident</span>”</span> belies marketing
+ But this tale of a <span class="quote">”<span class="quote">happy accident</span>”</span> 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 <span class="quote">”<span class="quote">Your dumb questions.</span>”</span>
+website <span class="quote">”<span class="quote">Your dumb questions.</span>”</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">”<span class="quote">orgy of consumerism</span>”</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">”<span class="quote">orgy of consumerism</span>”</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">”<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>”</span> he said. <span class="quote">”<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p><span class="quote">”<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">”<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">”<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">”<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>”</span>
+engages their fans. <span class="quote">”<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">”<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">”<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">”<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>”</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">”<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
-said. <span class="quote">”<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>”</span>
+line. <span class="quote">”<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">”<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">”<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">”<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>”</span>
+world, and we have never spent a dime on marketing.</span>”</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">”<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+polices its brand. <span class="quote">”<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">”<span class="quote">We have daylong arguments about commas,</span>”</span> Max
-said. <span class="quote">”<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">”<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">”<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>”</span>
+quibbling.</span>”</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">”<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>”</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">”<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">”<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">”<span class="quote">We all
+causes. <span class="quote">”<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">”<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>”</span>
+the game into it.</span>”</span>
</p><p>
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.
- </p><p><span class="quote">”<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>”</span> Max said. <span class="quote">”<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">”<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">”<span class="quote">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.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Kapitel 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">”<span class="quote">members and
-funders.</span>”</span> Early participants may be designated as <span class="quote">”<span class="quote">founding
-members,</span>”</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">”<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">”<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">”<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+ With its tagline, <span class="quote">”<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>Kapitel 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">”<span class="quote">business model,</span>”</span> and he is
-adamant that he is not a brand. <span class="quote">”<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">”<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">”<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>”</span> he said. <span class="quote">”<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>”</span>
+selling it,</span>”</span> he said. <span class="quote">”<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">”<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>”</span>
-he said. <span class="quote">”<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>”</span>
+importantly, lose the drive that propels him to create. <span class="quote">”<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">”<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">”<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">”<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
-<span class="quote">”<span class="quote">make it,</span>”</span> but he says he would be writing no matter
-what. <span class="quote">”<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">”<span class="quote">Long before
+rich. <span class="quote">”<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">”<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">”<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">”<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">”<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>”</span>
+sane.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">It felt morally right,</span>”</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">”<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>”</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">”<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">”<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">”<span class="quote">I started by not calling
-them thieves,</span>”</span> he said.
+people they should pay him for his work. <span class="quote">”<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
</p><p>
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. <span class="quote">”<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">”<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>”</span> he said. <span class="quote">”<span class="quote">At the time, it took eighty
+career as a writer,</span>”</span> he said. <span class="quote">”<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>”</span>
+spread.</span>”</span>
</p><p>
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
</p><p>
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. <span class="quote">”<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">”<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">”<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">”<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>”</span> he said. Cory’s own website routinely
+they interact with it,</span>”</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">”<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>”</span> he said. <span class="quote">”<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">”<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">”<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>”</span>
+slim, so I should take all the help I can get.</span>”</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">”<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">”<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">”<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">”<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>”</span>
+possibility that I’ll get something.</span>”</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">”<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>”</span>
+calls it Cory’s First Law: <span class="quote">”<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">”<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>”</span> he said. <span class="quote">”<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>”</span> Cory
+audience,</span>”</span> he said. <span class="quote">”<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">”<span class="quote">If
-you look at the history of artists, most die in penury,</span>”</span> he
-said. <span class="quote">”<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">”<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">”<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>”</span>
+stay connected to those people who have been touched by your work.</span>”</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">”<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>”</span>
+in his book, <span class="quote">”<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Kapitel 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">”<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>”</span>
+its value proposition to researchers as <span class="quote">”<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>Kapitel 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">”<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">”<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>”</span> But understanding the basic facts sometimes requires
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">”<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+Figure.NZ uses <span class="quote">”<span class="quote">high-trust contracts,</span>”</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">”<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">”<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>”</span>
+future.</span>”</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">”<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+the <span class="quote">”<span class="quote">network effect</span>”</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>Kapitel 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">”<span class="quote">ice cream
-model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">”<span class="quote">ice cream
+model</span>”</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">”<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">”<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">”<span class="quote">Free ride</span>”</span> is more like community
+support open access. <span class="quote">”<span class="quote">Free ride</span>”</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>Kapitel 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>Kapitel 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">”<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+<span class="quote">”<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">”<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+<span class="quote">”<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">”<span class="quote">hustling</span>”</span> is also about old-fashioned
+ Jonathan’s successful <span class="quote">”<span class="quote">hustling</span>”</span> 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 <span class="quote">”<span class="quote">song-a-day guy.</span>”</span>
+songwriting, and he is widely known as the <span class="quote">”<span class="quote">song-a-day guy.</span>”</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">”<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">”<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>”</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">”<span class="quote">CC seems like such a no-brainer,</span>”</span>
-Jonathan said. <span class="quote">”<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">”<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">”<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>”</span>
+be able to be shared.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+copy, interact with, and remix his music. <span class="quote">”<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>”</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">”<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
-he said. <span class="quote">”<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>”</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">”<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">”<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">”<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">”<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+music. In his song <span class="quote">”<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">”<span class="quote">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,</span>”</span> he
-said. <span class="quote">”<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>”</span>
+work is a song rather than news. <span class="quote">”<span class="quote">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,</span>”</span> he
+said. <span class="quote">”<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">”<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">”<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">”<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">”<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">”<span class="quote">To a certain
+ </p><p><span class="quote">”<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">”<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>”</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Kapitel 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">”<span class="quote">digital dust</span>”</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">”<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">”<span class="quote">That’s when our lightbulb went
-off.</span>”</span>
+of attribution statements. For Edward, <span class="quote">”<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">”<span class="quote">Playground API</span>”</span> for
+its use. You can use what’s called the <span class="quote">”<span class="quote">Playground API</span>”</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">”<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>”</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">”<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">”<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">”<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>”</span>
+other initiatives and continue to nurture it.</span>”</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>Kapitel 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">”<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">”<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">”<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+for participation. Jeni says, <span class="quote">”<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">”<span class="quote">nodes.</span>”</span>
+<span class="quote">”<span class="quote">nodes.</span>”</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">”<span class="quote">open
-licenses</span>”</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">”<span class="quote">open
+licenses</span>”</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">”<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>”</span>
+offer. According to Jeni, <span class="quote">”<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>Kapitel 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">”<span class="quote">ship the recipe, but
-not the goods.</span>”</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">”<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">”<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">”<span class="quote">reputational glow.</span>”</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">”<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">”<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>”</span> Opendesk now has relationships with
+how we have moved forward.</span>”</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">”<span class="quote">open
-making</span>”</span>: <span class="quote">”<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">”<span class="quote">open
+making</span>”</span>: <span class="quote">”<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>”</span>
+mass-production and an affordable way to buy custom-made products.</span>”</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">”<span class="quote">open making</span>”</span> business model. They’re
+Opendesk and the <span class="quote">”<span class="quote">open making</span>”</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">”<span class="quote">open,</span>”</span> not IP.
+<span class="quote">”<span class="quote">open,</span>”</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>Kapitel 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">”<span class="quote">OER 2.0.</span>”</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">”<span class="quote">OER 2.0.</span>”</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">”<span class="quote">innovation
-license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">”<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>Kapitel 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">”<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+a <span class="quote">”<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">”<span class="quote">the ideal sweet spot
+she has been and continues to strive for—<span class="quote">”<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>”</span>
+doing that.</span>”</span>
</p><p>
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. <span class="quote">”<span class="quote">On
-the one hand, we have this beautiful shareability,</span>”</span> Amanda
-said. <span class="quote">”<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>”</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">”<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">”<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
</p><p>
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
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. <span class="quote">”<span class="quote">All
-I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">”<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">”<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">”<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>”</span>
+art.</span>”</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">”<span class="quote">her
-crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentiment—finding ways to reach <span class="quote">”<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">”<span class="quote">pay what
-you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">”<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">”<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">”<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+<span class="quote">”<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">”<span class="quote">per thing</span>”</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">”<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">”<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">”<span class="quote">We
-got into this because we wanted to share the joy of music,</span>”</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">”<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
</p><p>
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. <span class="quote">”<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">”<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">”<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>”</span> Amanda wrote.
+listen. <span class="quote">”<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">”<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">”<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>”</span> Amanda said. <span class="quote">”<span class="quote">Everything in our
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">”<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>”</span>
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">”<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>”</span> she wrote. There really
+ </p><p><span class="quote">”<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> 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 <span class="quote">”<span class="quote">weird little
-family.</span>”</span>
+consciously cultivated a feeling of belonging to their <span class="quote">”<span class="quote">weird little
+family.</span>”</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">”<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">”<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>”</span>
+creator. <span class="quote">”<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">”<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">”<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">”<span class="quote">but my
+this connection. <span class="quote">”<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">”<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>”</span>
+genuinely of value to them.</span>”</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>Kapitel 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>Kapitel 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">”<span class="quote">own</span>”</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">”<span class="quote">own</span>”</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">”<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+<span class="quote">”<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">”<span class="quote">like</span>”</span> works and compile your
+a bit like Pinterest. You can <span class="quote">”<span class="quote">like</span>”</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">”<span class="quote">ninety-nine percent of people have respect for
-great art.</span>”</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">”<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">”<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>”</span>
+their experience: <span class="quote">”<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>Kapitel 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">”<span class="quote">sharing
-economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">”<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">”<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">’<span class="quote">Borg.</span>’</span></span>”</span>
+more. He wrote, <span class="quote">”<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">’<span class="quote">Borg.</span>’</span></span>”</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">”<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>”</span> he
-said. <span class="quote">”<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">”<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">”<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>”</span>
+now.</span>”</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">”<span class="quote">real sharing
-economy</span>”</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">”<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">”<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">”<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>”</span> Neal said. <span class="quote">”<span class="quote">We decided to step into that space and take
-on that role.</span>”</span> The small team behind the nonprofit publication truly
+dots,</span>”</span> Neal said. <span class="quote">”<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">”<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>”</span> Neal said. While they started out with a
+metrics for success. <span class="quote">”<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">”<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+the physical commons like <span class="quote">”<span class="quote">sharing cities</span>”</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">”<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">”<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>”</span> Neal said. The rest of the content is either contributed by
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">”<span class="quote">By using CC
-licensing,</span>”</span> he said, <span class="quote">”<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">”<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">”<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>”</span>
+our work have much bigger audiences than we do.</span>”</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">”<span class="quote">We
-attract passionate people,</span>”</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">”<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">”<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>”</span> he
-said. <span class="quote">”<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+while you do something you love. <span class="quote">”<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">”<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">”<span class="quote">Sit your ass in a chair and
-start making calls.</span>”</span> That’s exactly what they did, and they ended up
+help. The advice they received was simple—<span class="quote">”<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">”<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">”<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>”</span> Neal said. Enabling others to create their own events
+to the event,</span>”</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Kapitel 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">”<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">”<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>Kapitel 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">”<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
-Nathan said. <span class="quote">”<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">”<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">”<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>”</span>
+our impact on the world.</span>”</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">”<span class="quote">It touches on
-our natural human instinct to share,</span>”</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">”<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">”<span class="quote">We compete on business principles,</span>”</span> Nathan said.
-<span class="quote">”<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">”<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">”<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>”</span>
+safety net.</span>”</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">”<span class="quote">Our products are so much better than they were five
-years ago,</span>”</span> Nathan said. <span class="quote">”<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">”<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">”<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>”</span>
+is for us, it’s better for the customers.</span>”</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">”<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">”<span class="quote">This is the
-stuff they should be competing on.</span>”</span>
+support. <span class="quote">”<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">”<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">”<span class="quote">If you wanted to place an order for
-something,</span>”</span> he said, <span class="quote">”<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+there was a void in the market. <span class="quote">”<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">”<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">”<span class="quote">human-readable deeds</span>”</span> that explain the
+was drawn to the <span class="quote">”<span class="quote">human-readable deeds</span>”</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">”<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">”<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>”</span>
+2020.</span>”</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">”<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+<span class="quote">”<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">”<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">”<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>”</span> he said. <span class="quote">”<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>”</span> The
+employees don’t,</span>”</span> he said. <span class="quote">”<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">”<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
-said. <span class="quote">”<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">”<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">”<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">”<span class="quote">From the beginning, we have
-been listening to the community,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Customers
+tries to build on them where they can. <span class="quote">”<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">”<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>”</span>
+it.</span>”</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">”<span class="quote">There is a theory that if you
-open-source it, they will come,</span>”</span> Nathan said. <span class="quote">”<span class="quote">That’s not
-really true.</span>”</span>
+relatively untouched by the public. <span class="quote">”<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">”<span class="quote">That’s not
+really true.</span>”</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">”<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>”</span>
+independently. <span class="quote">”<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Kapitel 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">”<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">”<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>”</span> Piya said.
+education,</span>”</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">”<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">”<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">”<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">”<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>”</span>
+protecting us at the same time.</span>”</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">”<span class="quote">Creating
-high-quality content is what matters most to us,</span>”</span> Piya
-said. <span class="quote">”<span class="quote">Research drives everything we do.</span>”</span>
+determine the best method of conveying the information. <span class="quote">”<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">”<span class="quote">Research drives everything we do.</span>”</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">”<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>”</span> Piya said. <span class="quote">”<span class="quote">We need
-materials where you can push play and they will work.</span>”</span>
+training for people to implement in practice. <span class="quote">”<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">”<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">”<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">”<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>”</span> Shuman said. <span class="quote">”<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>”</span>
+online,</span>”</span> Shuman said. <span class="quote">”<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">”<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">”<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>”</span> Shuman said.
+countries,</span>”</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">”<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>”</span> Piya
-said. <span class="quote">”<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">”<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">”<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">”<span class="quote">This is something
-companies can be proud of internally,</span>”</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">”<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">”<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>”</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">”<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Kapitel 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">”<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>”</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">”<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">”<span class="quote">We are
-still fighting for a good cause every single day.</span>”</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">”<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">”<span class="quote">copy and paste</span>”</span>
+restaurants in the country. Hessel hopes to <span class="quote">”<span class="quote">copy and paste</span>”</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">”<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">”<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>Kapitel 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">
 </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">”<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">”<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">”<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">”<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">”<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>”</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">”<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">”<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">”<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">”<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>”</span>
-Luis said. <span class="quote">”<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>”</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">”<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">”<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">”<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">”<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>”</span>
+best for everyone.</span>”</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">”<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>”</span> Stephen said. For example, there is one
+explanation. <span class="quote">”<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">”<span class="quote">Some donate text, some donate images, some donate
-financially,</span>”</span> Stephen told us. <span class="quote">”<span class="quote">They are all
-contributors.</span>”</span>
+Wikipedia. <span class="quote">”<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">”<span class="quote">They are all
+contributors.</span>”</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">”<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>”</span> Stephen told us.
+community together. <span class="quote">”<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">”<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">”<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>”</span> Stephen said. <span class="quote">”<span class="quote">Wikipedia has found a way to be that
-open public space.</span>”</span>
+spaces,</span>”</span> Stephen said. <span class="quote">”<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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+Sharing at All.</span>
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Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
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-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
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Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
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-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">”<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">”<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">”<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">”<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
-<html><head><meta http-equiv="Content-Type" content="text/html; charset=
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This book is published under a CC BY-SA license, which means that you can
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- </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>I don’t know a whole lot about nonfiction journalism. . . The way that I
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>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.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+lives.</p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ David Foster Wallace }
- \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>
Зміст</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Список ілюстрацій</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>
Зміст</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Foreword</a></span></dt><dt><span class="preface"><a href="#introduction">Introduction</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. The Big Picture</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>Список ілюстрацій</b></p><dl><dt>1.1. <a href="#fig-1">Enterprise engagement with commons, state and market.</a></dt><dt>1.2. <a href="#fig-2">Four aspects of resource management</a></dt><dt>1.3. <a href="#fig-3">How the market, commons and state concieve of resources.</a></dt><dt>1.4. <a href="#fig-4">In preindustrialized society.</a></dt><dt>1.5. <a href="#fig-5">The commons is gradually superseded by the state.</a></dt><dt>1.6. <a href="#fig-6">How the market, the state and the commons look today.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Foreword</h1></div></div></div><p>
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 one of
-CC’s most well-known proponents—one who has also had a successful career as
-a writer who shares his work using CC—I told him I thought CC had a role in
+with Cory Doctorow in the hotel bar of Toronto’s Gladstone Hotel. As one of
+CC’s most well-known proponents—one who has also had a successful career as
+a writer who shares his work using CC—I told him I thought CC had a role in
defining and advancing open business models. He kindly disagreed, and called
-the pursuit of viable business models through CC <span class="quote">«<span class="quote">a red
-herring.</span>»</span>
+the pursuit of viable business models through CC <span class="quote">«<span class="quote">a red
+herring.</span>»</span>
</p><p>
- He was, in a way, completely correct—those who make things with Creative
+ He was, in a way, completely correct—those who make things with Creative
Commons have ulterior motives, as Paul Stacey explains in this book:
-<span class="quote">«<span class="quote">Regardless of legal status, they all have a social mission. Their
+<span class="quote">«<span class="quote">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.</span>»</span>
+profit. Money is a means to a social end, not the end itself.</span>»</span>
</p><p>
- In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
-words from his book Information Doesn’t Want to Be Free: <span class="quote">«<span class="quote">Entering the
+ In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s
+words from his book Information Doesnâ\80\99t Want to Be Free: <span class="quote">«<span class="quote">Entering the
arts because you want to get rich is like buying lottery tickets because you
-want to get rich. It might work, but it almost certainly won’t. Though, of
-course, someone always wins the lottery.</span>»</span>
+want to get rich. It might work, but it almost certainly won’t. Though, of
+course, someone always wins the lottery.</span>»</span>
</p><p>
- Today, copyright is like a lottery ticket—everyone has one, and almost
-nobody wins. What they don’t tell you is that if you choose to share your
+ Today, copyright is like a lottery ticket—everyone has one, and almost
+nobody wins. What they don’t tell you is that if you choose to share your
work, the returns can be significant and long-lasting. This book is filled
with stories of those who take much greater risks than the two dollars we
pay for a lottery ticket, and instead reap the rewards that come from
pursuing their passions and living their values.
</p><p>
- So it’s not about the money. Also: it is. Finding the means to continue to
+ So it’s not about the money. Also: it is. Finding the means to continue to
create and share often requires some amount of income. Max Temkin of Cards
-Against Humanity says it best in their case study: <span class="quote">«<span class="quote">We don’t make
-jokes and games to make money—we make money so we can make more jokes and
-games.</span>»</span>
+Against Humanity says it best in their case study: <span class="quote">«<span class="quote">We don’t make
+jokes and games to make money—we make money so we can make more jokes and
+games.</span>»</span>
</p><p>
- Creative Commons’ focus is on building a vibrant, usable commons, powered by
+ Creative Commons’ focus is on building a vibrant, usable commons, powered by
collaboration and gratitude. Enabling communities of collaboration is at the
heart of our strategy. With that in mind, Creative Commons began this book
project. Led by Paul and Sarah, the project set out to define and advance
Paul dreams of a future where new models of creativity and innovation
overpower the inequality and scarcity that today define the worst parts of
capitalism. He is driven by the power of human connections between
-communities of creators. He takes a longer view than most, and it’s made him
+communities of creators. He takes a longer view than most, and it’s made him
a better educator, an insightful researcher, and also a skilled gardener. He
has a calm, cool voice that conveys a passion that inspires his colleagues
and community.
</p><p>
- Sarah is the best kind of lawyer—a true advocate who believes in the good of
+ Sarah is the best kind of lawyer—a true advocate who believes in the good of
people, and the power of collective acts to change the world. Over the past
-year I’ve seen Sarah struggle with the heartbreak that comes from investing
-so much into a political campaign that didn’t end as she’d hoped. Today,
-she’s more determined than ever to live with her values right out on her
+year I’ve seen Sarah struggle with the heartbreak that comes from investing
+so much into a political campaign that didn’t end as she’d hoped. Today,
+she’s more determined than ever to live with her values right out on her
sleeve. I can always count on Sarah to push Creative Commons to focus on our
-impact—to make the main thing the main thing. She’s practical,
-detail-oriented, and clever. There’s no one on my team that I enjoy debating
+impact—to make the main thing the main thing. She’s practical,
+detail-oriented, and clever. There’s no one on my team that I enjoy debating
more.
</p><p>
As coauthors, Paul and Sarah complement each other perfectly. They
passion and curiosity, and a deep respect for what goes into building the
commons and sharing with the world. They remained open to new ideas,
including the possibility that their initial theories would need refinement
-or might be completely wrong. That’s courageous, and it has made for a
+or might be completely wrong. That’s courageous, and it has made for a
better book that is insightful, honest, and useful.
</p><p>
From the beginning, CC wanted to develop this project with the principles
</p><p>
For 31 days in August of 2015, Sarah took point to organize and execute a
Kickstarter campaign to generate the core funding for the book. The
-remainder was provided by CC’s generous donors and supporters. In the end,
+remainder was provided by CC’s generous donors and supporters. In the end,
it became one of the most successful book projects on Kickstarter, smashing
-through two stretch goals and engaging over 1,600 donors—the majority of
+through two stretch goals and engaging over 1,600 donors—the majority of
them new supporters of Creative Commons.
</p><p>
Paul and Sarah worked openly throughout the project, publishing the plans,
community as a key value, and because the CC licenses have helped so many to
share in the ways that they choose with a global audience.
</p><p>
- Sarah writes, <span class="quote">«<span class="quote">Endeavors that are Made with Creative Commons thrive
+ Sarah writes, <span class="quote">«<span class="quote">Endeavors that are Made with Creative Commons thrive
when community is built around what they do. This may mean a community
collaborating together to create something new, or it may simply be a
collection of like-minded people who get to know each other and rally around
common interests or beliefs. 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.</span>»</span> Amanda Palmer, the other musician
+values symbolized by using CC.</span>»</span> Amanda Palmer, the other musician
profiled in the book, would surely add this from her case study:
-<span class="quote">«<span class="quote">There is no more satisfying end goal than having someone tell you
-that what you do is genuinely of value to them.</span>»</span>
+<span class="quote">«<span class="quote">There is no more satisfying end goal than having someone tell you
+that what you do is genuinely of value to them.</span>»</span>
</p><p>
This is not a typical business book. For those looking for a recipe or a
roadmap, you might be disappointed. But for those looking to pursue a social
end, to build something great through collaboration, or to join a powerful
-and growing global community, they’re sure to be satisfied. Made with
+and growing global community, they’re sure to be satisfied. Made with
Creative Commons offers a world-changing set of clearly articulated values
and principles, some essential tools for exploring your own business
opportunities, and two dozen doses of pure inspiration.
</p><p>
- In a 1996 Stanford Law Review article <span class="quote">«<span class="quote">The Zones of
-Cyberspace</span>»</span>, CC founder Lawrence Lessig wrote, <span class="quote">«<span class="quote">Cyberspace is a
+ In a 1996 Stanford Law Review article <span class="quote">«<span class="quote">The Zones of
+Cyberspace</span>»</span>, CC founder Lawrence Lessig wrote, <span class="quote">«<span class="quote">Cyberspace is a
place. People live there. They experience all the sorts of things that they
experience in real space, there. For some, they experience more. They
experience this not as isolated individuals, playing some high tech computer
game; they experience it in groups, in communities, among strangers, among
-people they come to know, and sometimes like.</span>»</span>
+people they come to know, and sometimes like.</span>»</span>
</p><p>
- I’m incredibly proud that Creative Commons is able to publish this book for
-the many communities that we have come to know and like. I’m grateful to
+ I’m incredibly proud that Creative Commons is able to publish this book for
+the many communities that we have come to know and like. I’m grateful to
Paul and Sarah for their creativity and insights, and to the global
communities that have helped us bring it to you. As CC board member
-Johnathan Nightingale often says, <span class="quote">«<span class="quote">It’s all made of people.</span>»</span>
+Johnathan Nightingale often says, <span class="quote">«<span class="quote">Itâ\80\99s all made of people.</span>»</span>
</p><p>
- That’s the true value of things that are Made with Creative Commons.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ That’s the true value of things that are Made with Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Ryan Merkley, CEO, Creative Commons}
\end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introduction</h1></div></div></div><p>
- This book shows the world how sharing can be good for business—but with a
+ This book shows the world how sharing can be good for business—but with a
twist.
</p><p>
We began the project intending to explore how creators, organizations, and
business models that use Creative Commons but instead gather fresh ideas and
dynamic examples that spark new, innovative models and help others follow
suit by building on what already works. At the onset, we framed our
-investigation in familiar business terms. We created a blank <span class="quote">«<span class="quote">open
-business model canvas,</span>»</span> an interactive online tool that would help
+investigation in familiar business terms. We created a blank <span class="quote">«<span class="quote">open
+business model canvas,</span>»</span> an interactive online tool that would help
people design and analyze their business model.
</p><p>
Through the generous funding of Kickstarter backers, we set about this
project first by identifying and selecting a diverse group of creators,
organizations, and businesses who use Creative Commons in an integral
-way—what we call being Made with Creative Commons. We interviewed them and
+way—what we call being Made with Creative Commons. We interviewed them and
wrote up their stories. We analyzed what we heard and dug deep into the
literature.
</p><p>
around the works being shared, and generating revenue not for unlimited
growth but to sustain the operation.
</p><p>
- They often didn’t like hearing what they do described as an open business
+ They often didn’t like hearing what they do described as an open business
model. Their endeavor was something more than that. Something
different. Something that generates not just economic value but social and
cultural value. Something that involves human connection. Being Made with
-Creative Commons is not <span class="quote">«<span class="quote">business as usual.</span>»</span>
+Creative Commons is not <span class="quote">«<span class="quote">business as usual.</span>»</span>
</p><p>
- We had to rethink the way we conceived of this project. And it didn’t happen
+ We had to rethink the way we conceived of this project. And it didn’t happen
overnight. From the fall of 2015 through 2016, we documented our thoughts in
blog posts on Medium and with regular updates to our Kickstarter backers. We
shared drafts of case studies and analysis with our Kickstarter cocreators,
has been one of the great joys of this work, and, we hope, something that
has made the final product much richer than it ever could have been if
either of us undertook this project alone. We have preserved our voices
-throughout, and you’ll be able to sense our different but complementary
+throughout, and you’ll be able to sense our different but complementary
approaches as you read through our different sections.
</p><p>
While we recommend that you read the book from start to finish, each section
Part one, the overview, begins with a big-picture framework written by
Paul. He provides some historical context for the digital commons,
describing the three ways society has managed resources and shared
-wealth—the commons, the market, and the state. He advocates for thinking
+wealth—the commons, the market, and the state. He advocates for thinking
beyond business and market terms and eloquently makes the case for sharing
and enlarging the digital commons.
</p><p>
- The overview continues with Sarah’s chapter, as she considers what it means
+ The overview continues with Sarah’s chapter, as she considers what it means
to be successfully Made with Creative Commons. While making money is one
piece of the pie, there is also a set of public-minded values and the kind
of human connections that make sharing truly meaningful. This section
</p><p>
And to end part one, we have a short section that explains the different
Creative Commons licenses. We talk about the misconception that the more
-restrictive licenses—the ones that are closest to the all-rights-reserved
-model of traditional copyright—are the only ways to make money.
+restrictive licenses—the ones that are closest to the all-rights-reserved
+model of traditional copyright—are the only ways to make money.
</p><p>
Part two of the book is made up of the twenty-four stories of the creators,
businesses, and organizations we interviewed. While both of us participated
irrevocably changed. We hope this book inspires you and your enterprise to
use Creative Commons and in so doing contribute to the transformation of our
economy and world for the better.
- </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top">Â </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul and Sarah }
- \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Частина I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Зміст</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>Розділ 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Зміст</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>ЧаÑ\81Ñ\82ина I. The Big Picture</h1></div></div></div><div class="toc"><p><b>Ð\97мÑ\96Ñ\81Ñ\82</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. The New World of Digital Commons</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>РоздÑ\96л 1. The New World of Digital Commons</h2></div></div></div><div class="toc"><p><b>Ð\97мÑ\96Ñ\81Ñ\82</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">The Commons, the Market, and the State</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">The Four Aspects of a Resource</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">A Short History of the Commons</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">The Digital Revolution</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">The Birth of Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">The Changing Market</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefits of the Digital Commons</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Paul Stacey}
\end{flushright}</td></tr></table></div><p>
- Jonathan Rowe eloquently describes the commons as <span class="quote">«<span class="quote">the air and oceans,
-the web of species, wilderness and flowing water—all are parts of the
+ Jonathan Rowe eloquently describes the commons as <span class="quote">«<span class="quote">the air and oceans,
+the web of species, wilderness and flowing water—all 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.</span>»</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+calligraphy.</span>
»</span><a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
</p><p>
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
profile in our case studies use Creative Commons to share their resources
online over the Internet.
</p><p>
- The commons is not just about shared resources, however. It’s also about the
+ The commons is not just about shared resources, however. It’s also about the
social practices and values that manage them. A resource is a noun, but to
-common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> The creators, organizations, and businesses we
+common
—to put the resource into the commons—is a verb.<a href="#ftn.idm115" class="footnote" name="idm115"><sup class="footnote">[2]</sup></a> 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.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[3]</sup></a> Commoning is guided by a set of values and norms that balance the
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>The Commons, the Market, and the State</h2></div></div></div><p>
Historically, there have been three ways to manage resources and share
wealth: the commons (managed collectively), the state (i.e., the
-government), and the market—with the last two being the dominant forms
+government), and the market—with the last two being the dominant forms
today.<a href="#ftn.idm122" class="footnote" name="idm122"><sup class="footnote">[4]</sup></a>
</p><p>
The organizations and businesses in our case studies are unique in the way
operate as hybrids, blending the norms of the commons with those of the
market or state.
</p><p>
- Fig. <a class="xref" href="#fig-1" title="Рисунок 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
+ Fig. <a class="xref" href="#fig-1" title="Рисунок 1.1. Enterprise engagement with commons, state and market.">1.1</a> is a depiction of how
an enterprise can have varying levels of engagement with commons, state, and
market.
</p><p>
the commons. State programs and funding can deliberately 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.
- </p><div class="figure"><a name="fig-1"></a><p class="title"><b>
Рисунок 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
- It’s helpful to understand how the commons, market, and state manage
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>
Рисунок 1.1. Enterprise engagement with commons, state and market.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Enterprise engagement with commons, state and market."></td></tr></table></div></div></div><br class="figure-break"><p>
+ 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
want to engage in and use the commons, knowing how the commons operates will
commons the same way you do the market or state is not a strategy for
success.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>The Four Aspects of a Resource</h2></div></div></div><p>
- As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
+ As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework
for analyzing how natural resources are managed in a commons.<a href="#ftn.idm143" class="footnote" name="idm143"><sup class="footnote">[6]</sup></a> Her framework considered things like the
-biophysical characteristics of common resources, the community’s actors and
+biophysical characteristics of common resources, the community’s actors and
the interactions that take place between them, rules-in-use, and
outcomes. That framework has been simplified and generalized to apply to the
commons, the market, and the state for this chapter.
</p><p>
To compare and contrast the ways in which the commons, market, and state
-work, let’s consider four aspects of resource management: resource
+work, let’s 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. <a class="xref" href="#fig-2" title="Рисунок 1.2. Four aspects of resource management">1.2</a>).
- </p><div class="figure"><a name="fig-2"></a><p class="title"><b>
Рисунок 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
+outcomes of that use (see Fig. <a class="xref" href="#fig-2" title="Рисунок 1.2. Four aspects of resource management">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>
Рисунок 1.2. Four aspects of resource management</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Four aspects of resource management"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Characteristics</h3></div></div></div><p>
Resources have particular characteristics or attributes that affect the way
they can be used. Some resources are natural; others are human
-produced. And—significantly for today’s commons—resources can be physical or
-digital, which affects a resource’s inherent potential.
+produced. And—significantly for today’s commons—resources can be physical or
+digital, which affects a resource’s inherent potential.
</p><p>
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
but money is charged to convert a digital resource into a physical one.
</p><p>
Beyond this idea of physical versus digital, the commons, market, and state
-conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Рисунок 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
-for sale—from which value is extracted. The state sees resources as public
+conceive of resources differently (see Fig. <a class="xref" href="#fig-3" title="Рисунок 1.3. How the market, commons and state concieve of resources.">1.3</a>). The market sees resources as private goods—commodities
+for sale—from 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.
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 involved—as a contributor, user, or manager. The people
+they want to be involved—as 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
Commons require users to give the original creator credit. Knowing the
person behind a resource makes the commons less anonymous and more personal.
- </p><div class="figure"><a name="fig-3"></a><p class="title"><b>
Рисунок 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>
Рисунок 1.3. How the market, commons and state concieve of resources.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="How the market, commons and state concieve of resources."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Norms and rules</h3></div></div></div><p>
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.
just to economic efficiency but also to equity and
sustainability.<a href="#ftn.idm185" class="footnote" name="idm185"><sup class="footnote">[8]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Goals</h3></div></div></div><p>
- The combination of the aspects we’ve discussed so far—the resource’s
-inherent characteristics, people and processes, and norms and rules—shape
+ The combination of the aspects we’ve discussed so far—the resource’s
+inherent characteristics, people and processes, and norms and rules—shape
how resources are used. Use is also influenced by the different goals the
state, market, and commons have.
</p><p>
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, it’s helpful to know something of its
+the commons and its current renewal, it’s helpful to know something of its
history.
</p><p>
For centuries, indigenous people and preindustrialized societies managed
many other things collectively as a commons.<a href="#ftn.idm202" class="footnote" name="idm202"><sup class="footnote">[10]</sup></a> 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. <a class="xref" href="#fig-4" title="Рисунок 1.4. In preindustrialized society.">1.4</a>
+managed and needs met. (Fig. <a class="xref" href="#fig-4" title="Рисунок 1.4. In preindustrialized society.">1.4</a>
illustrates the commons in relation to the state and the market.)
- </p><div class="figure"><a name="fig-4"></a><p class="title"><b>
Рисунок 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>
Рисунок 1.4. In preindustrialized society.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="In preindustrialized society."></td></tr></table></div></div></div><br class="figure-break"><p>
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.<a href="#ftn.idm213" class="footnote" name="idm213"><sup class="footnote">[11]</sup></a> In olden days,
-<span class="quote">«<span class="quote">commoners</span>»</span> were evicted from the land, fences and hedges
+<span class="quote">«<span class="quote">commoners</span>»</span> were evicted from the land, fences and hedges
erected, laws passed, and security set up to forbid access.<a href="#ftn.idm216" class="footnote" name="idm216"><sup class="footnote">[12]</sup></a> Gradually, resources became the property of the
state and the state became the primary means by which resources were
-managed. (See Fig. <a class="xref" href="#fig-5" title="Рисунок 1.5. The commons is gradually superseded by the state.">1.5</a>).
+managed. (See Fig. <a class="xref" href="#fig-5" title="Рисунок 1.5. The commons is gradually superseded by the state.">1.5</a>).
</p><p>
Holdings of land, water, and game were distributed to ruling family and
political appointees. Commoners displaced from the land migrated to
operating the machinery of industry. Financial, business, and property laws
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. <a class="xref" href="#fig-6" title="Рисунок 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
+rising standard of living, improved health, and education. Fig. <a class="xref" href="#fig-6" title="Рисунок 1.6. How the market, the state and the commons look today.">1.6</a> shows how today the market is the
primary means by which resources are managed.
- </p><div class="figure"><a name="fig-5"></a><p class="title"><b>
Рисунок 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>
Рисунок 1.5. The commons is gradually superseded by the state.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="The commons is gradually superseded by the state."></td></tr></table></div></div></div><br class="figure-break"><p>
However, the world today is going through turbulent times. The benefits of
the market have been offset by unequal distribution and overexploitation.
</p><p>
- Overexploitation was the topic of Garrett Hardin’s influential essay
-<span class="quote">«<span class="quote">The Tragedy of the Commons,</span>»</span> published in Science in
+ Overexploitation was the topic of Garrett Hardin’s influential essay
+<span class="quote">«<span class="quote">The Tragedy of the Commons,</span>»</span> 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. Hardin’s essay became widely accepted as an
+no longer support anyone. Hardin’s essay became widely accepted as an
economic truism and a justification for private property and free markets.
</p><p>
- However, there is one serious flaw with Hardin’s <span class="quote">«<span class="quote">The Tragedy of the
-Commons</span>»</span>—it’s fiction. Hardin did not actually study how real commons
+ However, there is one serious flaw with Hardinâ\80\99s <span class="quote">«<span class="quote">The Tragedy of the
+Commons</span>»</span>—it’s 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. Ostrom’s work shows that
+studying different commons all around the world. Ostrom’s 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
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. Ostrom’s approach to the governance of natural
+situated to manage it. Ostrom’s approach to the governance of natural
resources broke with convention; she recognized the importance of the
commons as an alternative to the market or state for solving problems of
collective action.<a href="#ftn.idm233" class="footnote" name="idm233"><sup class="footnote">[13]</sup></a>
found, in reality, managing common resources together forms a community and
encourages discourse. This naturally generates norms and rules that help
people work collectively and ensure a sustainable commons. Paradoxically,
-while Hardin’s essay is called The Tragedy of the Commons it might more
+while Hardin’s essay is called The Tragedy of the Commons it might more
accurately be titled The Tragedy of the Market.
</p><p>
- Hardin’s story is based on the premise of depletable resources. Economists
+ Hardin’s story is based on the premise of depletable resources. Economists
have focused almost exclusively on scarcity-based markets. Very little is
known about how abundance works.<a href="#ftn.idm238" class="footnote" name="idm238"><sup class="footnote">[14]</sup></a> The
emergence of information technology and the Internet has led to an explosion
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.
- </p><div class="figure"><a name="fig-6"></a><p class="title"><b>
Рисунок 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>
Рисунок 1.6. How the market, the state and the commons look today.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="How the market, the state and the commons look today."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>The Digital Revolution</h2></div></div></div><p>
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:
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 source—such as reliability,
-scalability, and quality verified by independent peer review—became widely
+distribution of software. The benefits of open source—such as reliability,
+scalability, and quality verified by independent peer review—became widely
recognized and accepted. Customers liked the way open source gave them
control without being locked into a closed, proprietary technology. Free and
open-source software also generated a network effect where the value of a
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
-Raymond’s essay <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span> does a great job of
+Raymondâ\80\99s essay <span class="quote">«<span class="quote">The Magic Cauldron</span>»</span> does a great job of
analyzing the economics and business models associated with open-source
software.<a href="#ftn.idm272" class="footnote" name="idm272"><sup class="footnote">[17]</sup></a> These models can provide
examples of sustainable approaches for those Made with Creative Commons.
</p><p>
- It isn’t just about an abundant availability of digital assets but also
+ It isn’t 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,
created and distributed by almost anyone. Despite this potential for
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 creator’s
+law others are excluded from accessing and using it without the creator’s
permission.
</p><p>
But people like to share. One of the ways we define ourselves is by sharing
permissions in plain language, which regular people can read and quickly
understand. It acts as a user-friendly interface to the legal-code layer
beneath. The third layer is the machine-readable one, making it easy for the
-Web to know a work is Creative Commons–licensed by expressing permissions in
+Web to know a work is Creative Commons–licensed by expressing permissions in
a way that software systems, search engines, and other kinds of technology
can understand.<a href="#ftn.idm285" class="footnote" name="idm285"><sup class="footnote">[19]</sup></a> Taken together, these
three layers ensure creators, users, and even the Web itself understand the
Creative Commons to ensure works funded with taxpayer dollars are open and
free to the public that paid for them.
</p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>The Changing Market</h2></div></div></div><p>
- Today’s market is largely driven by global capitalism. Law and financial
+ Today’s market is largely driven by global capitalism. Law and financial
systems are structured to support extraction, privatization, and corporate
growth. A perception that the market is more efficient than the state has
led to continual privatization of many public natural resources, utilities,
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.<a href="#ftn.idm314" class="footnote" name="idm314"><sup class="footnote">[25]</sup></a>
-Seoul and Amsterdam call themselves <span class="quote">«<span class="quote">sharing cities,</span>»</span> looking
+Seoul and Amsterdam call themselves <span class="quote">«<span class="quote">sharing cities,</span>»</span> looking
to make sustainable and more efficient use of scarce resources. They see
sharing as a way to improve the use of public spaces, mobility, social
cohesion, and safety.<a href="#ftn.idm318" class="footnote" name="idm318"><sup class="footnote">[26]</sup></a>
Uber are still largely operating under the usual norms and rules of the
market, making them less like a commons and more like a traditional business
seeking financial gain. Much of the sharing economy is not about the commons
-or building an alternative to a corporate-driven market economy; it’s about
+or building an alternative to a corporate-driven market economy; it’s about
extending the deregulated free market into new areas of our
lives.<a href="#ftn.idm323" class="footnote" name="idm323"><sup class="footnote">[27]</sup></a> While none of the people we
interviewed for our case studies would describe themselves as part of the
looking to change the norms and rules by which the market operates.
</p><p>
For an ordinary corporation, making social benefit a part of its operations
-is difficult, as it’s legally required to make decisions that financially
+is difficult, as it’s legally required to make decisions that financially
benefit stockholders. But new forms of business are emerging. There are
benefit corporations and social enterprises, which broaden their business
goals from making a profit to making a positive impact on society, workers,
and other organizational forms offer alternatives to the traditional
corporation. Collectively, these alternative market entities are changing
the rules and norms of the market.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[31]</sup></a>
- </p><p><span class="quote">«<span class="quote">A book on open business models</span>»</span> is how we described it in this
-book’s Kickstarter campaign. We used a handbook called Business Model
+ </p><p><span class="quote">«<span class="quote">A book on open business models</span>»</span> is how we described it in this
+book’s Kickstarter campaign. We used a handbook called Business Model
Generation as our reference for defining just what a business model
-is. Developed over nine years using an <span class="quote">«<span class="quote">open process</span>»</span> involving
+is. Developed over nine years using an <span class="quote">«<span class="quote">open process</span>»</span> involving
470 coauthors from forty-five countries, it is useful as a framework for
talking about business models.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[32]</sup></a>
</p><p>
- It contains a <span class="quote">«<span class="quote">business model canvas,</span>»</span> which conceives of a
+ It contains a <span class="quote">«<span class="quote">business model canvas,</span>»</span> which conceives of a
business model as having nine building blocks.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[33]</sup></a> This blank canvas can serve as a tool for anyone to design their
own business model. We remixed this business model canvas into an open
business model canvas, adding three more building blocks relevant to hybrid
market, commons enterprises: social good, Creative Commons license, and
-<span class="quote">«<span class="quote">type of open environment that the business fits
-in.</span>»</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
+<span class="quote">«<span class="quote">type of open environment that the business fits
+in.</span>
»</span><a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[34]</sup></a> This enhanced canvas proved
useful when we analyzed businesses and helped start-ups plan their economic
model.
</p><p>
In our case study interviews, many expressed discomfort over describing
-themselves as an open business model—the term business model suggested
+themselves as an open business model—the term business model suggested
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
</p><p>
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, <span class="quote">«<span class="quote">digital for free
-but physical for a fee,</span>»</span> crowdfunding, matchmaking, value-add
+widely. Donations, pay what you can, memberships, <span class="quote">«<span class="quote">digital for free
+but physical for a fee,</span>»</span> crowdfunding, matchmaking, value-add
services, patrons . . . the list goes on and on. (Initial description of how
to earn revenue available through reference note. For latest thinking see
How to Bring In Money in the next section.)<a href="#ftn.idm358" class="footnote" name="idm358"><sup class="footnote">[35]</sup></a> There is no single magic bullet, and each endeavor has devised ways
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 you’re engaging as many users with your resources as
+Creative Commons means you’re 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
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; don’t exploit. Build relationship and community. Be
+trust; don’t exploit. Build relationship and community. Be
transparent. Defend the commons.
</p><p>
The new digital commons is here to stay. Made With Creative Commons case
-studies show how it’s possible to be part of this commons while still
+studies show how it’s possible to be part of this commons while still
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
</p></div><div id="ftn.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[5] </sup></a>
Ibid., 175.
</p></div><div id="ftn.idm143" class="footnote"><p><a href="#idm143" class="para"><sup class="para">[6] </sup></a>
- Daniel H. Cole, <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
-Natural Commons for the Knowledge Commons,</span>»</span> in Governing Knowledge
+ Daniel H. Cole, <span class="quote">«<span class="quote">Learning from Lin: Lessons and Cautions from the
+Natural Commons for the Knowledge Commons,</span>»</span> in Governing Knowledge
Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J.
Strandburg (New York: Oxford University Press, 2014), 53.
</p></div><div id="ftn.idm170" class="footnote"><p><a href="#idm170" class="para"><sup class="para">[7] </sup></a>
</p></div><div id="ftn.idm185" class="footnote"><p><a href="#idm185" class="para"><sup class="para">[8] </sup></a>
Bollier, Think Like a Commoner, 175.
</p></div><div id="ftn.idm191" class="footnote"><p><a href="#idm191" class="para"><sup class="para">[9] </sup></a>
- Joshua Farley and Ida Kubiszewski, <span class="quote">«<span class="quote">The Economics of Information in a
-Post-Carbon Economy,</span>»</span> in Free Knowledge: Confronting the
+ Joshua Farley and Ida Kubiszewski, <span class="quote">«<span class="quote">The Economics of Information in a
+Post-Carbon Economy,</span>»</span> 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.
+H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
</p></div><div id="ftn.idm202" class="footnote"><p><a href="#idm202" class="para"><sup class="para">[10] </sup></a>
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.
+2014), 42–43.
</p></div><div id="ftn.idm213" class="footnote"><p><a href="#idm213" class="para"><sup class="para">[11] </sup></a>
- Bollier, Think Like a Commoner, 55–78.
+ Bollier, Think Like a Commoner, 55–78.
</p></div><div id="ftn.idm216" class="footnote"><p><a href="#idm216" class="para"><sup class="para">[12] </sup></a>
Fritjof Capra and Ugo Mattei, The Ecology of Law: Toward a Legal System in
-Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
+Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46–57;
and Bollier, Think Like a Commoner, 88.
</p></div><div id="ftn.idm233" class="footnote"><p><a href="#idm233" class="para"><sup class="para">[13] </sup></a>
Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg,
-<span class="quote">«<span class="quote">Governing Knowledge Commons,</span>»</span> in Frischmann, Madison, and
+<span class="quote">«<span class="quote">Governing Knowledge Commons,</span>»</span> in Frischmann, Madison, and
Strandburg Governing Knowledge Commons, 12.
</p></div><div id="ftn.idm238" class="footnote"><p><a href="#idm238" class="para"><sup class="para">[14] </sup></a>
- Farley and Kubiszewski, <span class="quote">«<span class="quote">Economics of Information,</span>»</span> in Elliott
+ Farley and Kubiszewski, <span class="quote">«<span class="quote">Economics of Information,</span>»</span> in Elliott
and Hepting, Free Knowledge, 203.
- </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">«<span class="quote">What Is Free Software?</span>»</span> GNU Operating System, the Free
-Software Foundation’s Licensing and Compliance Lab, accessed December 30,
+ </p></div><div id="ftn.idm261" class="footnote"><p><a href="#idm261" class="para"><sup class="para">[15] </sup></a><span class="quote">«<span class="quote">What Is Free Software?</span>»</span> GNU Operating System, the Free
+Software Foundation’s Licensing and Compliance Lab, accessed December 30,
2016, <a class="ulink" href="http://www.gnu.org/philosophy/free-sw" target="_top">http://www.gnu.org/philosophy/free-sw</a>.
</p></div><div id="ftn.idm267" class="footnote"><p><a href="#idm267" class="para"><sup class="para">[16] </sup></a>
- Wikipedia, s.v. <span class="quote">«<span class="quote">Open-source software,</span>»</span> last modified November
+ Wikipedia, s.v. <span class="quote">«<span class="quote">Open-source software,</span>»</span> last modified November
22, 2016.
</p></div><div id="ftn.idm272" class="footnote"><p><a href="#idm272" class="para"><sup class="para">[17] </sup></a>
- Eric S. Raymond, <span class="quote">«<span class="quote">The Magic Cauldron,</span>»</span> in The Cathedral and the
+ Eric S. Raymond, <span class="quote">«<span class="quote">The Magic Cauldron,</span>»</span> in The Cathedral and the
Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary,
-rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
+rev. ed. (Sebastopol, CA: O
’Reilly Media, 2001), <a class="ulink" href="http://www.catb.org/esr/writings/cathedral-bazaar/" target="_top">http://www.catb.org/esr/writings/cathedral-bazaar/</a>.
</p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[18] </sup></a>
New York Times Customer Insight Group, The Psychology of Sharing: Why Do
People Share Online? (New York: New York Times Customer Insight Group,
2011), <a class="ulink" href="http://www.iab.net/media/file/POSWhitePaper.pdf" target="_top">http://www.iab.net/media/file/POSWhitePaper.pdf</a>.
- </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">«<span class="quote">Licensing Considerations,</span>»</span> Creative Commons, accessed December
+ </p></div><div id="ftn.idm285" class="footnote"><p><a href="#idm285" class="para"><sup class="para">[19] </sup></a><span class="quote">«<span class="quote">Licensing Considerations,</span>»</span> Creative Commons, accessed December
30, 2016, <a class="ulink" href="http://creativecommons.org/share-your-work/licensing-considerations/" target="_top">http://creativecommons.org/share-your-work/licensing-considerations/</a>.
</p></div><div id="ftn.idm291" class="footnote"><p><a href="#idm291" class="para"><sup class="para">[20] </sup></a>
Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative
Commons, 2015), <a class="ulink" href="http://stateof.creativecommons.org/2015/" target="_top">http://stateof.creativecommons.org/2015/</a>.
</p></div><div id="ftn.idm297" class="footnote"><p><a href="#idm297" class="para"><sup class="para">[21] </sup></a>
- Wikipedia, s.v. <span class="quote">«<span class="quote">Open Government Partnership,</span>»</span> last modified
+ Wikipedia, s.v. <span class="quote">«<span class="quote">Open Government Partnership,</span>»</span> last modified
September 24, 2016, <a class="ulink" href="http://en.wikipedia.org/wiki/Open_Government_Partnership" target="_top">http://en.wikipedia.org/wiki/Open_Government_Partnership</a>.
</p></div><div id="ftn.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[22] </sup></a>
Capra and Mattei, Ecology of Law, 114.
</p></div><div id="ftn.idm306" class="footnote"><p><a href="#idm306" class="para"><sup class="para">[23] </sup></a>
Ibid., 116.
</p></div><div id="ftn.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[24] </sup></a>
- The Swedish International Development Cooperation Agency, <span class="quote">«<span class="quote">Stockholm
-Statement</span>»</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
+ The Swedish International Development Cooperation Agency, <span class="quote">«<span class="quote">Stockholm
+Statement</span>
»</span> accessed February 15, 2017, <a class="ulink" href="http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf" target="_top">http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf</a>
</p></div><div id="ftn.idm314" class="footnote"><p><a href="#idm314" class="para"><sup class="para">[25] </sup></a>
City of Bologna, Regulation on Collaboration between Citizens and the City
for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory
The Seoul Sharing City website is <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>;
for Amsterdam Sharing City, go to <a class="ulink" href="http://www.sharenl.nl/amsterdam-sharing-city/" target="_top">http://www.sharenl.nl/amsterdam-sharing-city/</a>.
</p></div><div id="ftn.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[27] </sup></a>
- Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
+ Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR
Books, 2015), 42.
</p></div><div id="ftn.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[28] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, Reprint with new preface. (New York: Hyperion,
2010), 78.
</p></div><div id="ftn.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[29] </sup></a>
</p></div><div id="ftn.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[31] </sup></a>
Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution;
Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012),
-8–9.
+8–9.
</p></div><div id="ftn.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[32] </sup></a>
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010). A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[33] </sup></a>
This business model canvas is available to download at <a class="ulink" href="http://strategyzer.com/canvas/business-model-canvas" target="_top">http://strategyzer.com/canvas/business-model-canvas</a>.
</p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[34] </sup></a>
- We’ve made the <span class="quote">«<span class="quote">Open Business Model Canvas,</span>»</span> designed by the
+ Weâ\80\99ve made the <span class="quote">«<span class="quote">Open Business Model Canvas,</span>»</span> designed by the
coauthor Paul Stacey, available online at <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
You can also find the accompanying Open Business Model Canvas Questions at
<a class="ulink" href="http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit" target="_top">http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit</a>.
</p></div><div id="ftn.idm358" class="footnote"><p><a href="#idm358" class="para"><sup class="para">[35] </sup></a>
A more comprehensive list of revenue streams is available in this post I
-wrote on Medium on March 6, 2016. <span class="quote">«<span class="quote">What Is an Open Business Model and
-How Can You Generate Revenue?</span>»</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
+wrote on Medium on March 6, 2016. <span class="quote">«<span class="quote">What Is an Open Business Model and
+How Can You Generate Revenue?</span>
»</span>, available at <a class="ulink" href="http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15" target="_top">http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15</a>.
</p></div><div id="ftn.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[36] </sup></a>
Henry Chesbrough, Open Innovation: The New Imperative for Creating and
Profiting from Technology (Boston: Harvard Business Review Press, 2006),
-31–44.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>Розділ 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Зміст</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+31–44.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="how-to-be-made-with-creative-commons"></a>РоздÑ\96л 2. How to Be Made with Creative Commons</h2></div></div></div><div class="toc"><p><b>Ð\97мÑ\96Ñ\81Ñ\82</b></p><dl class="toc"><dt><span class="sect1"><a href="#problem-zero-getting-discovered">Problem Zero: Getting Discovered</a></span></dt><dt><span class="sect1"><a href="#making-money">Making Money</a></span></dt><dt><span class="sect1"><a href="#making-human-connections">Making Human Connections</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{ Sarah Hinchliff Pearson}
\end{flushright}</td></tr></table></div><p>
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
-way—what we call being Made with Creative Commons. With the help of our
+way—what 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
licensing. Others are platforms for CC-licensed creative work made by
others. Many sit somewhere in between, both using and contributing creative
-work that’s shared with the public. Like all who use the licenses, these
-endeavors share their work—whether it’s open data or furniture designs—in a
+work that’s shared with the public. Like all who use the licenses, these
+endeavors share their work—whether it’s open data or furniture designs—in a
way that enables the public not only to access it but also to make use of
it.
</p><p>
different from the one that was revealing itself in our interviews and
research.
</p><p>
- It isn’t that we were wrong to think you can make money while using Creative
+ It isn’t 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 didn’t realize was just how misguided it would be to
+replicate. What we didn’t realize was just how misguided it would be to
write a book about being Made with Creative Commons using only a business
lens.
</p><p>
According to the seminal handbook Business Model Generation, a business
-model <span class="quote">«<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>»</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
+model <span class="quote">«<span class="quote">describes the rationale of how an organization creates,
+delivers, and captures value.</span>
»</span><a href="#ftn.idm396" class="footnote" name="idm396"><sup class="footnote">[37]</sup></a>
Thinking about sharing in terms of creating and capturing value always felt
inappropriately transactional and out of place, something we heard time and
time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">«<span class="quote">Business model can mean anything you want it to
-mean.</span>»</span>
+with him, <span class="quote">«<span class="quote">Business model can mean anything you want it to
+mean.</span>»</span>
</p><p>
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
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. You’ll probably have to discard that
+interacted. But there is no formula. You’ll probably have to discard that
way of thinking before you read any further.
</p><p>
In every interview, we started from the same simple questions. Amid all the
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
-something, <span class="quote">«<span class="quote">all rights reserved</span>»</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
+something, <span class="quote">«<span class="quote">all rights reserved</span>»</span> 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 opposite—of wanting a real human relationship, rather
+be a symbol of the opposite—of wanting a real human relationship, rather
than an impersonal market transaction. It leaves open the possibility of
connection.
</p><p>
</p><p>
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, <span class="quote">«<span class="quote">Creators usually
-start doing what they do for love.</span>»</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
+ways, this is nothing new. As Doctorow has written, <span class="quote">«<span class="quote">Creators usually
+start doing what they do for love.</span>
»</span><a href="#ftn.idm410" class="footnote" name="idm410"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
dynamic is even more pronounced. Similarly, for technological innovators, it
is often less about creating a specific new thing that will make you rich
and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">«<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>»</span>
+told us that the key question when creating something is <span class="quote">«<span class="quote">Do you as
+the creator want to use it? It has to have personal use and meaning.</span>»</span>
</p><p>
Many that are Made with Creative Commons have an express social mission that
underpins everything they do. In many cases, sharing with Creative Commons
expressly advances that social mission, and using the licenses can be the
difference between legitimacy and hypocrisy. Noun Project co-founder Edward
Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
+with a straight face if they weren’t willing to show the world that it was
OK to share their content using a Creative Commons license.
</p><p>
This dynamic is probably one reason why there are so many nonprofit examples
where profit is not paramount, and producing social good and human
connection are integral to success.
</p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
+ Even if profit isn’t the end goal, you have to bring in money to be
successfully Made with Creative Commons. At a bare minimum, you have to make
enough money to keep the lights on.
</p><p>
generally a much lower threshold for sustainability than there used to be
for any creative endeavor. Digital technology has made it easier than ever
to create, and easier than ever to distribute. As Doctorow put it in his
-book Information Doesn’t Want to Be Free, <span class="quote">«<span class="quote">If analog dollars have
+book Information Doesnâ\80\99t Want to Be Free, <span class="quote">«<span class="quote">If analog dollars have
turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>»</span>
+there is the fact that it’s possible to run a business that gets the same
+amount of advertising as its forebears at a fraction of the price.</span>»</span>
</p><p>
Some creation costs are the same as they always were. It takes the same
amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
+painting. Technology can’t change that. But other costs are dramatically
reduced by technology, particularly in production-heavy domains like
filmmaking.<a href="#ftn.idm419" class="footnote" name="idm419"><sup class="footnote">[39]</sup></a> CC-licensed content and
content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
+collaborators, can also dramatically reduce costs if they’re being used as
resources to create something new. And, of course, there is the reality that
some content would be created whether or not the creator is paid because it
is a labor of love.
and even expenses associated with the various ways money is being made, like
touring or custom training.
</p><p>
- It’s important to recognize that the biggest impact of technology on
+ It’s important to recognize that the biggest impact of technology on
creative endeavors is that creators can now foot the costs of creation and
distribution themselves. People now often have a direct route to their
potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">«<span class="quote">If you’re a creator who
+labels and book publishers. Doctorow wrote, <span class="quote">«<span class="quote">If you’re a creator who
never got the time of day from one of the great imperial powers, this is
your time. Where once you had no means of reaching an audience without the
assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>»</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
+of ways to do it without them.</span>
»</span><a href="#ftn.idm426" class="footnote" name="idm426"><sup class="footnote">[41]</sup></a>
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.
</p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
+ Whether for an individual creator or a larger endeavor, it usually isn’t
+enough to break even if you want to make what you’re doing a livelihood. You
need to build in some support for the general operation. This extra bit
looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">«<span class="quote">enough money</span>»</span>
+Made with Creative Commons, the definition of <span class="quote">«<span class="quote">enough money</span>»</span>
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, <span class="quote">«<span class="quote">Business model is a
+profit. SparkFun founder Nathan Seidle told us, <span class="quote">«<span class="quote">Business model is a
really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>»</span>
+going day to day.</span>»</span>
</p><p>
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
</p><p>
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
-<span class="quote">«<span class="quote">problem zero.</span>»</span>
+<span class="quote">«<span class="quote">problem zero.</span>»</span>
</p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="problem-zero-getting-discovered"></a>Problem Zero: Getting Discovered</h2></div></div></div><p>
Once you create or collect your content, the next step is finding users,
-customers, fans—in other words, your people. As Amanda Palmer wrote,
-<span class="quote">«<span class="quote">It has to start with the art. The songs had to touch people
+customers, fans—in other words, your people. As Amanda Palmer wrote,
+<span class="quote">«<span class="quote">It has to start with the art. The songs had to touch people
initially, and mean something, for anything to work at
-all.</span>»</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+all.</span>»</span><a href="#ftn.idm438" class="footnote" name="idm438"><sup class="footnote">[42]</sup></a> There isn’t any magic to
finding your people, and there is certainly no formula. Your work has to
connect with people and offer them some artistic and/or utilitarian
value. In some ways, this is easier than ever. Online we are not limited by
shelf space, so there is room for every obscure interest, taste, and need
imaginable. This is what Chris Anderson dubbed the Long Tail, where
-consumption becomes less about mainstream mass <span class="quote">«<span class="quote">hits</span>»</span> and more
-about micromarkets for every particular niche. As Anderson wrote, <span class="quote">«<span class="quote">We
+consumption becomes less about mainstream mass <span class="quote">«<span class="quote">hits</span>»</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">«<span class="quote">We
are all different, with different wants and needs, and the Internet now has
a place for all of them in the way that physical markets did
-not.</span>»</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
+not.</span>
»</span><a href="#ftn.idm442" class="footnote" name="idm442"><sup class="footnote">[43]</sup></a> We are no longer limited
to what appeals to the masses.
</p><p>
- While finding <span class="quote">«<span class="quote">your people</span>»</span> online is theoretically easier than
+ While finding <span class="quote">«<span class="quote">your people</span>»</span> online is theoretically easier than
in the analog world, as a practical matter it can still be difficult to
actually get noticed. The Internet is a firehose of content, one that only
grows larger by the minute. As a content creator, not only are you
competing for attention against more content creators than ever before, you
are competing against creativity generated outside the market as
-well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">«<span class="quote">The
+well.<a href="#ftn.idm446" class="footnote" name="idm446"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">«<span class="quote">The
greatest change of the past decade has been the shift in time people spend
consuming amateur content instead of professional
-content.</span>»</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
-have to compete against the rest of their lives, too—<span class="quote">«<span class="quote">friends, family,
-music playlists, soccer games, and nights on the town.</span>»</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+content.</span>
»</span><a href="#ftn.idm449" class="footnote" name="idm449"><sup class="footnote">[45]</sup></a> To top it all off, you
+have to compete against the rest of their lives, tooâ\80\94<span class="quote">«<span class="quote">friends, family,
+music playlists, soccer games, and nights on the town.</span>
»</span><a href="#ftn.idm452" class="footnote" name="idm452"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
right people.
</p><p>
When you come to the Internet armed with an all-rights-reserved mentality
from the start, you are often restricting access to your work before there
is even any demand for it. In many cases, requiring payment for your work is
part of the traditional copyright system. Even a tiny cost has a big effect
-on demand. It’s called the penny gap—the large difference in demand between
+on demand. It’s called the penny gap—the large difference in demand between
something that is available at the price of one cent versus the price of
-zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+zero.<a href="#ftn.idm455" class="footnote" name="idm455"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
charge money for your content. It simply means you need to recognize the
effect that doing so will have on demand. The same principle applies to
restricting access to copy the work. If your problem is how to get
-discovered and find <span class="quote">«<span class="quote">your people,</span>»</span> prohibiting people from
+discovered and find <span class="quote">«<span class="quote">your people,</span>»</span> prohibiting people from
copying your work and sharing it with others is counterproductive.
</p><p>
- Of course, it’s not that being discovered by people who like your work will
-make you rich—far from it. But as Cory Doctorow says, <span class="quote">«<span class="quote">Recognition is
+ Of course, it’s not that being discovered by people who like your work will
+make you richâ\80\94far from it. But as Cory Doctorow says, <span class="quote">«<span class="quote">Recognition is
one of many necessary preconditions for artistic
-success.</span>»</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
+success.</span>
»</span><a href="#ftn.idm460" class="footnote" name="idm460"><sup class="footnote">[48]</sup></a>
</p><p>
Choosing not to spend time and energy restricting access to your work and
policing infringement also builds goodwill. Lumen Learning, a for-profit
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, <span class="quote">«<span class="quote">Our natural human impulses
-to imitate and share—the essence of culture—have been
-criminalized.</span>»</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
+with others. But as David Bollier wrote, <span class="quote">«<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>
»</span><a href="#ftn.idm465" class="footnote" name="idm465"><sup class="footnote">[49]</sup></a>
</p><p>
The fact that copying can carry criminal penalties undoubtedly deters
copying it, but copying with the click of a button is too easy and
convenient to ever fully stop it. Try as the copyright industry might to
-persuade us otherwise, copying a copyrighted work just doesn’t feel like
-stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
-creative work has no impact on anyone else’s ability to make use of it.
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
</p><p>
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, <span class="quote">«<span class="quote">We could spend a lot of
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">«<span class="quote">We could spend a lot of
money trying to protect works, but people are going to do it anyway. And
-they will use bad-quality versions.</span>»</span> Instead, they started releasing
+they will use bad-quality versions.</span>»</span> Instead, they started releasing
high-resolution digital copies of their collection into the public domain
and making them available for free on their website. For them, sharing was a
form of quality control over the copies that were inevitably being shared
potentially abundant resource it is.<a href="#ftn.idm471" class="footnote" name="idm471"><sup class="footnote">[50]</sup></a>
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, <span class="quote">«<span class="quote">Using CC
-licenses shows you get the Internet.</span>»</span>
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">«<span class="quote">Using CC
+licenses shows you get the Internet.</span>»</span>
</p><p>
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
There are all kinds of way to leverage the power of sharing and remix to
your benefit. Here are a few.
</p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
- Putting a Creative Commons license on your content won’t make it
+ Putting a Creative Commons license on your content won’t make it
automatically go viral, but eliminating legal barriers to copying the work
-certainly can’t hurt the chances that your work will be shared. The CC
+certainly can’t hurt the chances that your work will be shared. The CC
license symbolizes that sharing is welcome. It can act as a little tap on
-the shoulder to those who come across the work—a nudge to copy the work if
+the shoulder to those who come across the work—a nudge to copy the work if
they have any inkling of doing so. All things being equal, if one piece of
-content has a sign that says Share and the other says Don’t Share (which is
-what <span class="quote">«<span class="quote">©</span>»</span> means), which do you think people are more likely to
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">«<span class="quote">©</span>»</span> means), which do you think people are more likely to
share?
</p><p>
The Conversation is an online news site with in-depth articles written by
</p><p>
The idea that more eyeballs equates with more success is a form of the max
strategy, adopted by Google and other technology companies. According to
-Google’s Eric Schmidt, the idea is simple: <span class="quote">«<span class="quote">Take whatever it is you
+Googleâ\80\99s Eric Schmidt, the idea is simple: <span class="quote">«<span class="quote">Take whatever it is you
are doing and do it at the max in terms of distribution. The other way of
saying this is that since marginal cost of distribution is free, you might
-as well put things everywhere.</span>»</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
+as well put things everywhere.</span>
»</span><a href="#ftn.idm485" class="footnote" name="idm485"><sup class="footnote">[52]</sup></a>
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
</p><p>
Attribution can be about more than just receiving credit. It can also be
about establishing provenance. People naturally want to know where content
-came from—the source of a work is sometimes just as interesting as the work
+came from—the source of a work is sometimes just as interesting as the work
itself. Opendesk is a platform for furniture designers to share their
designs. Consumers who like those designs can then get matched with local
makers who turn the designs into real-life furniture. The fact that I,
As we will cover in more detail later, many endeavors that are Made with
Creative Commons make money by providing a product or service other than the
CC-licensed work. Sometimes that other product or service is completely
-unrelated to the CC content. Other times it’s a physical copy or live
+unrelated to the CC content. Other times it’s a physical copy or live
performance of the CC content. In all cases, the CC content can attract
people to your other product or service.
</p><p>
- Knowledge Unlatched’s Pinter told us she has seen time and again how
-offering CC-licensed content—that is, digitally for free—actually increases
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
sales of the printed goods because it functions as a marketing tool. We see
this phenomenon regularly with famous artwork. The Mona Lisa is likely the
most recognizable painting on the planet. Its ubiquity has the effect of
</p><p>
Four of the six CC licenses enable reusers to take apart, build upon, or
otherwise adapt the work. Depending on the context, adaptation can mean
-wildly different things—translating, updating, localizing, improving,
+wildly different things—translating, updating, localizing, improving,
transforming. It enables a work to be customized for particular needs, uses,
people, and communities, which is another distinct value to offer the
public.<a href="#ftn.idm512" class="footnote" name="idm512"><sup class="footnote">[57]</sup></a> Adaptation is more game
usefulness. For photography, the ability to adapt a photo is less important.
</p><p>
This is a way to counteract a potential downside of the abundance of free
-and open content described above. As Anderson wrote in Free, <span class="quote">«<span class="quote">People
-often don’t care as much about things they don’t pay for, and as a result
-they don
’t think as much about how they consume them.</span>»</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+and open content described above. As Anderson wrote in Free, <span class="quote">«<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don
â\80\99t think as much about how they consume them.</span>»</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
penny for something changes our perception of that thing, then surely the
act of remixing it enhances our perception exponentially.<a href="#ftn.idm518" class="footnote" name="idm518"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
had a part in creating.<a href="#ftn.idm520" class="footnote" name="idm520"><sup class="footnote">[60]</sup></a> And we know
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, <span class="quote">«<span class="quote">To participate is to act as if your
+Surplus, Clay Shirky says, <span class="quote">«<span class="quote">To participate is to act as if your
presence matters, as if, when you see something or hear something, your
-response is part of the event.</span>»</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
+response is part of the event.</span>
»</span><a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[62]</sup></a>
Opening the door to your content can get people more deeply tied to your
work.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
the rules of establishment players in the media. Business strategies that
are embedded in the traditional copyright system, like using digital rights
management (DRM) and signing exclusivity contracts, can tie the hands of
-creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator
’s best interest.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
function without those barriers and, in many cases, use the increased
openness as a competitive advantage. David Harris from OpenStax said they
specifically pursue strategies they know that traditional publishers
-cannot. <span class="quote">«<span class="quote">Don’t go into a market and play by the incumbent
-rules,</span>»</span> David said. <span class="quote">«<span class="quote">Change the rules of engagement.</span>»</span>
+cannot. <span class="quote">«<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>»</span> David said. <span class="quote">«<span class="quote">Change the rules of engagement.</span>»</span>
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
Like any moneymaking endeavor, those that are Made with Creative Commons
have to generate some type of value for their audience or
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, <span class="quote">«<span class="quote">The trick is in knowing when
+for ongoing expenses. As Shirky wrote, <span class="quote">«<span class="quote">The trick is in knowing when
markets are an optimal way of organizing interactions and when they are
-not.</span>»</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
+not.</span>
»</span><a href="#ftn.idm544" class="footnote" name="idm544"><sup class="footnote">[65]</sup></a>
</p><p>
Our case studies explore in more detail the various revenue-generating
mechanisms used by the creators, organizations, and businesses we
or not.<a href="#ftn.idm555" class="footnote" name="idm555"><sup class="footnote">[68]</sup></a> 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, <span class="quote">«<span class="quote">Copyright protection schemes, whether coded
+Free, Anderson wrote, <span class="quote">«<span class="quote">Copyright protection schemes, whether coded
into either law or software, are simply holding up a price against the force
-of gravity.</span>»</span>
+of gravity.</span>»</span>
</p><p>
- Of course, this doesn’t mean that content-driven endeavors have no future in
+ Of course, this doesn’t mean that content-driven endeavors have no future in
the traditional marketplace. In Free, Anderson explains how when one product
or service becomes free, as information and content largely have in the
-digital age, other things become more valuable. <span class="quote">«<span class="quote">Every abundance
-creates a new scarcity,</span>»</span> he wrote. You just have to find some way
+digital age, other things become more valuable. <span class="quote">«<span class="quote">Every abundance
+creates a new scarcity,</span>»</span> he wrote. You just have to find some way
other than the content to provide value to your audience or customers. As
-Anderson says, <span class="quote">«<span class="quote">It’s easy to compete with Free: simply offer something
-better or at least different from the free version.</span>»</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
+Anderson says, <span class="quote">«<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>
»</span><a href="#ftn.idm561" class="footnote" name="idm561"><sup class="footnote">[69]</sup></a>
</p><p>
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
Here are the most common high-level categories.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
- In this age of information abundance, we don’t lack for content. The trick
+ In this age of information abundance, we don’t lack for content. The trick
is finding content that matches our needs and wants, so customized services
-are particularly valuable. As Anderson wrote, <span class="quote">«<span class="quote">Commodity information
+are particularly valuable. As Anderson wrote, <span class="quote">«<span class="quote">Commodity information
(everybody gets the same version) wants to be free. Customized information
(you get something unique and meaningful to you) wants to be
-expensive.</span>»</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
-from the artistic and cultural consulting services provided by Ártica to the
-custom-song business of Jonathan <span class="quote">«<span class="quote">Song-A-Day</span>»</span> Mann.
+expensive.</span>
»</span><a href="#ftn.idm571" class="footnote" name="idm571"><sup class="footnote">[70]</sup></a> This can be anything
+from the artistic and cultural consulting services provided by Ártica to the
+custom-song business of Jonathan <span class="quote">«<span class="quote">Song-A-Day</span>»</span> Mann.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-physical-copy-market-based"></a>Charging for the physical copy <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
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).<a href="#ftn.idm578" class="footnote" name="idm578"><sup class="footnote">[71]</sup></a>
This is particularly successful in domains where the digital version of the
-content isn’t as valuable as the analog version, like book publishing where
+content isn’t as valuable as the analog version, like book publishing where
a significant subset of people still prefer reading something they can hold
-in their hands. Or in domains where the content isn’t useful until it is in
+in their hands. Or in domains where the content isn’t useful until it is in
physical form, like furniture designs. In those situations, a significant
portion of consumers will pay for the convenience of having someone else put
the physical version together for them. Some endeavors squeeze even more out
offer more valuable to the paying customers. This is a variation of a
traditional business model built on free called multi-sided
platforms.<a href="#ftn.idm589" class="footnote" name="idm589"><sup class="footnote">[72]</sup></a> Access to your audience
-isn’t the only thing people are willing to pay for—there are other services
+isn’t the only thing people are willing to pay for—there are other services
you can provide as well.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-advertisers-or-sponsors-market-based"></a>Charging advertisers or sponsors <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
The traditional model of subsidizing free content is advertising. In this
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
-<span class="quote">«<span class="quote">author-processing charge</span>»</span> of open-access journals like those
+<span class="quote">«<span class="quote">author-processing charge</span>»</span> of open-access journals like those
published by the Public Library of Science, but there are other
variations. The Conversation is primarily funded by a university-membership
model, where universities pay to have their faculties participate as writers
some direct value provided to them, many of the revenue streams were more
about providing value, building a relationship, and then eventually finding
some money that flows back out of a sense of reciprocity. While some look
-like traditional nonprofit funding models, they aren’t charity. The endeavor
+like traditional nonprofit funding models, they aren’t charity. The endeavor
exchange value with people, just not necessarily synchronously or in a way
that requires that those values be equal. As David Bollier wrote in Think
-Like a Commoner, <span class="quote">«<span class="quote">There is no self-serving calculation of whether the
-value given and received is strictly equal.</span>»</span>
+Like a Commoner, <span class="quote">«<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>»</span>
</p><p>
- This should be a familiar dynamic—it is the way you deal with your friends
+ This should be a familiar dynamic—it is the way you deal with your friends
and family. We give without regard for what and when we will get back. David
-Bollier wrote, <span class="quote">«<span class="quote">Reciprocal social exchange lies at the heart of human
+Bollier wrote, <span class="quote">«<span class="quote">Reciprocal social exchange lies at the heart of human
identity, community and culture. It is a vital brain function that helps the
-human species survive and evolve.</span>»</span>
+human species survive and evolve.</span>»</span>
</p><p>
What is rare is to incorporate this sort of relationship into an endeavor
that also engages with the market.<a href="#ftn.idm626" class="footnote" name="idm626"><sup class="footnote">[76]</sup></a> We
-almost can’t help but think of relationships in the market as being centered
+almost can’t help but think of relationships in the market as being centered
on an even-steven exchange of value.<a href="#ftn.idm628" class="footnote" name="idm628"><sup class="footnote">[77]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
a social mission, the more likely this strategy is to succeed.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
In the pay-what-you-want model, the beneficiary of Creative Commons content
-is invited to give—at any amount they can and feel is appropriate, based on
+is invited to give—at any amount they can and feel is appropriate, based on
the public and personal value they feel is generated by the open
-content. Critically, these models are not touted as <span class="quote">«<span class="quote">buying</span>»</span>
+content. Critically, these models are not touted as <span class="quote">«<span class="quote">buying</span>»</span>
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
Crowdfunding models are based on recouping the costs of creating and
distributing content before the content is created. If the endeavor is Made
with Creative Commons, anyone who wants the work in question could simply
-wait until it’s created and then access it for free. That means, for this
+wait until it’s created and then access it for free. That means, for this
model to work, people have to care about more than just receiving the
work. They have to want you to succeed. Amanda Palmer credits the success of
her crowdfunding on Kickstarter and Patreon to the years she spent building
her community and creating a connection with her fans. She wrote in The Art
-of Asking, <span class="quote">«<span class="quote">Good art is made, good art is shared, help is offered,
+of Asking, <span class="quote">«<span class="quote">Good art is made, good art is shared, help is offered,
ears are bent, emotions are exchanged, the compost of real, deep connection
is sprayed all over the fields. Then one day, the artist steps up and asks
for something. And if the ground has been fertilized enough, the audience
-says, without hesitation: of course.</span>»</span>
+says, without hesitation: of course.</span>»</span>
</p><p>
Other types of crowdfunding rely on a sense of responsibility that a
particular community may feel. Knowledge Unlatched pools funds from major
to the idea of open access generally.
</p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
Regardless of how they made money, in our interviews, we repeatedly heard
-language like <span class="quote">«<span class="quote">persuading people to buy</span>»</span> and <span class="quote">«<span class="quote">inviting
-people to pay.</span>»</span> We heard it even in connection with revenue streams
-that sit squarely within the market. Cory Doctorow told us, <span class="quote">«<span class="quote">I have to
-convince my readers that the right thing to do is to pay me.</span>»</span> The
+language like <span class="quote">«<span class="quote">persuading people to buy</span>»</span> and <span class="quote">«<span class="quote">inviting
+people to pay.</span>»</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">«<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>»</span> The
founders of the for-profit company Lumen Learning showed us the letter they
send to those who opt not to pay for the services they provide in connection
-with their CC-licensed educational content. It isn’t a cease-and-desist
-letter; it’s an invitation to pay because it’s the right thing to do. This
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
sort of behavior toward what could be considered nonpaying customers is
largely unheard of in the traditional marketplace. But it seems to be part
of the fabric of being Made with Creative Commons.
</p><p>
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 <span class="quote">«<span class="quote">the product,</span>»</span> the more pronounced this dynamic has to
+being <span class="quote">«<span class="quote">the product,</span>»</span> 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.
licensing a copyrighted work under a set of standardized terms, but also
about community, social good, contributing ideas, expressing a value system,
working together. These components of sharing are hard to cultivate if you
-think about what you do in purely market terms. Decent social behavior isn’t
+think about what you do in purely market terms. Decent social behavior isn’t
as intuitive when we are doing something that involves monetary exchange. It
takes a conscious effort to foster the context for real sharing, based not
strictly on impersonal market exchange, but on connections with the people
-with whom you share—connections with you, with your work, with your values,
+with whom you share—connections with you, with your work, with your values,
with each other.
</p><p>
The rest of this section will explore some of the common strategies that
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, <span class="quote">«<span class="quote">Our work doesn’t speak for itself. Human beings want to
+Kleon wrote, <span class="quote">«<span class="quote">Our work doesn’t speak for itself. Human beings want to
know where things came from, how they were made, and who made them. The
stories you tell about the work you do have a huge effect on how people feel
and what they understand about your work, and how people feel and what they
-understand about your work affects how they value it.</span>»</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
+understand about your work affects how they value it.</span>
»</span><a href="#ftn.idm665" class="footnote" name="idm665"><sup class="footnote">[79]</sup></a>
</p><p>
A critical component to doing this effectively is not worrying about being a
-<span class="quote">«<span class="quote">brand.</span>»</span> That means not being afraid to be vulnerable. Amanda
-Palmer says, <span class="quote">«<span class="quote">When you’re afraid of someone’s judgment, you can’t
-connect with them. You’re too preoccupied with the task of impressing
-them.</span>»</span> Not everyone is suited to live life as an open book like
-Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+<span class="quote">«<span class="quote">brand.</span>»</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">«<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>»</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
just avoiding pretense and the temptation to artificially craft an
-image. People don’t just want the glossy version of you. They can’t relate
+image. People don’t just want the glossy version of you. They can’t relate
to it, at least not in a meaningful way.
</p><p>
This advice is probably even more important for businesses and organizations
States, corporations are people!). When corporations and organizations make
the people behind them more apparent, it reminds people that they are
dealing with something other than an anonymous corporate entity. In
-business-speak, this is about <span class="quote">«<span class="quote">humanizing your interactions</span>»</span>
-with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
-gimmick. You can’t fake being human.
+business-speak, this is about <span class="quote">«<span class="quote">humanizing your interactions</span>»</span>
+with the public.<a href="#ftn.idm672" class="footnote" name="idm672"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
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,
-<span class="quote">«<span class="quote">One of the most surprising things you can do in capitalism is just be
-honest with people.</span>»</span> That means sharing the good and the bad. As
-Amanda Palmer wrote, <span class="quote">«<span class="quote">You can fix almost anything by authentically
-communicating.</span>»</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
+<span class="quote">«<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>»</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">«<span class="quote">You can fix almost anything by authentically
+communicating.</span>»</span><a href="#ftn.idm679" class="footnote" name="idm679"><sup class="footnote">[81]</sup></a> It isn’t about
trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but
instead about explaining your rationale and then being prepared to defend it
when people are critical.<a href="#ftn.idm681" class="footnote" name="idm681"><sup class="footnote">[82]</sup></a>
lowest-common-denominator solutions and avoid the sort of candid exchange of
ideas that cultivates healthy collaboration.<a href="#ftn.idm684" class="footnote" name="idm684"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
context and explanation about decisions you make, even if soliciting
-feedback and inviting discourse is time-consuming. If you don’t go through
+feedback and inviting discourse is time-consuming. If you don’t go through
the effort to actually respond to the input you receive, it can be worse
than not inviting input in the first place.<a href="#ftn.idm686" class="footnote" name="idm686"><sup class="footnote">[84]</sup></a> 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
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="design-for-the-good-actors"></a>Design for the good actors</h3></div></div></div><p>
Traditional economics assumes people make decisions based solely on their
own economic self-interest.<a href="#ftn.idm691" class="footnote" name="idm691"><sup class="footnote">[85]</sup></a> Any
-relatively introspective human knows this is a fiction—we are much more
+relatively introspective human knows this is a fiction—we are much more
complicated beings with a whole range of needs, emotions, and
motivations. In fact, we are hardwired to work together and ensure
fairness.<a href="#ftn.idm693" class="footnote" name="idm693"><sup class="footnote">[86]</sup></a> Being Made with Creative
Commons requires an assumption that people will largely act on those social
-motivations, motivations that would be considered <span class="quote">«<span class="quote">irrational</span>»</span>
-in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">«<span class="quote">It is
+motivations, motivations that would be considered <span class="quote">«<span class="quote">irrational</span>»</span>
+in an economic sense. As Knowledge Unlatchedâ\80\99s Pinter told us, <span class="quote">«<span class="quote">It is
best to ignore people who try to scare you about free riding. That fear is
-based on a very shallow view of what motivates human behavior.</span>»</span> There
+based on a very shallow view of what motivates human behavior.</span>»</span> 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.
</p><p>
The assumption that people will largely do the right thing can be a
-self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">«<span class="quote">Systems
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">«<span class="quote">Systems
that assume people will act in ways that create public goods, and that give
them opportunities and rewards for doing so, often let them work together
-better than neoclassical economics would predict.</span>»</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>
»</span><a href="#ftn.idm699" class="footnote" name="idm699"><sup class="footnote">[87]</sup></a> 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.
</p><p>
- Rather than trying to exert control over people’s behavior, this mode of
+ Rather than trying to exert control over people’s behavior, this mode of
operating requires a certain level of trust. We might not realize it, but
our daily lives are already built on trust. As Surowiecki wrote in The
-Wisdom of Crowds, <span class="quote">«<span class="quote">It’s impossible for a society to rely on law alone
-to make sure citizens act honestly and responsibly. And it’s impossible for
+Wisdom of Crowds, <span class="quote">«<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
any organization to rely on contracts alone to make sure that its managers
-and workers live up to their obligation.</span>»</span> Instead, we largely trust
-that people—mostly strangers—will do what they are supposed to
+and workers live up to their obligation.</span>»</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
do.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[88]</sup></a> And most often, they do.
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="treat-humans-like-well-humans"></a>Treat humans like, well, humans</h3></div></div></div><p>
For creators, treating people as humans means not treating them like
-fans. As Kleon says, <span class="quote">«<span class="quote">If you want fans, you have to be a fan
-first.</span>»</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> Even if you happen to be
+fans. As Kleon says, <span class="quote">«<span class="quote">If you want fans, you have to be a fan
+first.</span>
»</span><a href="#ftn.idm709" class="footnote" name="idm709"><sup class="footnote">[89]</sup></a> 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.
ensure its employees have personal, one-on-one interaction with users.
</p><p>
When we treat people like humans, they typically return the gift in
-kind. It’s called karma. But social relationships are fragile. It is all too
+kind. It’s called karma. But social relationships are fragile. It is all too
easy to destroy them if you make the mistake of treating people as anonymous
customers or free labor.<a href="#ftn.idm715" class="footnote" name="idm715"><sup class="footnote">[91]</sup></a> Platforms that
rely on content from contributors are especially at risk of creating an
exploitative dynamic. It is important to find ways to acknowledge and pay
back the value that contributors generate. That does not mean you can solve
this problem by simply paying contributors for their time or
-contributions. As soon as we introduce money into a relationship—at least
-when it takes a form of paying monetary value in exchange for other value—it
+contributions. As soon as we introduce money into a relationship—at least
+when it takes a form of paying monetary value in exchange for other value—it
can dramatically change the dynamic.<a href="#ftn.idm717" class="footnote" name="idm717"><sup class="footnote">[92]</sup></a>
</p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
Being Made with Creative Commons makes a statement about who you are and
be drawn to endeavors that are Made with Creative Commons as a way of
demonstrating their own commitment to the Creative Commons value system,
akin to a political statement. Other times people will identify and feel
-connected with an endeavor’s separate social mission. Often both.
+connected with an endeavor’s separate social mission. Often both.
</p><p>
- The expression of your values doesn’t have to be implicit. In fact, many of
+ The expression of your values doesn’t have to be implicit. In fact, many of
the people we interviewed talked about how important it is to state your
guiding principles up front. Lumen Learning attributes a lot of their
success to having been outspoken about the fundamental values that guide
operate.
</p><p>
When your end goal is not about making a profit, people trust that you
-aren’t just trying to extract value for your own gain. People notice when
+aren’t just trying to extract value for your own gain. People notice when
you have a sense of purpose that transcends your own
self-interest.<a href="#ftn.idm724" class="footnote" name="idm724"><sup class="footnote">[93]</sup></a> It attracts committed
employees, motivates contributors, and builds trust.
are drawn to the values symbolized by using CC.
</p><p>
To be sustainable, though, you have to work to nurture community. People
-have to care—about you and each other. One critical piece to this is
+have to care—about you and each other. One critical piece to this is
fostering a sense of belonging. As Jono Bacon writes in The Art of
-Community, <span class="quote">«<span class="quote">If there is no belonging, there is no community.</span>»</span>
+Community, <span class="quote">«<span class="quote">If there is no belonging, there is no community.</span>»</span>
For Amanda Palmer and her band, that meant creating an accepting and
-inclusive environment where people felt a part of their <span class="quote">«<span class="quote">weird little
-family.</span>»</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
+inclusive environment where people felt a part of their <span class="quote">«<span class="quote">weird little
+family.</span>
»</span><a href="#ftn.idm734" class="footnote" name="idm734"><sup class="footnote">[95]</sup></a> For organizations like
Red Hat, that means connecting around common beliefs or goals. As the CEO
-Jim Whitehurst wrote in The Open Organization, <span class="quote">«<span class="quote">Tapping into passion
+Jim Whitehurst wrote in The Open Organization, <span class="quote">«<span class="quote">Tapping into passion
is especially important in building the kinds of participative communities
-that drive open organizations.</span>»</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
+that drive open organizations.</span>
»</span><a href="#ftn.idm737" class="footnote" name="idm737"><sup class="footnote">[96]</sup></a>
</p><p>
Communities that collaborate together take deliberate planning. Surowiecki
-wrote, <span class="quote">«<span class="quote">It takes a lot of work to put the group together. It’s
-difficult to ensure that people are working in the group’s interest and not
-in their own. And when there’s a lack of trust between the members of the
-group (which isn’t surprising given that they don’t really know each other),
-considerable energy is wasted trying to determine each other’s bona
-fides.</span>»</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
+wrote, <span class="quote">«<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>
»</span><a href="#ftn.idm741" class="footnote" name="idm741"><sup class="footnote">[97]</sup></a> Building true community
requires giving people within the community the power to create or influence
the rules that govern the community.<a href="#ftn.idm743" class="footnote" name="idm743"><sup class="footnote">[98]</sup></a> If
the rules are created and imposed in a top-down manner, people feel like
-they don’t have a voice, which in turn leads to disengagement.
+they don’t have a voice, which in turn leads to disengagement.
</p><p>
Community takes work, but working together, or even simply being connected
around common interests or values, is in many ways what sharing is about.
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 <span class="quote">«<span class="quote">The Sharing Economy Isn’t
-about Sharing at All,</span>»</span> authors Giana Eckhardt and Fleura Bardhi
+Harvard Business Review website called <span class="quote">«<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>»</span> authors Giana Eckhardt and Fleura Bardhi
explained how the anonymous market-driven trans-actions in most
sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm750" class="footnote" name="idm750"><sup class="footnote">[99]</sup></a> 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.<a href="#ftn.idm754" class="footnote" name="idm754"><sup class="footnote">[100]</sup></a> That is not sharing.
</p><p>
Sharing requires adding as much or more value to the ecosystem than you
-take. You can’t simply treat open content as a free pool of resources from
+take. You can’t simply treat open content as a free pool of resources from
which to extract value. Part of giving back to the ecosystem is contributing
-content back to the public under CC licenses. But it doesn’t have to just be
+content back to the public under CC licenses. But it doesn’t have to just be
about creating content; it can be about adding value in other ways. The
social blogging platform Medium provides value to its community by
incentivizing good behavior, and the result is an online space with
small, incremental edits made by a diverse range of people acting on their
own are immensely valuable in the aggregate. Those same sorts of small
contributions would be less useful for many other types of creative work,
-and people are inherently less motivated to contribute when it doesn’t
+and people are inherently less motivated to contribute when it doesn’t
appear that their efforts will make much of a difference.<a href="#ftn.idm772" class="footnote" name="idm772"><sup class="footnote">[105]</sup></a>
</p><p>
It is easy to romanticize the opportunities for global cocreation made
possible by the Internet, and, indeed, the successful examples of it are
truly incredible and inspiring. But in a wide range of
-circumstances—perhaps more often than not—community cocreation is not part
+circumstances—perhaps more often than not—community cocreation is not part
of the equation, even within endeavors built on CC content. Shirky wrote,
-<span class="quote">«<span class="quote">Sometimes the value of professional work trumps the value of amateur
+<span class="quote">«<span class="quote">Sometimes the value of professional work trumps the value of amateur
sharing or a feeling of belonging.<a href="#ftn.idm776" class="footnote" name="idm776"><sup class="footnote">[106]</sup></a> 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
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,</span>»</span>The only department where I wasn’t open to input was the
+said,</span>»</span>The only department where I wasn’t open to input was the
writing, the music itself."<a href="#ftn.idm778" class="footnote" name="idm778"><sup class="footnote">[107]</sup></a>
</p><p>
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
-<span class="quote">«<span class="quote">making in public</span>»</span> opens the door to letting people feel more
+<span class="quote">«<span class="quote">making in public</span>»</span> opens the door to letting people feel more
invested in your creative work.<a href="#ftn.idm782" class="footnote" name="idm782"><sup class="footnote">[108]</sup></a> And it
shows a nonterritorial approach to ideas and information. Stephen Covey (of
The 7 Habits of Highly Effective People fame) calls this the abundance
-mentality—treating ideas like something plentiful—and it can create an
+mentality—treating ideas like something plentiful—and it can create an
environment where collaboration flourishes.<a href="#ftn.idm784" class="footnote" name="idm784"><sup class="footnote">[109]</sup></a>
</p><p>
There is no one way to involve people in what you do. They key is finding a
Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
</p></div><div id="ftn.idm410" class="footnote"><p><a href="#idm410" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
+ Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
+Age (San Francisco, CA: McSweeney’s, 2014) 68.
</p></div><div id="ftn.idm419" class="footnote"><p><a href="#idm419" class="para"><sup class="para">[39] </sup></a>
Ibid., 55.
</p></div><div id="ftn.idm422" class="footnote"><p><a href="#idm422" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
+ Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
224.
</p></div><div id="ftn.idm426" class="footnote"><p><a href="#idm426" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
+ Doctorow, Information Doesn’t Want to Be Free, 44.
</p></div><div id="ftn.idm438" class="footnote"><p><a href="#idm438" class="para"><sup class="para">[42] </sup></a>
Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let
People Help (New York: Grand Central, 2014), 121.
</p></div><div id="ftn.idm455" class="footnote"><p><a href="#idm455" class="para"><sup class="para">[47] </sup></a>
Anderson, Free, 62.
</p></div><div id="ftn.idm460" class="footnote"><p><a href="#idm460" class="para"><sup class="para">[48] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 38.
+ Doctorow, Information Doesn’t Want to Be Free, 38.
</p></div><div id="ftn.idm465" class="footnote"><p><a href="#idm465" class="para"><sup class="para">[49] </sup></a>
Bollier, Think Like a Commoner, 68.
</p></div><div id="ftn.idm471" class="footnote"><p><a href="#idm471" class="para"><sup class="para">[50] </sup></a>
Anderson, Free, 86.
</p></div><div id="ftn.idm475" class="footnote"><p><a href="#idm475" class="para"><sup class="para">[51] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 144.
+ Doctorow, Information Doesn’t Want to Be Free, 144.
</p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[52] </sup></a>
Anderson, Free, 123.
</p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[53] </sup></a>
Ibid., 70.
</p></div><div id="ftn.idm495" class="footnote"><p><a href="#idm495" class="para"><sup class="para">[55] </sup></a>
James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005),
-124. Surowiecki says, <span class="quote">«<span class="quote">The measure of success of laws and contracts is
-how rarely they are invoked.</span>»</span>
+124. Surowiecki says, <span class="quote">«<span class="quote">The measure of success of laws and contracts is
+how rarely they are invoked.</span>»</span>
</p></div><div id="ftn.idm505" class="footnote"><p><a href="#idm505" class="para"><sup class="para">[56] </sup></a>
Anderson, Free, 44.
</p></div><div id="ftn.idm512" class="footnote"><p><a href="#idm512" class="para"><sup class="para">[57] </sup></a>
</p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[62] </sup></a>
Ibid., 21.
</p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" class="para"><sup class="para">[63] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 43.
+ Doctorow, Information Doesn’t Want to Be Free, 43.
</p></div><div id="ftn.idm538" class="footnote"><p><a href="#idm538" class="para"><sup class="para">[64] </sup></a>
- William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">«<span class="quote">Ten
-Nonprofit Funding Models,</span>»</span> Stanford Social Innovation Review, Spring
+ William Landes Foster, Peter Kim, and Barbara Christiansen, <span class="quote">«<span class="quote">Ten
+Nonprofit Funding Models,</span>»</span> Stanford Social Innovation Review, Spring
2009, <a class="ulink" href="http://ssir.org/articles/entry/ten_nonprofit_funding_models" target="_top">http://ssir.org/articles/entry/ten_nonprofit_funding_models</a>.
</p></div><div id="ftn.idm544" class="footnote"><p><a href="#idm544" class="para"><sup class="para">[65] </sup></a>
Shirky, Cognitive Surplus, 111.
</p></div><div id="ftn.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[93] </sup></a>
Ibid., 36.
</p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[94] </sup></a>
- Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
2012), 36.
</p></div><div id="ftn.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[95] </sup></a>
Palmer, Art of Asking, 98.
</p></div><div id="ftn.idm743" class="footnote"><p><a href="#idm743" class="para"><sup class="para">[98] </sup></a>
Bollier, Think Like a Commoner, 29.
</p></div><div id="ftn.idm750" class="footnote"><p><a href="#idm750" class="para"><sup class="para">[99] </sup></a>
- Giana Eckhardt and Fleura Bardhi, <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
-Sharing at All,</span>»</span> Harvard Business Review (website), January 28, 2015,
+ Giana Eckhardt and Fleura Bardhi, <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
+Sharing at All,</span>»</span> Harvard Business Review (website), January 28, 2015,
<a class="ulink" href="http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all" target="_top">http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all</a>.
</p></div><div id="ftn.idm754" class="footnote"><p><a href="#idm754" class="para"><sup class="para">[100] </sup></a>
Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with
new epilogue (New York: Portfolio, 2012).
</p></div><div id="ftn.idm757" class="footnote"><p><a href="#idm757" class="para"><sup class="para">[101] </sup></a>
- David Lee, <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
-Internet,</span>»</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
+ David Lee, <span class="quote">«<span class="quote">Inside Medium: An Attempt to Bring Civility to the
+Internet,</span>
»</span> BBC News, March 3, 2016, <a class="ulink" href="http://www.bbc.com/news/technology-35709680" target="_top">http://www.bbc.com/news/technology-35709680</a>.
</p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[102] </sup></a>
Anderson, Makers, 148.
</p></div><div id="ftn.idm767" class="footnote"><p><a href="#idm767" class="para"><sup class="para">[103] </sup></a>
</p></div><div id="ftn.idm787" class="footnote"><p><a href="#idm787" class="para"><sup class="para">[110] </sup></a>
Whitehurst, foreword to Open Organization.
</p></div><div id="ftn.idm789" class="footnote"><p><a href="#idm789" class="para"><sup class="para">[111] </sup></a>
- Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
Collaborative Consumption (New York: Harper Business, 2010), 188.
- </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>
Розділ 3. The Creative Commons Licenses</h2></div></div></div><p>
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>
Розділ 3. The Creative Commons Licenses</h2></div></div></div><p>
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
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 <span class="quote">«<span class="quote">copyleft</span>»</span> free and open source software
+often compared to <span class="quote">«<span class="quote">copyleft</span>»</span> 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.
</p><p>
</p><p>
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
+acknowledge you, they don’t have to license their derivative works on the
same terms.
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
</p><p>
The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
restrictive of our six main licenses, only allowing others to download your
-works and share them with others as long as they credit you, but they can’t
+works and share them with others as long as they credit you, but they can’t
change them or use them commercially.
</p><p>
In addition to these six licenses, Creative Commons has two public-domain
-tools—one for creators and the other for those who manage collections of
+tools—one for creators and the other for those who manage collections of
existing works by authors whose terms of copyright have expired:
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
</p><p>
CC0 enables authors and copyright owners to dedicate their works to the
-worldwide public domain (<span class="quote">«<span class="quote">no rights reserved</span>»</span>).
+worldwide public domain (<span class="quote">«<span class="quote">no rights reserved</span>»</span>).
</p><p>
<span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
</p><p>
commercial rights is only one of those ways. It is certainly true that a
license that allows others to make commercial use of your work (CC BY, CC
BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
-apply an Attribution (CC BY) license to your book, you can’t force a film
+apply an Attribution (CC BY) license to your book, you can’t force a film
company to pay you royalties if they turn your book into a feature-length
film, or prevent another company from selling physical copies of your work.
</p><p>
portion of the exclusive bundle of rights that copyright grants to
creators. In some cases, reserving those rights is important to how you
bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
-license because they can’t give up on the dream of hitting the creative
+license because they can’t give up on the dream of hitting the creative
jackpot. The music platform Tribe of Noise told us the NonCommercial
licenses were popular among their users because people still held out the
dream of having a major record label discover their work.
</p><p>
For more about the licenses including examples and tips on sharing your work
in the digital commons, start with the Creative Commons page called
-<span class="quote">
«<span class="quote">Share Your Work</span>»</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
- </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>
Частина II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+<span class="quote">
«<span class="quote">Share Your Work</span>»</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>
ЧаÑ\81Ñ\82ина II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
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
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.
- </p><div class="toc"><p><b>
Зміст</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Розділ 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="toc"><p><b>
Ð\97мÑ\96Ñ\81Ñ\82</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ã\81rtica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>РоздÑ\96л 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Arduino is a for-profit open-source electronics platform and computer
hardware and software company. Founded in 2005 in Italy.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
Igoe, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In 2005, at the Interaction Design Institute Ivrea in northern Italy,
teachers and students needed an easy way to use electronics and programming
to quickly prototype design ideas. As musicians, artists, and designers,
-they needed a platform that didn’t require engineering expertise. A group of
+they needed a platform that didn’t require engineering expertise. A group of
teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
Gianluca Martino, and David Mellis, built a platform that combined different
open technologies. They called it Arduino. The platform integrated software,
Attribution-Share-Alike license (CC BY-SA), and software with the GNU
General Public License.
</p><p>
- Arduino boards are able to read inputs—light on a sensor, a finger on a
-button, or a Twitter message—and turn it into outputs—activating a motor,
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
turning on an LED, publishing something online. You send a set of
instructions to the microcontroller on the board by using the Arduino
programming language and Arduino software (based on a piece of open-source
software called Processing, a programming tool used to make visual art).
- </p><p><span class="quote">«<span class="quote">The reasons for making Arduino open source are complicated,</span>»</span>
+ </p><p><span class="quote">«<span class="quote">The reasons for making Arduino open source are complicated,</span>»</span>
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
-<span class="quote">«<span class="quote">ended up strengthening the platform far beyond what we had even
-thought of building.</span>»</span>
+<span class="quote">«<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>»</span>
</p><p>
For Tom another factor was the impending closure of the Ivrea design
-school. He’d seen other organizations close their doors and all their work
+school. He’d seen other organizations close their doors and all their work
and research just disappear. Open-sourcing ensured that Arduino would
outlive the Ivrea closure. Persistence is one thing Tom really likes about
open source. If key people leave, or a company shuts down, an open-source
-product lives on. In Tom’s view, <span class="quote">«<span class="quote">Open sourcing makes it easier to
-trust a product.</span>»</span>
+product lives on. In Tomâ\80\99s view, <span class="quote">«<span class="quote">Open sourcing makes it easier to
+trust a product.</span>»</span>
</p><p>
With the school closing, David and some of the other Arduino founders
started a consulting firm and multidisciplinary design studio they called
in creative ways. Revenue from Tinker was invested in sustaining and
enhancing Arduino.
</p><p>
- For Tom, part of Arduino’s success is because the founders made themselves
+ For Tom, part of Arduino’s success is because the founders made themselves
the first customer of their product. They made products they themselves
-personally wanted. It was a matter of <span class="quote">«<span class="quote">I need this thing,</span>»</span> not
-<span class="quote">«<span class="quote">If we make this, we’ll make a lot of money.</span>»</span> Tom notes that
+personally wanted. It was a matter of <span class="quote">«<span class="quote">I need this thing,</span>»</span> not
+<span class="quote">«<span class="quote">If we make this, weâ\80\99ll make a lot of money.</span>»</span> Tom notes that
being your own first customer makes you more confident and convincing at
selling your product.
</p><p>
- Arduino’s business model has evolved over time—and Tom says model is a
+ Arduino’s business model has evolved over time—and Tom says model is a
grandiose term for it. Originally, they just wanted to make a few boards and
get them out into the world. They started out with two hundred boards, sold
them, and made a little profit. They used that to make another thousand,
they simply tried to generate enough funding to keep the venture going day
to day. When they hit the ten thousand mark, they started to think about
Arduino as a company. By then it was clear you can open-source the design
-but still manufacture the physical product. As long as it’s a quality
+but still manufacture the physical product. As long as it’s a quality
product and sold at a reasonable price, people will buy it.
</p><p>
- Arduino now has a worldwide community of makers—students, hobbyists,
+ Arduino now has a worldwide community of makers—students, hobbyists,
artists, programmers, and professionals. Arduino provides a wiki called
Playground (a wiki is where all users can edit and add pages, contributing
to and benefiting from collective research). People share code, circuit
diagrams, tutorials, DIY instructions, and tips and tricks, and show off
-their projects. In addition, there’s a multilanguage discussion forum where
+their projects. In addition, there’s a multilanguage discussion forum where
users can get help using Arduino, discuss topics like robotics, and make
suggestions for new Arduino product designs. As of January 2017, 324,928
members had made 2,989,489 posts on 379,044 topics. The worldwide community
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, <span class="quote">«<span class="quote">If you do those other things well, sharing things
-in an open-source way can only help you.</span>»</span>
+apply. David says, <span class="quote">«<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>»</span>
</p><p>
While openly licensing the designs, documentation, and software ensures
-longevity, it does have risks. There’s a possibility that others will create
+longevity, it does have risks. There’s a possibility that others will create
knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
copies of their boards, redesign them, and even sell boards that copy the
-design. They don’t have to pay a license fee to Arduino or even ask
+design. They don’t have to pay a license fee to Arduino or even ask
permission. However, if they republish the design of the board, they have to
give attribution to Arduino. If they change the design, they must release
the new design using the same Creative Commons license to ensure that the
form-factor of classic boards), shields (elements that can be plugged onto a
board to give it extra features), and kits.<a href="#ftn.idm884" class="footnote" name="idm884"><sup class="footnote">[112]</sup></a>
</p><p>
- Arduino’s focus is on high-quality boards, well-designed support materials,
+ Arduino’s focus is on high-quality boards, well-designed support materials,
and the building of community; this focus is one of the keys to their
success. And being open lets you build a real community. David says
-Arduino’s community is a big strength and something that really does
-matter—in his words, <span class="quote">«<span class="quote">It’s good business.</span>»</span> When they started,
+Arduino’s community is a big strength and something that really does
+matterâ\80\94in his words, <span class="quote">«<span class="quote">Itâ\80\99s good business.</span>»</span> When they started,
the Arduino team had almost entirely no idea how to build a community. They
started by conducting numerous workshops, working directly with people using
the platform to make sure the hardware and software worked the way it was
-meant to work and solved people’s problems. The community grew organically
+meant to work and solved people’s problems. The community grew organically
from there.
</p><p>
A key decision for Arduino was trademarking the name. The founders needed a
easily identify their products, and the products sanctioned by them. If
others want to sell boards using the Arduino name and logo, they have to pay
a small fee to Arduino. This allows Arduino to scale up manufacturing and
-distribution while at the same time ensuring the Arduino brand isn’t hurt by
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
low-quality copies.
</p><p>
Current official manufacturers are Smart Projects in Italy, SparkFun in the
manufacturers that are allowed to use the Arduino logo on their
boards. Trademarking their brand provided the founders with a way to protect
Arduino, build it out further, and fund software and tutorial
-development. The trademark-licensing fee for the brand became Arduino’s
+development. The trademark-licensing fee for the brand became Arduino’s
revenue-generating model.
</p><p>
- How far to open things up wasn’t always something the founders perfectly
+ How far to open things up wasn’t always something the founders perfectly
agreed on. David, who was always one to advocate for opening things up more,
had some fears about protecting the Arduino name, thinking people would be
mad if they policed their brand. There was some early backlash with a
default strategy, and then think about whether there is anything that really
needs to be protected and why. There are lots of good reasons to not open up
certain elements. This strategy of sharing everything is certainly the
-complete opposite of how today’s world operates, where nothing is
+complete opposite of how today’s world operates, where nothing is
shared. Tom suggests a business formalize which elements are based on open
sharing and which are closed. An Arduino blog post from 2013 entitled
-<span class="quote">«<span class="quote">Send In the Clones,</span>»</span> by one of the founders Massimo Banzi,
+<span class="quote">«<span class="quote">Send In the Clones,</span>»</span> 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.<a href="#ftn.idm894" class="footnote" name="idm894"><sup class="footnote">[113]</sup></a>
</p><p>
For David, an exciting aspect of Arduino is the way lots of people can use
it to adapt technology in many different ways. Technology is always making
-more things possible but doesn’t always focus on making it easy to use and
-adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">«<span class="quote">making
-things that help other people make things.</span>»</span>
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduinoâ\80\99s goal is <span class="quote">«<span class="quote">making
+things that help other people make things.</span>»</span>
</p><p>
Arduino has been hugely successful in making technology and electronics
-reach a larger audience. For Tom, Arduino has been about <span class="quote">«<span class="quote">the
-democratization of technology.</span>»</span> Tom sees Arduino’s open-source
+reach a larger audience. For Tom, Arduino has been about <span class="quote">«<span class="quote">the
+democratization of technology.</span>»</span> Tom sees Arduino’s open-source
strategy as helping the world get over the idea that technology has to be
-protected. Tom says, <span class="quote">«<span class="quote">Technology is a literacy everyone should
-learn.</span>»</span>
+protected. Tom says, <span class="quote">«<span class="quote">Technology is a literacy everyone should
+learn.</span>»</span>
</p><p>
- Ultimately, for Arduino, going open has been good business—good for product
+ Ultimately, for Arduino, going open has been good business—good for product
development, good for distribution, good for pricing, and good for
manufacturing.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>
Розділ 5. Ártica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
- Ártica provides online courses and consulting services focused on how to use
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm884" class="footnote"><p><a href="#idm884" class="para"><sup class="para">[112] </sup></a><a class="ulink" href="http://www.arduino.cc/en/Main/Products" target="_top">http://www.arduino.cc/en/Main/Products</a></p></div><div id="ftn.idm894" class="footnote"><p><a href="#idm894" class="para"><sup class="para">[113] </sup></a><a class="ulink" href="http://blog.arduino.cc/2013/07/10/send-in-the-clones/" target="_top">http://blog.arduino.cc/2013/07/10/send-in-the-clones/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="artica"></a>
РоздÑ\96л 5. Ã\81rtica</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Ártica provides online courses and consulting services focused on how to use
digital technology to share knowledge and enable collaboration in arts and
culture. Founded in 2011 in Uruguay.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
Gemetto, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
ultimate example of DIY. Not only are they successful entrepreneurs, the
niche in which their small business operates is essentially one they built
themselves.
</p><p>
- Their dream jobs didn’t exist, so they created them.
+ Their dream jobs didn’t exist, so they created them.
</p><p>
In 2011, Mariana was a sociologist working for an international organization
to develop research and online education about rural-development
were bloggers and heavy users of social media, and both had a passion for
arts and culture. They decided to take their skills in digital technology
and online learning and apply them to a topic area they loved. They launched
-Ártica, an online business that provides education and consulting for people
+Ártica, an online business that provides education and consulting for people
and institutions creating artistic and cultural projects on the Internet.
</p><p>
- Ártica feels like a uniquely twenty-first century business. The small
+ Ártica feels like a uniquely twenty-first century business. The small
company has a global online presence with no physical offices. Jorge and
Mariana live in Uruguay, and the other two full-time employees, who Jorge
and Mariana have never actually met in person, live in Spain. They started
directly tap into an audience without relying upon gatekeepers or
intermediaries.
</p><p>
- Ártica offers personalized education and consulting services, and helps
+ Ártica offers personalized education and consulting services, and helps
clients implement projects. All of these services are customized. They call
-it an <span class="quote">«<span class="quote">artisan</span>»</span> process because of the time and effort it takes
+it an <span class="quote">«<span class="quote">artisan</span>»</span> process because of the time and effort it takes
to adapt their work for the particular needs of students and
-clients. <span class="quote">«<span class="quote">Each student or client is paying for a specific solution to
-his or her problems and questions,</span>»</span> Mariana said. Rather than sell
+clients. <span class="quote">«<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>»</span> Mariana said. Rather than sell
access to their content, they provide it for free and charge for the
personalized services.
</p><p>
When they started, they offered a smaller number of courses designed to
-attract large audiences. <span class="quote">«<span class="quote">Over the years, we realized that online
-communities are more specific than we thought,</span>»</span> Mariana said. Ártica
+attract large audiences. <span class="quote">«<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>»</span> Mariana said. Ártica
now provides more options for classes and has lower enrollment in each
course. This means they can provide more attention to individual students
and offer classes on more specialized topics.
when they work with cultural institutions, and some are smaller projects
commissioned by individual artists.
</p><p>
- Ártica also seeks out public and private funding for specific
+ Ártica also seeks out public and private funding for specific
projects. Sometimes, even if they are unsuccessful in subsidizing a project
like a new course or e-book, they will go ahead because they believe in
it. They take the stance that every new project leads them to something new,
every new resource they create opens new doors.
</p><p>
- Ártica relies heavily on their free Creative Commons–licensed content to
-attract new students and clients. Everything they create—online education,
-blog posts, videos—is published under an Attribution-ShareAlike license (CC
-BY-SA). <span class="quote">«<span class="quote">We use a ShareAlike license because we want to give the
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">«<span class="quote">We use a ShareAlike license because we want to give the
greatest freedom to our students and readers, and we also want that freedom
-to be viral,</span>»</span> Jorge said. For them, giving others the right to reuse
-and remix their content is a fundamental value. <span class="quote">«<span class="quote">How can you offer an
+to be viral,</span>»</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">«<span class="quote">How can you offer an
online educational service without giving permission to download, make and
-keep copies, or print the educational resources?</span>»</span> Jorge
-said. <span class="quote">«<span class="quote">If we want to do the best for our students—those who trust in
+keep copies, or print the educational resources?</span>»</span> Jorge
+said. <span class="quote">«<span class="quote">If we want to do the best for our students—those who trust in
us to the point that they are willing to pay online without face-to-face
-contact—we have to offer them a fair and ethical agreement.</span>»</span>
+contactâ\80\94we have to offer them a fair and ethical agreement.</span>»</span>
</p><p>
They also believe sharing their ideas and expertise openly helps them build
their reputation and visibility. People often share and cite their work. A
few years ago, a publisher even picked up one of their e-books and
-distributed printed copies. Ártica views reuse of their work as a way to
+distributed printed copies. Ártica views reuse of their work as a way to
open up new opportunities for their business.
</p><p>
This belief that openness creates new opportunities reflects another
-belief—in serendipity. When describing their process for creating content,
+belief—in serendipity. When describing their process for creating content,
they spoke of all of the spontaneous and organic ways they find
-inspiration. <span class="quote">«<span class="quote">Sometimes, the collaborative process starts with a
-conversation between us, or with friends from other projects,</span>»</span> Jorge
-said. <span class="quote">«<span class="quote">That can be the first step for a new blog post or another
+inspiration. <span class="quote">«<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>»</span> Jorge
+said. <span class="quote">«<span class="quote">That can be the first step for a new blog post or another
simple piece of content, which can evolve to a more complex product in the
-future, like a course or a book.</span>»</span>
+future, like a course or a book.</span>»</span>
</p><p>
Rather than planning their work in advance, they let their creative process
-be dynamic. <span class="quote">«<span class="quote">This doesn’t mean that we don’t need to work hard in
+be dynamic. <span class="quote">«<span class="quote">This doesn’t mean that we don’t need to work hard in
order to get good professional results, but the design process is more
-flexible,</span>»</span> Jorge said. They share early and often, and they adjust
+flexible,</span>»</span> 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.
</p><p>
People and relationships are also just as important, sometimes
-more. <span class="quote">«<span class="quote">In the educational and cultural business, it is more important
+more. <span class="quote">«<span class="quote">In the educational and cultural business, it is more important
to pay attention to people and process, rather than content or specific
-formats or materials,</span>»</span> Mariana said. <span class="quote">«<span class="quote">Materials and content
-are fluid. The important thing is the relationships.</span>»</span>
+formats or materials,</span>»</span> Mariana said. <span class="quote">«<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>»</span>
</p><p>
- Ártica believes in the power of the network. They seek to make connections
+ Ártica believes in the power of the network. They seek to make connections
with people and institutions across the globe so they can learn from them
and share their knowledge.
</p><p>
- At the core of everything Ártica does is a set of values. <span class="quote">«<span class="quote">Good
-content is not enough,</span>»</span> Jorge said. <span class="quote">«<span class="quote">We also think that it is
+ At the core of everything Ã\81rtica does is a set of values. <span class="quote">«<span class="quote">Good
+content is not enough,</span>»</span> Jorge said. <span class="quote">«<span class="quote">We also think that it is
very important to take a stand for some things in the cultural
-sector.</span>»</span> Mariana and Jorge are activists. They defend free culture
+sector.</span>»</span> Mariana and Jorge are activists. They defend free culture
(the movement promoting the freedom to modify and distribute creative work)
and work to demonstrate the intersection between free culture and other
social-justice movements. Their efforts to involve people in their work and
tied closely to their belief system. Ultimately, what drives their work is
a mission to democratize art and culture.
</p><p>
- Of course, Ártica also has to make enough money to cover its expenses. Human
+ Of course, Ártica also has to make enough money to cover its expenses. Human
resources are, by far, their biggest expense. They tap a network of
collaborators on a case-by-case basis and hire contractors for specific
projects. Whenever possible, they draw from artistic and cultural resources
in the commons, and they rely on free software. Their operation is small,
efficient, and sustainable, and because of that, it is a success.
- </p><p><span class="quote">«<span class="quote">There are lots of people offering online courses,</span>»</span> Jorge
-said. <span class="quote">«<span class="quote">But it is easy to differentiate us. We have an approach that is
-very specific and personal.</span>»</span> Ártica’s model is rooted in the personal
+ </p><p><span class="quote">«<span class="quote">There are lots of people offering online courses,</span>»</span> Jorge
+said. <span class="quote">«<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>»</span> Ártica’s model is rooted in the personal
at every level. For Mariana and Jorge, success means doing what brings them
personal meaning and purpose, and doing it sustainably and collaboratively.
</p><p>
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. <span class="quote">«<span class="quote">If they seek only the traditional type of success,
-they will get frustrated,</span>»</span> Mariana said. <span class="quote">«<span class="quote">We try to show them
-another image of what it looks like.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>
Розділ 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+from the media. <span class="quote">«<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>»</span> Mariana said. <span class="quote">«<span class="quote">We try to show them
+another image of what it looks like.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>
РоздÑ\96л 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Blender Institute is an animation studio that creates 3-D films using
Blender software. Founded in 2006 in the Netherlands.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
coordinator
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
the creative and technical community working together.
</p><p>
Rather than just talking about the theoretical benefits of sharing and free
-culture, Ton is very much about doing and making free culture. Blender’s
-production coordinator Francesco Siddi told us, <span class="quote">«<span class="quote">Ton believes if you
-don’t make content using your tools, then you’re not doing anything.</span>»</span>
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">«<span class="quote">Ton believes if you
+donâ\80\99t make content using your tools, then youâ\80\99re not doing anything.</span>»</span>
</p><p>
- Blender’s history begins in the late 1990s, when Ton created the Blender
+ Blender’s history begins in the late 1990s, when Ton created the Blender
software. Originally, the software was an in-house resource for his
animation studio based in the Netherlands. Investors became interested in
the software, so he began marketing the software to the public, offering a
free version in addition to a paid version. Sales were disappointing, and
his investors gave up on the endeavor in the early 2000s. He made a deal
-with investors—if he could raise enough money, he could then make the
+with investors—if he could raise enough money, he could then make the
Blender software available under the GNU General Public License.
</p><p>
This was long before Kickstarter and other online crowdfunding sites
raised the money he needed. The Blender software became freely available for
anyone to use. Simply applying the General Public License to the software,
however, was not enough to create a thriving community around it. Francesco
-told us, <span class="quote">«<span class="quote">Software of this complexity relies on people and their
+told us, <span class="quote">«<span class="quote">Software of this complexity relies on people and their
vision of how people work together. Ton is a fantastic community builder and
manager, and he put a lot of work into fostering a community of developers
-so that the project could live.</span>»</span>
+so that the project could live.</span>»</span>
</p><p>
Like any successful free and open-source software project, Blender developed
quickly because the community could make fixes and
-improvements. <span class="quote">«<span class="quote">Software should be free and open to hack,</span>»</span>
-Francesco said. <span class="quote">«<span class="quote">Otherwise, everyone is doing the same thing in the
-dark for ten years.</span>»</span> Ton set up the Blender Foundation to oversee and
+improvements. <span class="quote">«<span class="quote">Software should be free and open to hack,</span>»</span>
+Francesco said. <span class="quote">«<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>»</span> Ton set up the Blender Foundation to oversee and
steward the software development and maintenance.
</p><p>
After a few years, Ton began looking for new ways to push development of the
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. <span class="quote">«<span class="quote">The idea that making money was
+succeeded, people were astounded. <span class="quote">«<span class="quote">The idea that making money was
possible by producing CC-licensed material was mind-blowing to
-people,</span>»</span> he said. <span class="quote">«<span class="quote">They were like, <span class="quote">„<span class="quote">I have to see it to
-believe it.</span>“</span></span>»</span>
+people,</span>»</span> he said. <span class="quote">«<span class="quote">They were like, <span class="quote">„<span class="quote">I have to see it to
+believe it.</span>â\80\9c</span></span>»</span>
</p><p>
The first film, which was released in 2006, was an experiment. It was so
successful that Ton decided to set up the Blender Institute, an entity
-dedicated to hosting open-movie projects. The Blender Institute’s next
+dedicated to hosting open-movie projects. The Blender Institute’s next
project was an even bigger success. The film, Big Buck Bunny, went viral,
and its animated characters were picked up by marketers.
</p><p>
storytelling. Francesco says the process is almost on an industrial scale
because of the number of moving parts. This requires a lot of specialized
assistance, but the Blender Institute has no problem finding the talent it
-needs to help on projects. <span class="quote">«<span class="quote">Blender hardly does any recruiting for
-film projects because the talent emerges naturally,</span>»</span> Francesco
-said. <span class="quote">«<span class="quote">So many people want to work with us, and we can’t always hire
-them because of budget constraints.</span>»</span>
+needs to help on projects. <span class="quote">«<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>»</span> Francesco
+said. <span class="quote">«<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">There is a whole
-community who sees and understands the benefit of these projects,</span>»</span>
+community leader and visionary for their work. <span class="quote">«<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>»</span>
Francesco said.
</p><p>
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. <span class="quote">«<span class="quote">Once a project is over,
-everyone goes home,</span>»</span> he said. <span class="quote">«<span class="quote">It is great fun, but then it
-ends. That is a problem.</span>»</span>
+specific project and ask for funding. <span class="quote">«<span class="quote">Once a project is over,
+everyone goes home,</span>»</span> he said. <span class="quote">«<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>»</span>
</p><p>
To make their work more sustainable, they needed a way to receive ongoing
support rather than on a project-by-project basis. Their solution is Blender
Cloud, a subscription-style crowdfunding model akin to the online
crowdfunding platform, Patreon. For about ten euros each month, subscribers
-get access to download everything the Blender Institute produces—software,
+get access to download everything the Blender Institute produces—software,
art, training, and more. All of the assets are available under an
Attribution license (CC BY) or placed in the public domain (CC0), but they
are initially made available only to subscribers. Blender Cloud enables
-subscribers to follow Blender’s movie projects as they develop, sharing
+subscribers to follow Blender’s movie projects as they develop, sharing
detailed information and content used in the creative process. Blender Cloud
also has extensive training materials and libraries of characters and other
assets used in various projects.
</p><p>
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. <span class="quote">«<span class="quote">This is our freedom,</span>»</span>
-he told us, <span class="quote">«<span class="quote">and for artists, freedom is everything.</span>»</span>
+goal is to grow their subscriber base. <span class="quote">«<span class="quote">This is our freedom,</span>»</span>
+he told us, <span class="quote">«<span class="quote">and for artists, freedom is everything.</span>»</span>
</p><p>
Blender Cloud is the primary revenue stream of the Blender Institute. The
Blender Foundation is funded primarily by donations, and that money goes
</p><p>
Since 2006, he has been making films available along with all of their
source material. He says he has hardly ever seen people stepping into
-Blender’s shoes and trying to make money off of their content. Ton believes
+Blender’s shoes and trying to make money off of their content. Ton believes
this is because the true value of what they do is in the creative and
-production process. <span class="quote">«<span class="quote">Even when you share everything, all your original
+production process. <span class="quote">«<span class="quote">Even when you share everything, all your original
sources, it still takes a lot of talent, skills, time, and budget to
-reproduce what you did,</span>»</span> Ton said.
+reproduce what you did,</span>»</span> Ton said.
</p><p>
For Ton and Blender, it all comes back to doing.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>
Розділ 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>
РоздÑ\96л 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p>
copies
</p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
If you ask cofounder Max Temkin, there is nothing particularly interesting
-about the Cards Against Humanity business model. <span class="quote">«<span class="quote">We make a
+about the Cards Against Humanity business model. <span class="quote">«<span class="quote">We make a
product. We sell it for money. Then we spend less money than we
-make,</span>»</span> Max said.
+make,</span>»</span> Max said.
</p><p>
He is right. Cards Against Humanity is a simple party game, modeled after
the game Apples to Apples. To play, one player asks a question or
fill-in-the-blank statement from a black card, and the other players submit
their funniest white card in response. The catch is that all of the cards
are filled with crude, gruesome, and otherwise awful things. For the right
-kind of people (<span class="quote">«<span class="quote">horrible people,</span>»</span> according to Cards Against
+kind of people (<span class="quote">«<span class="quote">horrible people,</span>»</span> according to Cards Against
Humanity advertising), this makes for a hilarious and fun game.
</p><p>
The revenue model is simple. Physical copies of the game are sold for a
same noncommercial terms. The ability to adapt the game is like an entire
new game unto itself.
</p><p>
- 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
+ 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.
</p><p>
Their success is not the result of a grand plan. Instead, Cards Against
Humanity was the last in a long line of games and comedy projects that Max
Temkin and his friends put together for their own amusement. As Max tells
-the story, they made the game so they could play it themselves on New Year’s
+the story, they made the game so they could play it themselves on New Year’s
Eve because they were too nerdy to be invited to other parties. The game was
a hit, so they decided to put it up online as a free PDF. People started
asking if they could pay to have the game printed for them, and eventually
they decided to run a Kickstarter to fund the printing. They set their
-Kickstarter goal at $4,000—and raised $15,000. The game was officially
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
released in May 2011.
</p><p>
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. <span class="quote">«<span class="quote">It kind of just happened,</span>»</span> he
+make it an ongoing business. <span class="quote">«<span class="quote">It kind of just happened,</span>»</span> he
said.
</p><p>
- But this tale of a <span class="quote">«<span class="quote">happy accident</span>»</span> belies marketing
+ But this tale of a <span class="quote">«<span class="quote">happy accident</span>»</span> 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 <span class="quote">«<span class="quote">Your dumb questions.</span>»</span>
+website <span class="quote">«<span class="quote">Your dumb questions.</span>»</span>
</p><p>
Like most quality satire, however, there is more to the joke than vulgarity
-and shock value. The company’s marketing efforts around Black Friday
+and shock value. The company’s marketing efforts around Black Friday
illustrate this particularly well. For those outside the United States,
Black Friday is the term for the day after the Thanksgiving holiday, the
biggest shopping day of the year. It is an incredibly important day for
Cards Against Humanity, like it is for all U.S. retailers. Max said they
-struggled with what to do on Black Friday because they didn’t want to
-support what he called the <span class="quote">«<span class="quote">orgy of consumerism</span>»</span> the day has
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">«<span class="quote">orgy of consumerism</span>»</span> the day has
become, particularly since it follows a day that is about being grateful for
what you have. In 2013, after deliberating, they decided to have an
Everything Costs $5 More sale.
- </p><p><span class="quote">«<span class="quote">We sweated it out the night before Black Friday, wondering if our
-fans were going to hate us for it,</span>»</span> he said. <span class="quote">«<span class="quote">But it made us
-laugh so we went with it. People totally caught the joke.</span>»</span>
+ </p><p><span class="quote">«<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>»</span> he said. <span class="quote">«<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>»</span>
</p><p>
This sort of bold transparency delights the media, but more importantly, it
-engages their fans. <span class="quote">«<span class="quote">One of the most surprising things you can do in
-capitalism is just be honest with people,</span>»</span> Max said. <span class="quote">«<span class="quote">It shocks
-people that there is transparency about what you are doing.</span>»</span>
+engages their fans. <span class="quote">«<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>»</span> Max said. <span class="quote">«<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>»</span>
</p><p>
- Max also likened it to a grand improv scene. <span class="quote">«<span class="quote">If we do something a
+ Max also likened it to a grand improv scene. <span class="quote">«<span class="quote">If we do something a
little subversive and unexpected, the public wants to be a part of the
-joke.</span>»</span> One year they did a Give Cards Against Humanity $5 event,
+joke.</span>»</span> 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
decision to apply a Creative Commons license to the game. Trusting your
customers to reuse and remix your work requires a leap of faith. Cards
-Against Humanity obviously isn’t afraid of doing the unexpected, but there
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
are lines even they do not want to cross. Before applying the license, Max
said they worried that some fans would adapt the game to include all of the
jokes they intentionally never made because they crossed that
-line. <span class="quote">«<span class="quote">It happened, and the world didn’t end,</span>»</span> Max
-said. <span class="quote">«<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
-times over because there are so many benefits.</span>»</span>
+line. <span class="quote">«<span class="quote">It happened, and the world didnâ\80\99t end,</span>»</span> Max
+said. <span class="quote">«<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>»</span>
</p><p>
Any successful product inspires its biggest fans to create remixes of it,
but unsanctioned adaptations are more likely to fly under the radar. The
run with the game and copy, adapt, and promote their creations openly. Today
there are thousands of fan expansions of the game.
</p><p>
- Max said, <span class="quote">«<span class="quote">CC was a no-brainer for us because it gets the most people
+ Max said, <span class="quote">«<span class="quote">CC was a no-brainer for us because it gets the most people
involved. Making the game free and available under a CC license led to the
unbelievable situation where we are one of the best-marketed games in the
-world, and we have never spent a dime on marketing.</span>»</span>
+world, and we have never spent a dime on marketing.</span>»</span>
</p><p>
Of course, there are limits to what the company allows its customers to do
with the game. They chose the Attribution-NonCommercial-ShareAlike license
because it restricts people from using the game to make money. It also
requires that adaptations of the game be made available under the same
licensing terms if they are shared publicly. Cards Against Humanity also
-polices its brand. <span class="quote">«<span class="quote">We feel like we’re the only ones who can use our
-brand and our game and make money off of it,</span>»</span> Max said. About 99.9
+polices its brand. <span class="quote">«<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>»</span> Max said. About 99.9
percent of the time, they just send an email to those making commercial use
of the game, and that is the end of it. There have only been a handful of
instances where they had to get a lawyer involved.
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. <span class="quote">«<span class="quote">We have daylong arguments about commas,</span>»</span> Max
-said. <span class="quote">«<span class="quote">The slacker tone of the cards gives people the impression that
+for the game. <span class="quote">«<span class="quote">We have daylong arguments about commas,</span>»</span> Max
+said. <span class="quote">«<span class="quote">The slacker tone of the cards gives people the impression that
it is easy to write them, but it is actually a lot of work and
-quibbling.</span>»</span>
+quibbling.</span>»</span>
</p><p>
- That means cocreation with their fans really doesn’t work. The company has a
+ That means cocreation with their fans really doesn’t work. The company has a
submission mechanism on their website, and they get thousands of
suggestions, but it is very rare that a submitted card is adopted. Instead,
the eight initial creators remain the primary authors of expansion decks and
</p><p>
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. <span class="quote">«<span class="quote">We don’t make jokes
-and games to make money—we make money so we can make more jokes and
-games,</span>»</span> he said.
+the Walt Disney philosophy of financial success. <span class="quote">«<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>»</span> he said.
</p><p>
In fact, the company has given more than $4 million to various charities and
-causes. <span class="quote">«<span class="quote">Cards is not our life plan,</span>»</span> Max said. <span class="quote">«<span class="quote">We all
+causes. <span class="quote">«<span class="quote">Cards is not our life plan,</span>»</span> Max said. <span class="quote">«<span class="quote">We all
have other interests and hobbies. We are passionate about other things going
on in our lives. A lot of the activism we have done comes out of us taking
things from the rest of our lives and channeling some of the excitement from
-the game into it.</span>»</span>
+the game into it.</span>»</span>
</p><p>
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.
- </p><p><span class="quote">«<span class="quote">It’s not right for everyone to release everything under CC
-licensing,</span>»</span> Max said. <span class="quote">«<span class="quote">If your only goal is to make a lot of
+ </p><p><span class="quote">«<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>»</span> Max said. <span class="quote">«<span class="quote">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.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>
Розділ 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+speaks to your values, and who you are and why youâ\80\99re making things.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>
РоздÑ\96л 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
grant funding
</p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Australia. He experienced firsthand the decline of newspapers, including the
collapse of revenues, layoffs, and the constant pressure to reduce
costs. After he left the Age in 2005, his concern for the future journalism
-didn’t go away. Andrew made a commitment to come up with an alternative
+didn’t go away. Andrew made a commitment to come up with an alternative
model.
</p><p>
Around the time he left his job as editor of the Melbourne Age, Andrew
journalism with depth and substance but was concerned about the increasing
focus on the sensational and sexy.
</p><p>
- While at the Age, he’d become friends with a vice-chancellor of a university
-in Melbourne who encouraged him to talk to smart people across campus—an
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
astrophysicist, a Nobel laureate, earth scientists, economists . . . These
were the kind of smart people he wished were more involved in informing the
world about what is going on and correcting the errors that appear in
media. However, they were reluctant to engage with mass media. Often,
-journalists didn’t understand what they said, or unilaterally chose what
+journalists didn’t understand what they said, or unilaterally chose what
aspect of a story to tell, putting out a version that these people felt was
wrong or mischaracterized. Newspapers want to attract a mass
audience. Scholars want to communicate serious news, findings, and
-insights. It’s not a perfect match. Universities are massive repositories of
+insights. It’s not a perfect match. Universities are massive repositories of
knowledge, research, wisdom, and expertise. But a lot of that stays behind a
-wall of their own making—there are the walled garden and ivory tower
+wall of their own making—there are the walled garden and ivory tower
metaphors, and in more literal terms, the paywall. Broadly speaking,
universities are part of society but disconnected from it. They are an
enormous public resource but not that good at presenting their expertise to
working one-on-one to refine everything from story structure to headline,
captions, and quotes. The editors could help turn something that is
academic into something understandable and readable. And this would be a key
-difference from traditional journalism—the subject matter expert would get a
+difference from traditional journalism—the subject matter expert would get a
chance to check the article and give final approval before it is
published. Compare this with reporters just picking and choosing the quotes
and writing whatever they want.
</p><p>
The Conversation is founded on the belief that underpinning a functioning
democracy is access to independent, high-quality, informative
-journalism. The Conversation’s aim is for people to have a better
-understanding of current affairs and complex issues—and hopefully a better
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
quality of public discourse. The Conversation sees itself as a source of
trusted information dedicated to the public good. Their core mission is
simple: to provide readers with a reliable source of evidence-based
important is where the content originates, and even though it comes from the
university and research community, it still needs to be fully disclosed. The
Conversation does not sit behind a paywall. Andrew believes access to
-information is an issue of equality—everyone should have access, like access
+information is an issue of equality—everyone should have access, like access
to clean water. The Conversation is committed to an open and free
Internet. Everyone should have free access to their content, and be able to
share it or republish it.
</p><p>
Creative Commons help with these goals; articles are published with the
-Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+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 republished their content. The Conversation website gets about 2.9
million unique views per month, but through republication they have
-thirty-five million readers. This couldn’t have been done without the
-Creative Commons license, and in Andrew’s view, Creative Commons is central
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
to everything the Conversation does.
</p><p>
When readers come across the Conversation, they seem to like what they find
and recommend it to their friends, peers, and networks. Readership has
-grown primarily through word of mouth. While they don’t have sales and
+grown primarily through word of mouth. While they don’t have sales and
marketing, they do promote their work through social media (including
Twitter and Facebook), and by being an accredited supplier to Google News.
</p><p>
- It’s usual for the founders of any company to ask themselves what kind of
+ It’s usual for the founders of any company to ask themselves what kind of
company it should be. It quickly became clear to the founders of the
Conversation that they wanted to create a public good rather than make money
off of information. Most media companies are working to aggregate as many
-eyeballs as possible and sell ads. The Conversation founders didn’t want
+eyeballs as possible and sell ads. The Conversation founders didn’t want
this model. It takes no advertising and is a not-for-profit venture.
</p><p>
There are now different editions of the Conversation for Africa, the United
Kingdom, France, and the United States, in addition to the one for
Australia. All five editions have their own editorial mastheads, advisory
-boards, and content. The Conversation’s global virtual newsroom has roughly
+boards, and content. The Conversation’s global virtual newsroom has roughly
ninety staff working with thirty-five thousand academics from over sixteen
hundred universities around the world. The Conversation would like to be
working with university scholars from even more parts of the world.
</p><p>
Additionally, each edition has its own set of founding partners, strategic
-partners, and funders. They’ve received funding from foundations,
+partners, and funders. They’ve received funding from foundations,
corporates, institutions, and individual donations, but the Conversation is
shifting toward paid memberships by universities and research institutions
to sustain operations. This would safeguard the current service and help
</p><p>
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 <span class="quote">«<span class="quote">members and
-funders.</span>»</span> Early participants may be designated as <span class="quote">«<span class="quote">founding
-members,</span>»</span> with seats on the editorial advisory board.
+website, paying university members are listed as <span class="quote">«<span class="quote">members and
+funders.</span>»</span> Early participants may be designated as <span class="quote">«<span class="quote">founding
+members,</span>»</span> with seats on the editorial advisory board.
</p><p>
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
submit a journal paper, and consult a company on a topic.
</p><p>
These reach and impact metrics show the benefits of membership. With the
-Conversation, universities can engage with the public and show why they’re
+Conversation, universities can engage with the public and show why they’re
of value.
</p><p>
- With its tagline, <span class="quote">«<span class="quote">Academic Rigor, Journalistic Flair,</span>»</span> the
+ With its tagline, <span class="quote">«<span class="quote">Academic Rigor, Journalistic Flair,</span>»</span> the
Conversation represents a new form of journalism that contributes to a more
informed citizenry and improved democracy around the world. Its open
-business model and use of Creative Commons show how it’s possible to
+business model and use of Creative Commons show how it’s possible to
generate both a public good and operational revenue at the same time.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>
Розділ 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1075" class="footnote"><p><a href="#idm1075" class="para"><sup class="para">[114] </sup></a><a class="ulink" href="http://theconversation.com/us/charter" target="_top">http://theconversation.com/us/charter</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cory-doctorow"></a>
РоздÑ\96л 9. Cory Doctorow</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Cory Doctorow is a science fiction writer, activist, blogger, and
journalist. Based in the U.S.
</p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
copies (book sales), pay-what-you-want, selling translation rights to books
</p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
- Cory Doctorow hates the term <span class="quote">«<span class="quote">business model,</span>»</span> and he is
-adamant that he is not a brand. <span class="quote">«<span class="quote">To me, branding is the idea that you
+ Cory Doctorow hates the term <span class="quote">«<span class="quote">business model,</span>»</span> and he is
+adamant that he is not a brand. <span class="quote">«<span class="quote">To me, branding is the idea that you
can take a thing that has certain qualities, remove the qualities, and go on
-selling it,</span>»</span> he said. <span class="quote">«<span class="quote">I’m not out there trying to figure out
-how to be a brand. I’m doing this thing that animates me to work crazy
-insane hours because it’s the most important thing I know how to do.</span>»</span>
+selling it,</span>»</span> he said. <span class="quote">«<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because itâ\80\99s the most important thing I know how to do.</span>»</span>
</p><p>
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
his work has been published under a Creative Commons license. Cory is
coeditor of the popular CC-licensed site Boing Boing, where he writes about
technology, politics, and intellectual property. He has also written several
-nonfiction books, including the most recent Information Doesn’t Want to Be
+nonfiction books, including the most recent Information Doesn’t Want to Be
Free, about the ways in which creators can make a living in the Internet
age.
</p><p>
paid speaking gigs and is experimenting with pay-what-you-want models for
his work.
</p><p>
- While Cory’s extensive body of fiction work has a large following, he is
+ While Cory’s extensive body of fiction work has a large following, he is
just as well known for his activism. He is an outspoken opponent of
restrictive copyright and digital-rights-management (DRM) technology used to
lock up content because he thinks both undermine creators and the public
interest. He is currently a special adviser at the Electronic Frontier
Foundation, where he is involved in a lawsuit challenging the U.S. law that
-protects DRM. Cory says his political work doesn’t directly make him money,
+protects DRM. Cory says his political work doesn’t directly make him money,
but if he gave it up, he thinks he would lose credibility and, more
-importantly, lose the drive that propels him to create. <span class="quote">«<span class="quote">My political
-work is a different expression of the same artistic-political urge,</span>»</span>
-he said. <span class="quote">«<span class="quote">I have this suspicion that if I gave up the things that
-didn’t make me money, the genuineness would leach out of what I do, and the
-quality that causes people to like what I do would be gone.</span>»</span>
+importantly, lose the drive that propels him to create. <span class="quote">«<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>»</span>
+he said. <span class="quote">«<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>»</span>
</p><p>
Cory has been financially successful, but money is not his primary
-motivation. At the start of his book Information Doesn’t Want to Be Free, he
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
stresses how important it is not to become an artist if your goal is to get
-rich. <span class="quote">«<span class="quote">Entering the arts because you want to get rich is like buying
-lottery tickets because you want to get rich,</span>»</span> he wrote. <span class="quote">«<span class="quote">It
-might work, but it almost certainly won’t. Though, of course, someone always
-wins the lottery.</span>»</span> He acknowledges that he is one of the lucky few to
-<span class="quote">«<span class="quote">make it,</span>»</span> but he says he would be writing no matter
-what. <span class="quote">«<span class="quote">I am compelled to write,</span>»</span> he wrote. <span class="quote">«<span class="quote">Long before
+rich. <span class="quote">«<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>»</span> he wrote. <span class="quote">«<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>»</span> He acknowledges that he is one of the lucky few to
+<span class="quote">«<span class="quote">make it,</span>»</span> but he says he would be writing no matter
+what. <span class="quote">«<span class="quote">I am compelled to write,</span>»</span> he wrote. <span class="quote">«<span class="quote">Long before
I wrote to keep myself fed and sheltered, I was writing to keep myself
-sane.</span>»</span>
+sane.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">It felt morally right,</span>»</span> he said
-of his decision to adopt Creative Commons licenses. <span class="quote">«<span class="quote">I felt like I
-wasn’t contributing to the culture of surveillance and censorship that has
-been created to try to stop copying.</span>»</span> In other words, using CC
+Commons is a moral imperative. <span class="quote">«<span class="quote">It felt morally right,</span>»</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">«<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>»</span> In other words, using CC
licenses symbolizes his worldview.
</p><p>
He also feels like there is a solid commercial basis for licensing his work
-with Creative Commons. While he acknowledges he hasn’t been able to do a
+with Creative Commons. While he acknowledges he hasn’t been able to do a
controlled experiment to compare the commercial benefits of licensing with
CC against reserving all rights, he thinks he has sold more books using a CC
license than he would have without it. Cory says his goal is to convince
-people they should pay him for his work. <span class="quote">«<span class="quote">I started by not calling
-them thieves,</span>»</span> he said.
+people they should pay him for his work. <span class="quote">«<span class="quote">I started by not calling
+them thieves,</span>»</span> he said.
</p><p>
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. <span class="quote">«<span class="quote">I knew there was a
+they realized it looked a lot like book promotion. <span class="quote">«<span class="quote">I knew there was a
relationship between having enthusiastic readers and having a successful
-career as a writer,</span>»</span> he said. <span class="quote">«<span class="quote">At the time, it took eighty
+career as a writer,</span>»</span> he said. <span class="quote">«<span class="quote">At the time, it took eighty
hours to OCR a book, which is a big effort. I decided to spare them the time
and energy, and give them the book for free in a format destined to
-spread.</span>»</span>
+spread.</span>»</span>
</p><p>
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
</p><p>
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. <span class="quote">«<span class="quote">Getting the hell out of the way
+his work intrinsically shareable. <span class="quote">«<span class="quote">Getting the hell out of the way
for people who want to share their love of you with other people sounds
-obvious, but it’s remarkable how many people don’t do it,</span>»</span> he said.
+obvious, but itâ\80\99s remarkable how many people donâ\80\99t do it,</span>»</span> he said.
</p><p>
Making his work available under Creative Commons licenses enables him to
-view his biggest fans as his ambassadors. <span class="quote">«<span class="quote">Being open to fan activity
+view his biggest fans as his ambassadors. <span class="quote">«<span class="quote">Being open to fan activity
makes you part of the conversation about what fans do with your work and how
-they interact with it,</span>»</span> he said. Cory’s own website routinely
+they interact with it,</span>»</span> he said. Cory’s own website routinely
highlights cool things his audience has done with his work. Unlike
corporations like Disney that tend to have a hands-off relationship with
their fan activity, he has a symbiotic relationship with his
-audience. <span class="quote">«<span class="quote">Engaging with your audience can’t guarantee you
-success,</span>»</span> he said. <span class="quote">«<span class="quote">And Disney is an example of being able to
+audience. <span class="quote">«<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>»</span> he said. <span class="quote">«<span class="quote">And Disney is an example of being able to
remain aloof and still being the most successful company in the creative
industry in history. But I figure my likelihood of being Disney is pretty
-slim, so I should take all the help I can get.</span>»</span>
+slim, so I should take all the help I can get.</span>»</span>
</p><p>
His first book was published under the most restrictive Creative Commons
license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
thinks it is more difficult to get people to pay for translations if there
are fan translations already available for free.
</p><p>
- In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
to thinking like a dandelion. Dandelions produce thousands of seeds each
spring, and they are blown into the air going in every direction. The
strategy is to maximize the number of blind chances the dandelion has for
continuing its genetic line. Similarly, he says there are lots of people out
there who may want to buy creative work or compensate authors for it in some
-other way. <span class="quote">«<span class="quote">The more places your work can find itself, the greater the
+other way. <span class="quote">«<span class="quote">The more places your work can find itself, the greater the
likelihood that it will find one of those would-be customers in some
-unsuspected crack in the metaphorical pavement,</span>»</span> he wrote. <span class="quote">«<span class="quote">The
+unsuspected crack in the metaphorical pavement,</span>»</span> he wrote. <span class="quote">«<span class="quote">The
copies that others make of my work cost me nothing, and present the
-possibility that I’ll get something.</span>»</span>
+possibility that Iâ\80\99ll get something.</span>»</span>
</p><p>
Applying a CC license to his work increases the chances it will be shared
-more widely around the Web. He avoids DRM—and openly opposes the
-practice—for similar reasons. DRM has the effect of tying a work to a
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
particular platform. This digital lock, in turn, strips the authors of
control over their own work and hands that control over to the platform. He
-calls it Cory’s First Law: <span class="quote">«<span class="quote">Anytime someone puts a lock on something
-that belongs to you and won’t give you the key, that lock isn’t there for
-your benefit.</span>»</span>
+calls it Coryâ\80\99s First Law: <span class="quote">«<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">On
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">«<span class="quote">On
the one hand, we can credibly make our work available to a widely dispersed
-audience,</span>»</span> he said. <span class="quote">«<span class="quote">On the other hand, the intermediaries we
-historically sold to are making it harder to go around them.</span>»</span> Cory
+audience,</span>»</span> he said. <span class="quote">«<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>»</span> Cory
continually looks for ways to reach his audience without relying upon major
platforms that will try to take control over his work.
</p><p>
even when it is available for free, as long as it is easy to do. He was
extremely successful using Humble Bundle, a platform that allows people to
pay what they want for DRM-free versions of a bundle of a particular
-creator’s work. He is planning to try his own pay-what-you-want experiment
+creator’s work. He is planning to try his own pay-what-you-want experiment
soon.
</p><p>
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. <span class="quote">«<span class="quote">If
-you look at the history of artists, most die in penury,</span>»</span> he
-said. <span class="quote">«<span class="quote">That reality means that for artists, we have to find ways to
+does this is by personally answering every single email he gets. <span class="quote">«<span class="quote">If
+you look at the history of artists, most die in penury,</span>»</span> he
+said. <span class="quote">«<span class="quote">That reality means that for artists, we have to find ways to
support ourselves when public tastes shift, when copyright stops producing.
Future-proofing your artistic career in many ways means figuring out how to
-stay connected to those people who have been touched by your work.</span>»</span>
+stay connected to those people who have been touched by your work.</span>»</span>
</p><p>
- Cory’s realism about the difficulty of making a living in the arts does not
+ Cory’s realism about the difficulty of making a living in the arts does not
reflect pessimism about the Internet age. Instead, he says the fact that it
is hard to make a living as an artist is nothing new. What is new, he writes
-in his book, <span class="quote">«<span class="quote">is how many ways there are to make things, and to get
-them into other people’s hands and minds.</span>»</span>
+in his book, <span class="quote">«<span class="quote">is how many ways there are to make things, and to get
+them into other peopleâ\80\99s hands and minds.</span>»</span>
</p><p>
It has never been easier to think like a dandelion.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>
Розділ 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>
РоздÑ\96л 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators
</p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- Figshare’s mission is to change the face of academic publishing through
+ Figshare’s mission is to change the face of academic publishing through
improved dissemination, discoverability, and reusability of scholarly
research. Figshare is a repository where users can make all the output of
-their research available—from posters and presentations to data sets and
-code—in a way that’s easy to discover, cite, and share. Users can upload any
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
file format, which can then be previewed in a Web browser. Research output
is disseminated in a way that the current scholarly-publishing model does
not allow.
</p><p>
Figshare founder Mark Hahnel often gets asked: How do you make money? How do
-we know you’ll be here in five years? Can you, as a for-profit venture, be
+we know you’ll be here in five years? Can you, as a for-profit venture, be
trusted? Answers have evolved over time.
</p><p>
Mark traces the origins of Figshare back to when he was a graduate student
online and share it with anyone. So he began working on a solution.
</p><p>
There were two key needs: licenses to make the data citable, and persistent
-identifiers— URL links that always point back to the original object
+identifiers— URL links that always point back to the original object
ensuring the research is citable for the long term.
</p><p>
Mark chose Digital Object Identifiers (DOIs) to meet the need for a
-persistent identifier. In the DOI system, an object’s metadata is stored as
+persistent identifier. In the DOI system, an object’s metadata is stored as
a series of numbers in the DOI name. Referring to an object by its DOI is
more stable than referring to it by its URL, because the location of an
object (the web page or URL) can often change. Mark partnered with DataCite
</p><p>
As for licenses, Mark chose Creative Commons. The open-access and
open-science communities were already using and recommending Creative
-Commons. Based on what was happening in those communities and Mark’s
+Commons. Based on what was happening in those communities and Mark’s
dialogue with peers, he went with CC0 (in the public domain) for data sets
and CC BY (Attribution) for figures, videos, and data sets.
</p><p>
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 <span class="quote">«<span class="quote">You retain ownership. You
-license it. You get credit. We just make sure it persists.</span>»</span>
+its value proposition to researchers as <span class="quote">«<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>»</span>
</p><p>
In January 2012, Figshare was launched. (The fig in Figshare stands for
figures.) Using investment funds, Mark made significant improvements to
functionality for them.
</p><p>
Figshare diversified its business model to include services for
-journals. Figshare began hosting large amounts of data for the journals’
+journals. Figshare began hosting large amounts of data for the journals’
online articles. This additional data improved the quality of the
articles. Outsourcing this service to Figshare freed publishers from having
to develop this functionality as part of their own
infrastructure. Figshare-hosted data also provides a link back to the
-article, generating additional click-through and readership—a benefit to
+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
their own minibranded Figshare space (called Figshare for Institutions) that
securely hosts research data of institutions in the cloud. Services include
not just hosting but data metrics, data dissemination, and user-group
-administration. Figshare’s workflow, and the services they offer for
+administration. Figshare’s workflow, and the services they offer for
institutions, take into account the needs of librarians and administrators,
as well as of the researchers.
</p><p>
For Mark this created a conflict. On the one hand, the principles and
benefits of open science are at the heart of Figshare, and Mark believes CC
BY is the best license for this. On the other hand, institutions were saying
-they wouldn’t use Figshare unless it offered a choice in licenses. He
+they wouldn’t use Figshare unless it offered a choice in licenses. He
initially refused to offer anything beyond CC0 and CC BY, but after seeing
an open-source CERN project offer all Creative Commons licenses without any
negative repercussions, he decided to follow suit.
applications. As an example, Mark shared a Figshare data set showing the
journal subscriptions that higher-education institutions in the United
Kingdom paid to ten major publishers.<a href="#ftn.idm1183" class="footnote" name="idm1183"><sup class="footnote">[115]</sup></a>
-Figshare’s API enables that data to be pulled into an app developed by a
+Figshare’s API enables that data to be pulled into an app developed by a
completely different researcher that converts the data into a visually
interesting graph, which any viewer can alter by changing any of the
variables.<a href="#ftn.idm1186" class="footnote" name="idm1186"><sup class="footnote">[116]</sup></a>
of using Creative Commons licenses.
</p><p>
Mark says his success is partly about being in the right place at the right
-time. He also believes that the diversification of Figshare’s model over
+time. He also believes that the diversification of Figshare’s model over
time has been key to success. Figshare now offers a comprehensive set of
services to researchers, publishers, and institutions.<a href="#ftn.idm1191" class="footnote" name="idm1191"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
-subscriptions, he believes Figshare would have struggled. In Figshare’s
+subscriptions, he believes Figshare would have struggled. In Figshare’s
early days, their primary users were early-career and late-career
academics. It has only been because funders mandated open licensing that
Figshare is now being used by the mainstream.
</p><p>
- Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
-800,000–plus user uploads, 2 million–plus articles, 500,000-plus
-collections, and 5,000–plus projects. Sixty percent of their traffic comes
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
from Google. A sister company called Altmetric tracks the use of Figshare by
others, including Wikipedia and news sources.
</p><p>
Figshare uses the revenue it generates from the premium subscribers, journal
publishers, and institutions to fund and expand what it can offer to
-researchers for free. Figshare has publicly stuck to its principles—keeping
+researchers for free. Figshare has publicly stuck to its principles—keeping
the free service free and requiring the use of CC BY and CC0 from the
-start—and from Mark’s perspective, this is why people trust Figshare. Mark
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
sees new competitors coming forward who are just in it for money. If
-Figshare was only in it for the money, they wouldn’t care about offering a
-free version. Figshare’s principles and advocacy for openness are a key
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
differentiator. Going forward, Mark sees Figshare not only as supporting
open access to research but also enabling people to collaborate and make new
discoveries.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>
Розділ 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1183" class="footnote"><p><a href="#idm1183" class="para"><sup class="para">[115] </sup></a><a class="ulink" href="http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832" target="_top">http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832</a></p></div><div id="ftn.idm1186" class="footnote"><p><a href="#idm1186" class="para"><sup class="para">[116] </sup></a><a class="ulink" href="http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136" target="_top">http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136</a></p></div><div id="ftn.idm1191" class="footnote"><p><a href="#idm1191" class="para"><sup class="para">[117] </sup></a><a class="ulink" href="http://figshare.com/features" target="_top">http://figshare.com/features</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figure.nz"></a>
РоздÑ\96л 11. Figure.NZ</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
services to creators, donations, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
In the paper Harnessing the Economic and Social Power of Data presented at
the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1210" class="footnote" name="idm1210"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
valuable and relevant data sets freely available to us right now, but most
-people don’t use them. She used to think this meant people didn’t care about
-being informed, but she’s come to see that she was wrong. Almost everyone
-wants to be informed about issues that matter—not only to them, but also to
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
their families, their communities, their businesses, and their country. But
-there’s a big difference between availability and accessibility of
+there’s a big difference between availability and accessibility of
information. Data is spread across thousands of sites and is held within
databases and spreadsheets that require both time and skill to engage
with. To use data when making a decision, you have to know what specific
New Zealand Institute, a think tank concerned with improving economic
prosperity, social well-being, environmental quality, and environmental
productivity for New Zealand and New Zealanders. While giving talks to
-community and business groups, Lillian realized <span class="quote">«<span class="quote">every single issue we
+community and business groups, Lillian realized <span class="quote">«<span class="quote">every single issue we
addressed would have been easier to deal with if more people understood the
-basic facts.</span>»</span> But understanding the basic facts sometimes requires
+basic facts.</span>»</span> But understanding the basic facts sometimes requires
data and research that you often have to pay for.
</p><p>
Lillian began to imagine a website that lifted data up to a visual form that
New Zealand, the original idea was that people could contribute their data
and visuals via a wiki. However, few people had graphs that could be used
and shared, and there were no standards or consistency around the data and
-the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
process of data aggregation, curation, and visual presentation in-house, and
invested in the technology to help automate some of it. Wiki New Zealand
became Figure.NZ, and efforts were reoriented toward providing services to
those wanting to open their data and present it visually.
</p><p>
- Here’s how it works. Figure.NZ sources data from other organizations,
+ Here’s how it works. Figure.NZ sources data from other organizations,
including corporations, public repositories, government departments, and
academics. Figure.NZ imports and extracts that data, and then validates and
-standardizes it—all with a strong eye on what will be best for users. They
+standardizes it—all with a strong eye on what will be best for users. They
then make the data available in a series of standardized forms, both human-
and machine-readable, with rich metadata about the sources, the licenses,
and data types. Figure.NZ has a chart-designing tool that makes simple bar,
naively fortunate. It was first recommended to her by a colleague. Lillian
spent time looking at what Creative Commons offered and thought it looked
good, was clear, and made common sense. It was easy to use and easy for
-others to understand. Over time, she’s come to realize just how fortunate
-and important that decision turned out to be. New Zealand’s government has
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
an open-access and licensing framework called NZGOAL, which provides
guidance for agencies when they release copyrighted and noncopyrighted work
and material.<a href="#ftn.idm1218" class="footnote" name="idm1218"><sup class="footnote">[119]</sup></a> It aims to standardize
the licensing of works with government copyright and how they can be reused,
and it does this with Creative Commons licenses. As a result, 98 percent of
all government-agency data is Creative Commons licensed, fitting in nicely
-with Figure.NZ’s decision.
+with Figure.NZ’s decision.
</p><p>
Lillian thinks current ideas of what a business is are relatively new, only
-a hundred years old or so. She’s convinced that twenty years from now, we
+a hundred years old or so. She’s convinced that twenty years from now, we
will see new and different models for business. Figure.NZ is set up as a
nonprofit charity. It is purpose-driven but also strives to pay people well
and thinks like a business. Lillian sees the charity-nonprofit status as an
essential element for the mission and purpose of Figure.NZ. She believes
-Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
nonprofit status assures people who have data and people who want to use it
-that they can rely on Figure.NZ’s motives. People see them as a trusted
+that they can rely on Figure.NZ’s motives. People see them as a trusted
wrangler and source.
</p><p>
Although Figure.NZ is a social enterprise that openly licenses their data
Figure.NZ has multiple lines of business. They provide commercial services
to organizations that want their data publicly available and want to use
Figure.NZ as their publishing platform. People who want to publish open data
-appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
they can. Customers are encouraged to help their users find, use, and make
-things from the data they make available on Figure.NZ’s website. Customers
+things from the data they make available on Figure.NZ’s website. Customers
control what is released and the license terms (although Figure.NZ
encourages Creative Commons licensing). Figure.NZ also serves customers who
-want a specific collection of charts created—for example, for their website
+want a specific collection of charts created—for example, for their website
or annual report. Charging the organizations that want to make their data
available enables Figure.NZ to provide their site free to all users, to
truly democratize data.
well understood by the people who have it. This sometimes makes it difficult
for customers and Figure.NZ to figure out what it would cost to import,
standardize, and display that data in a useful way. To deal with this,
-Figure.NZ uses <span class="quote">«<span class="quote">high-trust contracts,</span>»</span> where customers allocate
+Figure.NZ uses <span class="quote">«<span class="quote">high-trust contracts,</span>»</span> where customers allocate
a certain budget to the task that Figure.NZ is then free to draw from, as
-long as Figure.NZ frequently reports on what they’ve produced so the
+long as Figure.NZ frequently reports on what they’ve produced so the
customer can determine the value for money. This strategy has helped build
trust and transparency about the level of effort associated with doing work
that has never been done before.
</p><p>
A second line of business is what Figure.NZ calls partners. ASB Bank and
-Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
example, with their support Figure.NZ has been able to create Business
Figures, a special way for businesses to find useful data without having to
know what questions to ask.<a href="#ftn.idm1228" class="footnote" name="idm1228"><sup class="footnote">[120]</sup></a>
and visualizing services all in-house, Figure.NZ has developed a deep
expertise in taking random styles of data, standardizing it, and making it
useful. Lillian realized that Figure.NZ could easily become a warehouse of
-seventy people doing data. But for Lillian, growth isn’t always good. In her
+seventy people doing data. But for Lillian, growth isn’t always good. In her
view, bigger often means less effective. Lillian set artificial constraints
on growth, forcing the organization to think differently and be more
efficient. Rather than in-house growth, they are growing and building
external relationships.
</p><p>
- Figure.NZ’s website displays visuals and data associated with a wide range
+ Figure.NZ’s website displays visuals and data associated with a wide range
of categories including crime, economy, education, employment, energy,
environment, health, information and communications technology, industry,
tourism, and many others. A search function helps users find tables and
Figure.NZ wants to create intuitive experiences, not user manuals.
</p><p>
Figure.NZ believes data and visuals should be useful. They provide their
-customers with a data collection template and teach them why it’s important
-and how to use it. They’ve begun putting more emphasis on tracking what
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
users of their website want. They also get requests from social media and
-through email for them to share data for a specific topic—for example, can
+through email for them to share data for a specific topic—for example, can
you share data for water quality? If they have the data, they respond
-quickly; if they don’t, they try and identify the organizations that would
+quickly; if they don’t, they try and identify the organizations that would
have that data and forge a relationship so they can be included on
-Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
people to be curious about, access, and interpret data on topics they are
interested in.
</p><p>
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.
</p><p>
- "But now we live in a world where it’s really easy to share information
+ "But now we live in a world where it’s really easy to share information
widely and also to communicate widely. In the world we live in now, the best
future is the one where everyone can make well-informed decisions.
</p><p>
"The use of numbers and data as a way of making well-informed decisions is
-one of the areas where there is the biggest gaps. We don’t really use
+one of the areas where there is the biggest gaps. We don’t really use
numbers as a part of our thinking and part of our understanding yet.
</p><p>
"Part of the reason is the way data is spread across hundreds of sites. In
addition, for the most part, deep thinking based on data is constrained to
-experts because most people don’t have data literacy. There once was a time
-when many citizens in society couldn’t read or write. However, as a society,
-we’ve now come to believe that reading and writing skills should be
-something all citizens have. We haven’t yet adopted a similar belief around
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
numbers and data literacy. We largely still believe that only a few
specially trained people can analyze and think with numbers.
</p><p>
"Figure.NZ may be the first organization to assert that everyone can use
-numbers in their thinking, and it’s built a technological platform along
+numbers in their thinking, and it’s built a technological platform along
with trust and a network of relationships to make that possible. What you
can see on Figure.NZ are tens of thousands of graphs, maps, and data.
</p><p>
- <span class="quote">«<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+ <span class="quote">«<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
analyze what they see around them. A way to be thoughtful and informed about
society. A means of engaging in conversation and shaping decision making
that transcends personal experience. The long-term value and impact is
almost impossible to measure, but the goal is to help citizens gain
understanding and work together in more informed ways to shape the
-future.</span>»</span>
+future.</span>»</span>
</p><p>
- Lillian sees Figure.NZ’s model as having global potential. But for now,
+ 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 <span class="quote">«<span class="quote">network effect</span>»</span>— users dramatically increasing value for
+the <span class="quote">«<span class="quote">network effect</span>»</span>— users dramatically increasing value for
themselves and for others through use of their service. Creative Commons is
core to making the network effect possible.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>
Розділ 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1210" class="footnote"><p><a href="#idm1210" class="para"><sup class="para">[118] </sup></a><a class="ulink" href="http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf" target="_top">http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf</a></p></div><div id="ftn.idm1218" class="footnote"><p><a href="#idm1218" class="para"><sup class="para">[119] </sup></a><a class="ulink" href="http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/" target="_top">http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/</a></p></div><div id="ftn.idm1228" class="footnote"><p><a href="#idm1228" class="para"><sup class="para">[120] </sup></a><a class="ulink" href="http://figure.nz/business/" target="_top">http://figure.nz/business/</a></p></div><div id="ftn.idm1232" class="footnote"><p><a href="#idm1232" class="para"><sup class="para">[121] </sup></a><a class="ulink" href="http://figure.nz/patrons/" target="_top">http://figure.nz/patrons/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="knowledge-unlatched"></a>
РоздÑ\96л 12. Knowledge Unlatched</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
including the IFLA/Brill Open Access award in 2014 and a Curtin University
Commercial Innovation Award for Innovation in Education in 2015.
</p><p>
- 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.
print-book sales at all, and the costs associated with getting the book to
print would be lost. Surprisingly, Bloomsbury found that sales of the print
versions of these books were 10 to 20 percent higher than normal. Frances
-found it intriguing that the Creative Commons–licensed free online book acts
+found it intriguing that the Creative Commons–licensed free online book acts
as a marketing vehicle for the print format.
</p><p>
Frances began to look at customer interest in the three forms of the book:
-1) the Creative Commons–licensed free online book in PDF form, 2) the
+1) the Creative Commons–licensed free online book in PDF form, 2) the
printed book, and 3) a digital version of the book on an aggregator platform
-with enhanced features. She thought of this as the <span class="quote">«<span class="quote">ice cream
-model</span>»</span>: the free PDF was vanilla ice cream, the printed book was an
+with enhanced features. She thought of this as the <span class="quote">«<span class="quote">ice cream
+model</span>»</span>: 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.
</p><p>
- After a while, Frances had an epiphany—what if there was a way to get
-libraries to underwrite the costs of making these books up until they’re
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
ready be printed, in other words, cover the fixed costs of getting to the
first digital copy? Then you could either bring down the cost of the printed
book, or do a whole bunch of interesting things with the printed book and
-e-book—the ice cream cone or sundae part of the model.
+e-book—the ice cream cone or sundae part of the model.
</p><p>
This idea is similar to the article-processing charge some open-access
journals charge researchers to cover publishing costs. Frances began to
-imagine a coalition of libraries paying for the prepress costs—a
-<span class="quote">«<span class="quote">book-processing charge</span>»</span>—and providing everyone in the world
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">«<span class="quote">book-processing charge</span>»</span>—and providing everyone in the world
with an open-access version of the books released under a Creative Commons
license.
</p><p>
- This idea really took hold in her mind. She didn’t really have a name for it
+ This idea really took hold in her mind. She didn’t really have a name for it
but began talking about it and making presentations to see if there was
interest. The more she talked about it, the more people agreed it had
appeal. She offered a bottle of champagne to anyone who could come up with a
the eight packages to enable unlatching. The average cost per book was just
under fifty dollars. The unlatching process took roughly ten months. It
started with a call to publishers for titles, followed by having a library
-task force select the titles, getting authors’ permissions, getting the
+task force select the titles, getting authors’ permissions, getting the
libraries to pledge, billing the libraries, and finally, unlatching.
</p><p>
The longest part of the whole process is getting libraries to pledge and
</p><p>
The cost for the publisher to get to a first digital copy of a monograph is
$5,000 to $50,000. A good one costs in the $10,000 to $15,000
-range. Monographs typically don’t sell a lot of copies. A publisher who in
+range. Monographs typically don’t sell a lot of copies. A publisher who in
the past sold three thousand copies now typically sells only three
hundred. That makes unlatching monographs a low risk for publishers. For the
first round, it took five months to get thirteen publishers. For the second
round, it took one month to get twenty-six.
</p><p>
- Authors don’t generally make a lot of royalties from monographs. Royalties
+ Authors don’t generally make a lot of royalties from monographs. Royalties
range from zero dollars to 5 to 10 percent of receipts. The value to the
author is the awareness it brings to them; when their book is being read, it
increases their reputation. Open access through unlatching generates many
libraries. While this means nonparticipating libraries could be seen as free
riders, in the library world, wealthy libraries are used to paying more than
poor libraries and accept that part of their money should be spent to
-support open access. <span class="quote">«<span class="quote">Free ride</span>»</span> is more like community
+support open access. <span class="quote">«<span class="quote">Free ride</span>»</span> 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.
</p><p>
For publishers, authors, and librarians, the Knowledge Unlatched model for
monographs is a win-win-win.
</p><p>
- In the first round, Knowledge Unlatched’s overheads were covered by
+ In the first round, Knowledge Unlatched’s overheads were covered by
grants. In the second round, they aim to demonstrate the model is
sustainable. Libraries and publishers will each pay a 7.5 percent service
-charge that will go toward Knowledge Unlatched’s running costs. With plans
+charge that will go toward Knowledge Unlatched’s running costs. With plans
to scale up in future rounds, Frances figures they can fully recover costs
when they are unlatching two hundred books at a time. Moving forward,
Knowledge Unlatched is making investments in technology and
processes. Future plans include unlatching journals and older books.
</p><p>
Frances believes that Knowledge Unlatched is tapping into new ways of
-valuing academic content. It’s about considering how many people can find,
+valuing academic content. It’s about considering how many people can find,
access, and use your content without pay barriers. Knowledge Unlatched taps
into the new possibilities and behaviors of the digital world. In the
Knowledge Unlatched model, the content-creation process is exactly the same
as it always has been, but the economics are different. For Frances,
Knowledge Unlatched is connected to the past but moving into the future, an
evolution rather than a revolution.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>
Розділ 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1285" class="footnote"><p><a href="#idm1285" class="para"><sup class="para">[122] </sup></a><a class="ulink" href="http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf" target="_top">http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf</a></p></div><div id="ftn.idm1290" class="footnote"><p><a href="#idm1290" class="para"><sup class="para">[123] </sup></a><a class="ulink" href="http://collections.knowledgeunlatched.org/collection-availability-1/" target="_top">http://collections.knowledgeunlatched.org/collection-availability-1/</a></p></div><div id="ftn.idm1301" class="footnote"><p><a href="#idm1301" class="para"><sup class="para">[124] </sup></a><a class="ulink" href="http://www.knowledgeunlatched.org/featured-authors-section/" target="_top">http://www.knowledgeunlatched.org/featured-authors-section/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="lumen-learning"></a>
РоздÑ\96л 13. Lumen Learning</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Lumen Learning is a for-profit company helping educational institutions use
open educational resources (OER). Founded in 2013 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
- 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
</p><p>
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
+education sector but meant they’d be constantly fund-raising and seeking
grants from philanthropies. Also, grants usually require money to be used
in certain ways for specific deliverables. If you learn things along the way
-that change how you think the grant money should be used, there often isn’t
+that change how you think the grant money should be used, there often isn’t
a lot of flexibility to do so.
</p><p>
- But as a for-profit, they’d have to convince educational institutions to pay
-for what Lumen had to offer. On the positive side, they’d have more control
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
over what to do with the revenue and investment money; they could make
decisions to invest the funds or use them differently based on the situation
and shifting opportunities. In the end, they chose the for-profit status,
Originally, Lumen did custom contracts for each institution. This was
complicated and challenging to manage. However, through that process
patterns emerged which allowed them to generalize a set of approaches and
-offerings. Today they don’t customize as much as they used to, and instead
+offerings. Today they don’t customize as much as they used to, and instead
they tend to work with customers who can use their off-the-shelf
options. Lumen finds that institutions and faculty are generally very good
at seeing the value Lumen brings and are willing to pay for it. Serving
disadvantaged learner populations has led Lumen to be very pragmatic; they
-describe what they offer in quantitative terms—with facts and figures—and in
+describe what they offer in quantitative terms—with facts and figures—and in
a way that is very student-focused. Lumen Learning helps colleges and
-universities—
+universities—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
replace expensive textbooks in high-enrollment courses with OER;
</p></li><li class="listitem"><p>
- provide enrolled students day one access to Lumen’s fully customizable OER
-course materials through the institution’s learning-management system;
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
</p></li><li class="listitem"><p>
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
student success research.
</p></li></ul></div><p>
- Lumen has developed a suite of open, Creative Commons–licensed courseware in
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
more than sixty-five subjects. All courses are freely and publicly available
right off their website. They can be copied and used by others as long as
they provide attribution to Lumen Learning following the terms of the
</p><p>
Then there are three types of bundled services that cost money. One option,
which Lumen calls Candela courseware, offers integration with the
-institution’s learning-management system, technical and pedagogical support,
+institution’s learning-management system, technical and pedagogical support,
and tracking of effectiveness. Candela courseware costs institutions ten
dollars per enrolled student.
</p><p>
</p><p>
Lumen generates revenue by charging for their value-added tools and services
on top of their free courses, just as solar-power companies provide the
-tools and services that help people use a free resource—sunlight. And
-Lumen’s business model focuses on getting the institutions to pay, not the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
students. With projects they did prior to Lumen, David and Kim learned that
students who have access to all course materials from day one have greater
success. If students had to pay, Lumen would have to restrict access to
those who paid. Right from the start, their stance was that they would not
put their content behind a paywall. Lumen invests zero dollars in
-technologies and processes for restricting access—no digital rights
+technologies and processes for restricting access—no digital rights
management, no time bombs. While this has been a challenge from a
business-model perspective, from an open-access perspective, it has
generated immense goodwill in the community.
</p><p>
In most cases, development of their courses is funded by the institution
Lumen has a contract with. When creating new courses, Lumen typically works
-with the faculty who are teaching the new course. They’re often part of the
+with the faculty who are teaching the new course. They’re often part of the
institution paying Lumen, but sometimes Lumen has to expand the team and
contract faculty from other institutions. First, the faculty identifies all
-of the course’s learning outcomes. Lumen then searches for, aggregates, and
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
curates the best OER they can find that addresses those learning needs,
which the faculty reviews.
</p><p>
for students on their progress are areas where new content is frequently
needed. Once a course is created, Lumen puts it on their platform with all
the attributions and links to the original sources intact, and any of
-Lumen’s new content is given an Attribution (CC BY) license.
+Lumen’s new content is given an Attribution (CC BY) license.
</p><p>
Using only OER made them experience firsthand how complex it could be to mix
differently licensed work together. A common strategy with OER is to place
-the Creative Commons license and attribution information in the website’s
-footer, which stays the same for all pages. This doesn’t quite work,
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
however, when mixing different OER together.
</p><p>
Remixing OER often results in multiple attributions on every page of every
-course—text from one place, images from another, and videos from yet
+course—text from one place, images from another, and videos from yet
another. Some are licensed as Attribution (CC BY), others as
Attribution-ShareAlike (CC BY-SA). If this information is put within the
text of the course, faculty members sometimes try to edit it and students
license and attribution information as metadata, and getting it to show up
at the end of each page.
</p><p>
- Lumen’s commitment to open licensing and helping low-income students has led
+ Lumen’s commitment to open licensing and helping low-income students has led
to strong relationships with institutions, open-education enthusiasts, and
grant funders. People in their network generously increase the visibility of
Lumen through presentations, word of mouth, and referrals. Sometimes the
-number of general inquiries exceed Lumen’s sales capacity.
+number of general inquiries exceed Lumen’s sales capacity.
</p><p>
To manage demand and ensure the success of projects, their strategy is to be
-proactive and focus on what’s going on in higher education in different
+proactive and focus on what’s going on in higher education in different
regions of the United States, watching out for things happening at the
system level in a way that fits with what Lumen offers. A great example is
the Virginia community college system, which is building out
Z-Degrees. David and Kim say there are nine other U.S. states with similar
system-level activity where Lumen is strategically focusing its
efforts. Where there are projects that would require a lot of resources on
-Lumen’s part, they prioritize the ones that would impact the largest number
+Lumen’s part, they prioritize the ones that would impact the largest number
of students.
</p><p>
As a business, Lumen is committed to openness. There are two core
-nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
Commons licenses, for all the materials it creates; and day-one access for
students. Having clear nonnegotiables allows them to then engage with the
education community to solve for other challenges and work with institutions
to identify new business models that achieve institution goals, while
keeping Lumen healthy.
</p><p>
- Openness also means that Lumen’s OER must necessarily be nonexclusive and
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
nonrivalrous. This represents several big challenges for the business model:
Why should you invest in creating something that people will be reluctant to
pay for? How do you ensure that the investment the diverse education
proactively contact those institutions, with an estimate of how much their
students are saving and encouraging them to switch to a paid model. Lumen
explains the advantages of the paid model: a more interactive relationship
-with Lumen; integration with the institution’s learning-management system; a
+with Lumen; integration with the institution’s learning-management system; a
guarantee of support for faculty and students; and future sustainability
with funding supporting the evolution and improvement of the OER they are
using.
for a correct balance of all these factors.
</p><p>
Licensing all the content they produce with CC BY is a key part of giving
-more value than they take. They’ve also worked hard at finding the right
+more value than they take. They’ve also worked hard at finding the right
structure for their value-add and how to package it in a way that is
understandable and repeatable.
</p><p>
angel capital. Going forward, their strategy is to replace grant funding
with revenue.
</p><p>
- In creating Lumen Learning, David and Kim say they’ve landed on solutions
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
they never imagined, and there is still a lot of learning taking place. For
them, open business models are an emerging field where we are all learning
through sharing. Their biggest recommendations for others wanting to pursue
the open model are to make your commitment to open resources public, let
-people know where you stand, and don’t back away from it. It really is about
+people know where you stand, and don’t back away from it. It really is about
trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>
Розділ 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1325" class="footnote"><p><a href="#idm1325" class="para"><sup class="para">[125] </sup></a><a class="ulink" href="http://lumenlearning.com/innovative-projects/" target="_top">http://lumenlearning.com/innovative-projects/</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="jonathan-mann"></a>
РоздÑ\96л 14. Jonathan Mann</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Jonathan Mann is a singer and songwriter who is most well known as the
-<span class="quote">«<span class="quote">Song A Day</span>»</span> guy. Based in the U.S.
+<span class="quote">«<span class="quote">Song A Day</span>»</span> guy. Based in the U.S.
</p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
</p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
services, pay-what-you-want, crowdfunding (subscription-based), charging for
in-person version (speaking engagements and musical performances)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Jonathan Mann thinks of his business model as
-<span class="quote">«<span class="quote">hustling</span>»</span>—seizing nearly every opportunity he sees to make
+<span class="quote">«<span class="quote">hustling</span>»</span>—seizing nearly every opportunity he sees to make
money. The bulk of his income comes from writing songs under commission for
people and companies, but he has a wide variety of income sources. He has
supporters on the crowdfunding site Patreon. He gets advertising revenue
conference. The song then went viral, and the experience landed him in Time
magazine.
</p><p>
- Jonathan’s successful <span class="quote">«<span class="quote">hustling</span>»</span> is also about old-fashioned
+ Jonathanâ\80\99s successful <span class="quote">«<span class="quote">hustling</span>»</span> 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 <span class="quote">«<span class="quote">song-a-day guy.</span>»</span>
+songwriting, and he is widely known as the <span class="quote">«<span class="quote">song-a-day guy.</span>»</span>
</p><p>
He fell into this role by, naturally, seizing a random opportunity a friend
-alerted him to seven years ago—an event called Fun-A-Day, where people are
+alerted him to seven years ago—an event called Fun-A-Day, where people are
supposed to create a piece of art every day for thirty-one days straight. He
was in need of a new project, so he decided to give it a try by writing and
posting a song each day. He added a video component to the songs because he
He had a really good time doing the thirty-one-day challenge, so he decided
to see if he could continue it for one year. He never stopped. He has
written and posted a new song literally every day, seven days a week, since
-he began the project in 2009. When he isn’t writing songs that he is hired
+he began the project in 2009. When he isn’t writing songs that he is hired
to write by clients, he writes songs about whatever is on his mind that
day. His songs are catchy and mostly lighthearted, but they often contain at
least an undercurrent of a deeper theme or meaning. Occasionally, they are
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.
</p><p>
- His website explains his gig as <span class="quote">«<span class="quote">taking any message, from the super
+ His website explains his gig as <span class="quote">«<span class="quote">taking any message, from the super
simple to the totally complicated, and conveying that message through a
-heartfelt, fun and quirky song.</span>»</span> He charges $500 to create a produced
+heartfelt, fun and quirky song.</span>»</span> 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.
</p><p>
- Jonathan can’t recall when exactly he first learned about Creative Commons,
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
but he began applying CC licenses to his songs and videos as soon as he
-discovered the option. <span class="quote">«<span class="quote">CC seems like such a no-brainer,</span>»</span>
-Jonathan said. <span class="quote">«<span class="quote">I don’t understand how anything else would make
+discovered the option. <span class="quote">«<span class="quote">CC seems like such a no-brainer,</span>»</span>
+Jonathan said. <span class="quote">«<span class="quote">I don’t understand how anything else would make
sense. It seems like such an obvious thing that you would want your work to
-be able to be shared.</span>»</span>
+be able to be shared.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">If you let someone cover
-your song or remix it or use parts of it, that’s how music is supposed to
-work,</span>»</span> Jonathan said. <span class="quote">«<span class="quote">That is how music has worked since the
-beginning of time. Our me-me, mine-mine culture has undermined that.</span>»</span>
+copy, interact with, and remix his music. <span class="quote">«<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>»</span> Jonathan said. <span class="quote">«<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">There is all of this conventional wisdom about how
-to build an audience online, and I generally think I don’t do any of
-that,</span>»</span> Jonathan said.
- </p><p>
- He does have a fan community he cultivates on Bandcamp, but it isn’t his
-major focus. <span class="quote">«<span class="quote">I do have a core audience that has stuck around for a
-really long time, some even longer than I’ve been doing song-a-day,</span>»</span>
-he said. <span class="quote">«<span class="quote">There is also a transitional aspect that drop in and get
-what they need and then move on.</span>»</span> Focusing less on community building
-than other artists makes sense given Jonathan’s primary income source of
+build community. <span class="quote">«<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>»</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">«<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than Iâ\80\99ve been doing song-a-day,</span>»</span>
+he said. <span class="quote">«<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>»</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
writing custom songs for clients.
</p><p>
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 <span class="quote">«<span class="quote">How to Choose a Master Password,</span>»</span> Jonathan
+music. In his song <span class="quote">«<span class="quote">How to Choose a Master Password,</span>»</span> Jonathan
explained the process of creating a secure password in a silly, simple
song. He was hired to write the song by a client who handed him a long
technical blog post from which to draw the information. Like a good (and
thing he tries to do is grok the core message and develop the chorus. Then
he looks for connections or parts he can make rhyme. The entire process
really does resemble good journalism, but of course the final product of his
-work is a song rather than news. <span class="quote">«<span class="quote">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,</span>»</span> he
-said. <span class="quote">«<span class="quote">I find that creative challenge really satisfying. I enjoy
-getting lost in that process.</span>»</span>
+work is a song rather than news. <span class="quote">«<span class="quote">There is something about being
+challenged and forced to take information that doesn’t seem like it should
+be sung about or doesnâ\80\99t seem like it lends itself to a song,</span>»</span> he
+said. <span class="quote">«<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>»</span>
</p><p>
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
he has found a way to keep it interesting for himself.
</p><p>
Jonathan uses nearly every tool possible to make money from his art, but he
-does have lines he won’t cross. He won’t write songs about things he
+does have lines he won’t cross. He won’t write songs about things he
fundamentally does not believe in, and there are times he has turned down
-jobs on principle. He also won’t stray too much from his natural
-style. <span class="quote">«<span class="quote">My style is silly, so I can’t really accommodate people who
-want something super serious,</span>»</span> Jonathan said. <span class="quote">«<span class="quote">I do what I do
-very easily, and it’s part of who I am.</span>»</span> Jonathan hasn’t gotten into
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">«<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>»</span> Jonathan said. <span class="quote">«<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>»</span> Jonathan hasn’t gotten into
writing commercials for the same reasons; he is best at using his own unique
style rather than mimicking others.
</p><p>
- Jonathan’s song-a-day commitment exemplifies the power of habit and
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
grit. Conventional wisdom about creative productivity, including advice in
books like the best-seller The Creative Habit by Twyla Tharp, routinely
emphasizes the importance of ritual and action. No amount of planning can
-replace the value of simple practice and just doing. Jonathan Mann’s work is
+replace the value of simple practice and just doing. Jonathan Mann’s work is
a living embodiment of these principles.
</p><p>
When he speaks about his work, he talks about how much the song-a-day
process has changed him. Rather than seeing any given piece of work as
precious and getting stuck on trying to make it perfect, he has become
-comfortable with just doing. If today’s song is a bust, tomorrow’s song
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
might be better.
</p><p>
Jonathan seems to have this mentality about his career more generally. He is
as widely as possible, seeing what sticks. While he has major
accomplishments he is proud of, like being in the Guinness World Records or
having his song used by Steve Jobs, he says he never truly feels successful.
- </p><p><span class="quote">«<span class="quote">Success feels like it’s over,</span>»</span> he said. <span class="quote">«<span class="quote">To a certain
+ </p><p><span class="quote">«<span class="quote">Success feels like itâ\80\99s over,</span>»</span> he said. <span class="quote">«<span class="quote">To a certain
extent, a creative person is not ever going to feel completely satisfied
-because then so much of what drives you would be gone.</span>»</span>
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>
Розділ 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+because then so much of what drives you would be gone.</span>»</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>
РоздÑ\96л 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
fee, charging for custom services
</p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
languages, and cultures.
</p><p>
The original idea for the Noun Project came to cofounder Edward Boatman
-while he was a student in architecture design school. He’d always done a lot
+while he was a student in architecture design school. He’d always done a lot
of sketches and started to draw what used to fascinate him as a child, like
trains, sequoias, and bulldozers. He began thinking how great it would be
if he had a simple image or small icon of every single object or concept on
</p><p>
When Edward went on to work at an architecture firm, he had to make a lot of
presentation boards for clients. But finding high-quality sources for
-symbols and icons was difficult. He couldn’t find any website that could
+symbols and icons was difficult. He couldn’t find any website that could
provide them. Perhaps his idea for creating a library of icons could
actually help people in similar situations.
</p><p>
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.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
+was in its infancy.<a href="#ftn.idm1428" class="footnote" name="idm1428"><sup class="footnote">[126]</sup></a> They thought it’d
be a good way to introduce the global web community to their idea. Their
goal was to raise $1,500, but in twenty days they got over $14,000. They
realized their idea had the potential to be something much bigger.
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 <span class="quote">«<span class="quote">digital dust</span>»</span> on their hard
-drives. It’s easy to convince them to finally share them with the world.
+drawings just gathering <span class="quote">«<span class="quote">digital dust</span>»</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
</p><p>
The Noun Project currently has about seven thousand designers from around
-the world. But not all submissions are accepted. The Noun Project’s
+the world. But not all submissions are accepted. The Noun Project’s
quality-review process means that only the best works become part of its
collection. They make sure to provide encouraging, constructive feedback
whenever they reject a piece of work, which maintains and builds the
relationship they have with their global community of designers.
</p><p>
- Creative Commons is an integral part of the Noun Project’s business model;
-this decision was inspired by Chris Anderson’s book Free: The Future of
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
Radical Price, which introduced Edward to the idea that you could build a
business model around free content.
</p><p>
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.
</p><p>
- Noun Project’s business model and means of generating revenue have evolved
+ Noun Project’s business model and means of generating revenue have evolved
significantly over time. Their initial plan was to sell T-shirts with the
icons on it, which in retrospect Edward says was a horrible idea. They did
get a lot of email from people saying they loved the icons but asking if
they could pay a fee instead of giving attribution. Ad agencies (among
others) wanted to keep marketing and presentation materials clean and free
-of attribution statements. For Edward, <span class="quote">«<span class="quote">That’s when our lightbulb went
-off.</span>»</span>
+of attribution statements. For Edward, <span class="quote">«<span class="quote">That’s when our lightbulb went
+off.</span>»</span>
</p><p>
- They asked their global network of designers whether they’d be open to
+ They asked their global network of designers whether they’d be open to
receiving modest remuneration instead of attribution. Designers saw it as a
win-win. The idea that you could offer your designs for free and have a
global audience and maybe even make some money was pretty exciting for most
designers.
</p><p>
The Noun Project first adopted a model whereby using an icon without giving
-attribution would cost $1.99 per icon. The model’s second iteration added a
+attribution would cost $1.99 per icon. The model’s second iteration added a
subscription component, where there would be a monthly fee to access a
-certain number of icons—ten, fifty, a hundred, or five hundred. However,
-users didn’t like these hard-count options. They preferred to try out many
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
similar icons to see which worked best before eventually choosing the one
they wanted to use. So the Noun Project moved to an unlimited model, whereby
users have unlimited access to the whole library for a flat monthly
fee. This service is called NounPro and costs $9.99 per month. Edward says
-this model is working well—good for customers, good for creators, and good
+this model is working well—good for customers, good for creators, and good
for the platform.
</p><p>
Customers then began asking for an application-programming interface (API),
which would allow Noun Project icons and symbols to be directly accessed
from within other applications. Edward knew that the icons and symbols would
-be valuable in a lot of different contexts and that they couldn’t possibly
+be valuable in a lot of different contexts and that they couldn’t possibly
know all of them in advance, so they built an API with a lot of
flexibility. Knowing that most API applications would want to use the icons
without giving attribution, the API was built with the aim of charging for
-its use. You can use what’s called the <span class="quote">«<span class="quote">Playground API</span>»</span> for
+its use. You can use whatâ\80\99s called the <span class="quote">«<span class="quote">Playground API</span>»</span> for
free to test how it integrates with your application, but full
implementation will require you to purchase the API Pro version.
</p><p>
</p><p>
The revenue from premium purchases (the subscription and API options) is
split a little differently. At the end of each month, the total revenue from
-subscriptions is divided by Noun Project’s total number of downloads,
-resulting in a rate per download—for example, it could be $0.13 per download
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
for that month. For each download, the revenue is split 40 percent to the
-designer and 60 percent to the Noun Project. (For API usage, it’s per use
-instead of per download.) Noun Project’s share is higher this time as it’s
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
collections. Lingo is free for personal use. A pro version for $9.99 per
month lets you add guests. A team version for $49.95 per month allows up to
twenty-five team members to collaborate, and to view, use, edit, and add new
-assets to each other’s collections. And if you subscribe to NounPro, you
+assets to each other’s collections. And if you subscribe to NounPro, you
can access Noun Project from within Lingo.
</p><p>
The Noun Project gives a ton of value away for free. A very large percentage
design agencies, educators, and others who need to communicate ideas
visually.
</p><p>
- For Edward, <span class="quote">«<span class="quote">creating, sharing, and celebrating the world’s visual
-language</span>»</span> is the most important aspect of what they do; it’s their
+ For Edward, <span class="quote">«<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>»</span> is the most important aspect of what they do; it’s their
stated mission. It differentiates them from others who offer graphics,
icons, or clip art.
</p><p>
Noun Project creators agree. When surveyed on why they participate in the
Noun Project, this is how designers rank their reasons: 1) to support the
Noun Project mission, 2) to promote their own personal brand, and 3) to
-generate money. It’s striking to see that money comes third, and mission,
-first. If you want to engage a global network of contributors, it’s
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
important to have a mission beyond making money.
</p><p>
- In Edward’s view, Creative Commons is central to their mission of sharing
-and social good. Using Creative Commons makes the Noun Project’s mission
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
genuine and has generated a lot of their initial traction and
credibility. CC comes with a built-in community of users and fans.
</p><p>
- Edward told us, <span class="quote">«<span class="quote">Don’t underestimate the power of a passionate
+ Edward told us, <span class="quote">«<span class="quote">Don’t underestimate the power of a passionate
community around your product or your business. They are going to go to bat
-for you when you’re getting ripped in the media. If you go down the road of
-choosing to work with Creative Commons, you’re taking the first step to
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
building a great community and tapping into a really awesome community that
comes with it. But you need to continue to foster that community through
-other initiatives and continue to nurture it.</span>»</span>
+other initiatives and continue to nurture it.</span>»</span>
</p><p>
- The Noun Project nurtures their creators’ second motivation—promoting a
-personal brand—by connecting every icon and symbol to the creator’s name and
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
profile page; each profile features their full collection. Users can also
-search the icons by the creator’s name.
+search the icons by the creator’s name.
</p><p>
- The Noun Project also builds community through Iconathons—hackathons for
+ The Noun Project also builds community through Iconathons—hackathons for
icons.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[128]</sup></a> 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
be used by anyone for free.
</p><p>
Providing a free version of their product that satisfies a lot of their
-customers’ needs has actually enabled the Noun Project to build the paid
-version, using a service-oriented model. The Noun Project’s success lies in
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
creating services and content that are a strategic mix of free and paid
-while staying true to their mission—creating, sharing, and celebrating the
-world’s visual language. Integrating Creative Commons into their model has
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
been key to that goal.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>
Розділ 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1428" class="footnote"><p><a href="#idm1428" class="para"><sup class="para">[126] </sup></a><a class="ulink" href="http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description" target="_top">http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description</a></p></div><div id="ftn.idm1445" class="footnote"><p><a href="#idm1445" class="para"><sup class="para">[127] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div><div id="ftn.idm1459" class="footnote"><p><a href="#idm1459" class="para"><sup class="para">[128] </sup></a><a class="ulink" href="http://thenounproject.com/handbook/royalties/#getting_paid" target="_top">http://thenounproject.com/handbook/royalties/#getting_paid</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="open-data-institute"></a>
РоздÑ\96л 16. Open Data Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
director
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
London-based Open Data Institute (ODI) offers data-related training, events,
consulting services, and research. For ODI, Creative Commons licenses are
-central to making their own business model and their customers’ open. CC BY
+central to making their own business model and their customers’ open. CC BY
(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
-public domain) all play a critical role in ODI’s mission to help people
+public domain) all play a critical role in ODI’s mission to help people
around the world innovate with data.
</p><p>
Data underpins planning and decision making across all aspects of
investments. It can help citizens improve their lives by better
understanding what is happening around them.
</p><p>
- The Open Data Institute’s 2012–17 business plan starts out by describing its
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
vision to establish itself as a world-leading center and to research and be
-innovative with the opportunities created by the UK government’s open data
+innovative with the opportunities created by the UK government’s open data
policy. (The government was an early pioneer in open policy and open-data
-initiatives.) It goes on to say that the ODI wants to—
+initiatives.) It goes on to say that the ODI wants to—
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
demonstrate the commercial value of open government data and how open-data
policies affect this;
show how open data can improve public services.<a href="#ftn.idm1488" class="footnote" name="idm1488"><sup class="footnote">[129]</sup></a>
</p></li></ul></div><p>
ODI is very explicit about how it wants to make open business models, and
-defining what this means. Jeni Tennison, ODI’s technical director, puts it
-this way: <span class="quote">«<span class="quote">There is a whole ecosystem of open—open-source software,
-open government, open-access research—and a whole ecosystem of data. ODI’s
-work cuts across both, with an emphasis on where they overlap—with open
-data.</span>»</span> ODI’s particular focus is to show open data’s potential for
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">«<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>»</span> ODI’s particular focus is to show open data’s potential for
revenue.
</p><p>
- 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.
</p><p>
Jeni started out as a developer and technical architect for data.gov.uk, the
-UK government’s pioneering open-data initiative. She helped make data sets
+UK government’s pioneering open-data initiative. She helped make data sets
from government departments available as open data. She joined ODI in 2012
when it was just starting up, as one of six people. It now has a staff of
about sixty.
</p><p>
ODI strives to have half its annual budget come from the core UK government
and Omidyar grants, and the other half from project-based research and
-commercial work. In Jeni’s view, having this balance of revenue sources
+commercial work. In Jeni’s view, having this balance of revenue sources
establishes some stability, but also keeps them motivated to go out and
generate these matching funds in response to market needs.
</p><p>
and advisory services.
</p><p>
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
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
on ODI training courses and the annual summit, and they can display an
ODI-supporter badge on their website. Commercial membership is divided into
-two tiers: small to medium size enterprises and nonprofits at £720 a year,
-and corporations and government organizations at £2,200 a year. Commercial
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
members have greater opportunities to connect and collaborate, explore the
benefits of open data, and unlock new business opportunities. (All members
are listed on their website.)<a href="#ftn.idm1498" class="footnote" name="idm1498"><sup class="footnote">[130]</sup></a>
that. Instead, they offered a five-day-long public training course, which
has subsequently been reduced to three days; now the most popular course is
one day long. The fee, in addition to the time commitment, can be a barrier
-for participation. Jeni says, <span class="quote">«<span class="quote">Most of the people who would be able to
-pay don’t know they need it. Most who know they need it can’t pay.</span>»</span>
+for participation. Jeni says, <span class="quote">«<span class="quote">Most of the people who would be able to
+pay donâ\80\99t know they need it. Most who know they need it canâ\80\99t pay.</span>»</span>
Public-sector organizations sometimes give vouchers to their employees so
they can attend as a form of professional development.
</p><p>
needed by their high-level executives, management, and technical staff. The
training tends to generate high interest and commitment.
</p><p>
- Education about open data is also a part of ODI’s annual summit event, where
+ Education about open data is also a part of ODI’s annual summit event, where
curated presentations and speakers showcase the work of ODI and its members
across the entire ecosystem. Tickets to the summit are available to the
public, and hundreds of people and organizations attend and participate. In
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.
</p></li><li class="listitem"><p>
- Open innovation. Many large-scale enterprises are aware they don’t innovate
+ 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
</p></li></ul></div><p>
During their early years, ODI wanted to focus solely on the United
Kingdom. But in their first year, large delegations of government visitors
-from over fifty countries wanted to learn more about the UK government’s
+from over fifty countries wanted to learn more about the UK government’s
open-data practices and how ODI saw that translating into economic
value. They were contracted as a service provider to international
governments, which prompted a need to set up international ODI
-<span class="quote">«<span class="quote">nodes.</span>»</span>
+<span class="quote">«<span class="quote">nodes.</span>»</span>
</p><p>
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
a sustainable business around open data, offering mentoring, advice,
training, and even office space.<a href="#ftn.idm1518" class="footnote" name="idm1518"><sup class="footnote">[131]</sup></a>
</p><p>
- A big part of ODI’s business model revolves around community
+ A big part of ODI’s business model revolves around community
building. Memberships, training, summits, consulting services, nodes, and
start-up programs create an ever-growing network of open-data users and
leaders. (In fact, ODI even operates something called an Open Data Leaders
</p><p>
ODI has created an online tool that organizations can use to assess the
legal, practical, technical, and social aspects of their open data. If it is
-of high quality, the organization can earn ODI’s Open Data Certificate, a
+of high quality, the organization can earn ODI’s Open Data Certificate, a
globally recognized mark that signals that their open data is useful,
reliable, accessible, discoverable, and supported.<a href="#ftn.idm1524" class="footnote" name="idm1524"><sup class="footnote">[132]</sup></a>
</p><p>
</p><p>
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 <span class="quote">«<span class="quote">open
-licenses</span>»</span> of their own.
+to use Creative Commons licenses rather than creating new <span class="quote">«<span class="quote">open
+licenses</span>»</span> of their own.
</p><p>
For ODI, open is at the heart of what they do. They also release any
software code they produce under open-source-software licenses, and
-publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
to connect and equip people around the world so they can innovate with
data. Disseminating stories, research, guidance, and code under an open
license is essential for achieving that mission. It also demonstrates that
people pay for the advice ODI gives them, not for the methodologies they
use. Producing open content, data, and source code helps establish
credibility and creates leads for the paid services that they
-offer. According to Jeni, <span class="quote">«<span class="quote">The biggest lesson we have learned is that
-it is completely possible to be open, get customers, and make money.</span>»</span>
+offer. According to Jeni, <span class="quote">«<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>»</span>
</p><p>
To serve as evidence of a successful open business model and return on
investment, ODI has a public dashboard of key performance indicators. Here
</p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
Total amount of cash investments unlocked in direct investments in ODI,
competition funding, direct contracts, and partnerships, and income that ODI
-nodes and ODI start-ups have generated since joining the ODI program: £44.5
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
million
</p></li><li class="listitem"><p>
Total number of active members and nodes across the globe: 1,350
</p></li><li class="listitem"><p>
- Total sales since ODI began: £7.44 million
+ Total sales since ODI began: £7.44 million
</p></li><li class="listitem"><p>
Total number of unique people reached since ODI began, in person and online:
2.2 million
</p></li><li class="listitem"><p>
Total number of people trained by ODI and its nodes since ODI began:
5,080<a href="#ftn.idm1546" class="footnote" name="idm1546"><sup class="footnote">[133]</sup></a>
- </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>
Розділ 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></li></ul></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1488" class="footnote"><p><a href="#idm1488" class="para"><sup class="para">[129] </sup></a><a class="ulink" href="http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf" target="_top">http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf</a></p></div><div id="ftn.idm1498" class="footnote"><p><a href="#idm1498" class="para"><sup class="para">[130] </sup></a><a class="ulink" href="http://directory.theodi.org/members" target="_top">http://directory.theodi.org/members</a></p></div><div id="ftn.idm1518" class="footnote"><p><a href="#idm1518" class="para"><sup class="para">[131] </sup></a><a class="ulink" href="http://theodi.org/odi-startup-programme" target="_top">http://theodi.org/odi-startup-programme</a>; <a class="ulink" href="http://theodi.org/open-data-incubator-for-europe" target="_top">http://theodi.org/open-data-incubator-for-europe</a></p></div><div id="ftn.idm1524" class="footnote"><p><a href="#idm1524" class="para"><sup class="para">[132] </sup></a><a class="ulink" href="http://certificates.theodi.org" target="_top">http://certificates.theodi.org</a></p></div><div id="ftn.idm1546" class="footnote"><p><a href="#idm1546" class="para"><sup class="para">[133] </sup></a><a class="ulink" href="http://dashboards.theodi.org/company/all" target="_top">http://dashboards.theodi.org/company/all</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="opendesk"></a>
РоздÑ\96л 17. OpenDesk</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
Steiner, cofounders
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
architects together. They also made goods. Their first client was Mint
Digital, who had an interest in open licensing. Nick and Joni were exploring
-digital fabrication, and Mint’s interest in open licensing got them to
+digital fabrication, and Mint’s interest in open licensing got them to
thinking how the open-source world may interact and apply to physical
goods. They sought to design something for their client that was also
-reproducible. As they put it, they decided to <span class="quote">«<span class="quote">ship the recipe, but
-not the goods.</span>»</span> They created the design using software, put it under
+reproducible. As they put it, they decided to <span class="quote">«<span class="quote">ship the recipe, but
+not the goods.</span>»</span> They created the design using software, put it under
an open license, and had it manufactured locally near the client. This was
-the start of the idea for Opendesk. The idea for Wikihouse—another open
-project dedicated to accessible housing for all—started as discussions
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
around the same table. The two projects ultimately went on separate paths,
with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
company.
model, they began investigating intellectual property and licensing
options. It was a thorny space, especially for designs. Just what aspect of
a design is copyrightable? What is patentable? How can allowing for digital
-sharing and distribution be balanced against the designer’s desire to still
+sharing and distribution be balanced against the designer’s desire to still
hold ownership? In the end, they decided there was no need to reinvent the
wheel and settled on using Creative Commons.
</p><p>
their designs were sold. Coming up with a business model was going to be
complex.
</p><p>
- They gave a lot of thought to three angles—the potential for social sharing,
+ They gave a lot of thought to three angles—the potential for social sharing,
allowing designers to choose their license, and the impact these choices
would have on the business model.
</p><p>
- In support of social sharing, Opendesk actively advocates for (but doesn’t
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
demand) open licensing. And Nick and Joni are agnostic about which Creative
-Commons license is used; it’s up to the designer. They can be proprietary or
+Commons license is used; it’s up to the designer. They can be proprietary or
choose from the full suite of Creative Commons licenses, deciding for
themselves how open or closed they want to be.
</p><p>
For the most part, designers love the idea of sharing content. They
-understand that you get positive feedback when you’re attributed, what Nick
-and Joni called <span class="quote">«<span class="quote">reputational glow.</span>»</span> And Opendesk does an
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">«<span class="quote">reputational glow.</span>»</span> And Opendesk does an
awesome job profiling the designers.<a href="#ftn.idm1572" class="footnote" name="idm1572"><sup class="footnote">[134]</sup></a>
</p><p>
While designers are largely OK with personal sharing, there is a concern
with the designer not getting any benefits. So most Opendesk designers
choose the Attribution-NonCommercial license (CC BY-NC).
</p><p>
- Anyone can download a design and make it themselves, provided it’s for
-noncommercial use — and there have been many, many downloads. Or users can
-buy the product from Opendesk, or from a registered maker in Opendesk’s
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
network, for on-demand personal fabrication. The network of Opendesk makers
currently is made up of those who do digital fabrication using a
computer-controlled CNC (Computer Numeric Control) machining device that
cuts shapes out of wooden sheets according to the specifications in the
design file.
</p><p>
- Makers benefit from being part of Opendesk’s network. Making furniture for
+ Makers benefit from being part of Opendesk’s network. Making furniture for
local customers is paid work, and Opendesk generates business for them. Joni
-said, <span class="quote">«<span class="quote">Finding a whole network and community of makers was pretty easy
+said, <span class="quote">«<span class="quote">Finding a whole network and community of makers was pretty easy
because we built a site where people could write in about their
capabilities. Building the community by learning from the maker community is
-how we have moved forward.</span>»</span> Opendesk now has relationships with
+how we have moved forward.</span>»</span> Opendesk now has relationships with
hundreds of makers in countries all around the world.<a href="#ftn.idm1579" class="footnote" name="idm1579"><sup class="footnote">[135]</sup></a>
</p><p>
The makers are a critical part of the Opendesk business model. Their model
-builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
website:
</p><p>
When customers buy an Opendesk product directly from a registered maker,
a percentage fee to the channel through which the sale is made (at the
moment this is Opendesk, but in the future we aim to open this up to
third-party sellers who can sell Opendesk products through their own
-channels—this covers sales and marketing fees for the relevant channel)
+channels—this covers sales and marketing fees for the relevant channel)
</p></li><li class="listitem"><p>
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)
</p></li><li class="listitem"><p>
charges for any additional services the customer chooses, such as on-site
-assembly (additional services are discretionary—in many cases makers will be
+assembly (additional services are discretionary—in many cases makers will be
happy to quote for assembly on-site and designers may offer bespoke design
options)
</p></li><li class="listitem"><p>
local sales taxes (variable by customer and maker location)<a href="#ftn.idm1599" class="footnote" name="idm1599"><sup class="footnote">[136]</sup></a>
</p></li></ul></div><p>
- They then go into detail how makers’ quotes are created:
+ They then go into detail how makers’ quotes are created:
</p><p>
When a customer wants to buy an Opendesk . . . they are provided with a
transparent breakdown of fees including the manufacturing cost, design fee,
sales tax: as applicable (depends on product and location)
</p></li></ul></div><p>
Opendesk shares revenue with their community of designers. According to
-Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
percent is more generous, and providing a higher value to the designer.
</p><p>
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
+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.
</p><p>
To manage resources and remain effective, Opendesk has so far focused on a
-very narrow niche—primarily office furniture of a certain simple aesthetic,
+very narrow niche—primarily office furniture of a certain simple aesthetic,
which uses only one type of material and one manufacturing technique. This
allows them to be more strategic and more disruptive in the market, by
getting things to market quickly with competitive prices. It also reflects
their vision of creating reproducible and functional pieces.
</p><p>
- On their website, Opendesk describes what they do as <span class="quote">«<span class="quote">open
-making</span>»</span>: <span class="quote">«<span class="quote">Designers get a global distribution channel. Makers
+ On their website, Opendesk describes what they do as <span class="quote">«<span class="quote">open
+making</span>»</span>: <span class="quote">«<span class="quote">Designers get a global distribution channel. Makers
get profitable jobs and new customers. You get designer products without the
designer price tag, a more social, eco-friendly alternative to
-mass-production and an affordable way to buy custom-made products.</span>»</span>
+mass-production and an affordable way to buy custom-made products.</span>»</span>
</p><p>
Nick and Joni say that customers like the fact that the furniture has a
known provenance. People really like that their furniture was designed by a
certain international designer but was made by a maker in their local
-community; it’s a great story to tell. It certainly sets apart Opendesk
+community; it’s a great story to tell. It certainly sets apart Opendesk
furniture from the usual mass-produced items from a store.
</p><p>
Nick and Joni are taking a community-based approach to define and evolve
-Opendesk and the <span class="quote">«<span class="quote">open making</span>»</span> business model. They’re
+Opendesk and the <span class="quote">«<span class="quote">open making</span>»</span> business model. They’re
engaging thought leaders and practitioners to define this new movement. They
have a separate Open Making site, which includes a manifesto, a field guide,
and an invitation to get involved in the Open Making community.<a href="#ftn.idm1624" class="footnote" name="idm1624"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
-and business practices they’d like to see used.
+and business practices they’d like to see used.
</p><p>
Nick and Joni talked a lot with us about intellectual property (IP) and
commercialization. Many of their designers fear the idea that someone could
out of a sense of fairness. They have found that behavioral economics can
replace some of the thorny legal issues. In their business model, Nick and
Joni are trying to suspend the focus on IP and build an open business model
-that works for all stakeholders—designers, channels, manufacturers, and
+that works for all stakeholders—designers, channels, manufacturers, and
customers. For them, the value Opendesk generates hangs off
-<span class="quote">«<span class="quote">open,</span>»</span> not IP.
+<span class="quote">«<span class="quote">open,</span>»</span> not IP.
</p><p>
The mission of Opendesk is about relocalizing manufacturing, which changes
the way we think about how goods are made. Commercialization is integral to
-their mission, and they’ve begun to focus on success metrics that track how
+their mission, and they’ve begun to focus on success metrics that track how
many makers and designers are engaged through Opendesk in revenue-making
work.
</p><p>
- As a global platform for local making, Opendesk’s business model has been
+ As a global platform for local making, Opendesk’s business model has been
built on honesty, transparency, and inclusivity. As Nick and Joni describe
it, they put ideas out there that get traction and then have faith in
people.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>
Розділ 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1572" class="footnote"><p><a href="#idm1572" class="para"><sup class="para">[134] </sup></a><a class="ulink" href="http://www.opendesk.cc/designers" target="_top">http://www.opendesk.cc/designers</a></p></div><div id="ftn.idm1579" class="footnote"><p><a href="#idm1579" class="para"><sup class="para">[135] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/makers/" target="_top">http://www.opendesk.cc/open-making/makers/</a></p></div><div id="ftn.idm1599" class="footnote"><p><a href="#idm1599" class="para"><sup class="para">[136] </sup></a><a class="ulink" href="http://www.opendesk.cc/open-making/join" target="_top">http://www.opendesk.cc/open-making/join</a></p></div><div id="ftn.idm1624" class="footnote"><p><a href="#idm1624" class="para"><sup class="para">[137] </sup></a><a class="ulink" href="http://openmaking.is" target="_top">http://openmaking.is</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="openstax"></a>
РоздÑ\96л 18. OpenStax</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
</p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
editor-in-chief
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
OpenStax is an extension of a program called Connexions, which was started
-in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+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
+Dr. Baraniuk wanted to provide authors and learners a way to share and
freely adapt educational materials such as courses, books, and
-reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
best libraries of customizable educational materials, all licensed with
-Creative Commons and available to anyone, anywhere, anytime—for free.
+Creative Commons and available to anyone, anywhere, anytime—for free.
</p><p>
In 2008, while in a senior leadership role at WebAssign and looking at ways
to reduce the risk that came with relying on publishers, David Harris began
investigating open educational resources (OER) and discovered Connexions. A
year and a half later, Connexions received a grant to help grow the use of
-OER so that it could meet the needs of students who couldn’t afford
+OER so that it could meet the needs of students who couldn’t afford
textbooks. David came on board to spearhead this effort. Connexions became
OpenStax CNX; the program to create open textbooks became OpenStax College,
now simply called OpenStax.
</p><p>
David brought with him a deep understanding of the best practices of
-publishing along with where publishers have inefficiencies. In David’s view,
+publishing along with where publishers have inefficiencies. In David’s view,
peer review and high standards for quality are critically important if you
want to scale easily. Books have to have logical scope and sequence, they
have to exist as a whole and not in pieces, and they have to be easy to
librarians about these textbooks and to advocate for their use.
</p><p>
Teachers are invited to try out a single chapter from one of the textbooks
-with students. If that goes well, they’re encouraged to adopt the entire
+with students. If that goes well, they’re encouraged to adopt the entire
book. They can simply paste a URL into their course syllabus, for free and
unlimited access. And with the CC BY license, teachers are free to delete
chapters, make changes, and customize any book to fit their needs.
presentations, test banks, answer keys, and so on.
</p><p>
Institutions can stand out by offering students a lower-cost education
-through the use of OpenStax textbooks; there’s even a textbook-savings
+through the use of OpenStax textbooks; there’s even a textbook-savings
calculator they can use to see how much students would save. OpenStax keeps
a running list of institutions that have adopted their
textbooks.<a href="#ftn.idm1671" class="footnote" name="idm1671"><sup class="footnote">[139]</sup></a>
</p><p>
- Unlike traditional publishers’ monolithic approach of controlling
+ Unlike traditional publishers’ monolithic approach of controlling
intellectual property, distribution, and so many other aspects, OpenStax has
adopted a model that embraces open licensing and relies on an extensive
network of partners.
already published revisions of their titles, such as Introduction to
Sociology 2e, using these funds.
</p><p>
- In David’s view, this approach lets the market operate at peak
-efficiency. OpenStax’s partners don’t have to worry about developing
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
textbook content, freeing them up from those development costs and letting
them focus on what they do best. With OpenStax textbooks available at no
-cost, they can provide their services at a lower cost—not free, but still
+cost, they can provide their services at a lower cost—not free, but still
saving students money. OpenStax benefits not only by receiving
mission-support fees but through free publicity and marketing. OpenStax
-doesn’t have a sales force; partners are out there showcasing their
+doesn’t have a sales force; partners are out there showcasing their
materials.
</p><p>
- OpenStax’s cost of sales to acquire a single student is very, very low and
+ OpenStax’s cost of sales to acquire a single student is very, very low and
is a fraction of what traditional players in the market face. This year,
Tyton Partners is actually evaluating the costs of sales for an OER effort
like OpenStax in comparison with incumbents. David looks forward to sharing
is working well, since the sell-through of their print titles is virtually a
hundred percent.
</p><p>
- David thinks of the OpenStax model as <span class="quote">«<span class="quote">OER 2.0.</span>»</span> So what is OER
+ David thinks of the OpenStax model as <span class="quote">«<span class="quote">OER 2.0.</span>»</span> So what is OER
1.0? Historically in the OER field, many OER initiatives have been locally
-funded by institutions or government ministries. In David’s view, this
+funded by institutions or government ministries. In David’s view, this
results in content that has high local value but is infrequently adopted
-nationally. It’s therefore difficult to show payback over a time scale that
+nationally. It’s therefore difficult to show payback over a time scale that
is reasonable.
</p><p>
OER 2.0 is about OER intended to be used and adopted on a national level
The process is similar for both models. First they look at the scope and
sequence of existing textbooks. They ask questions like what does the
customer need? Where are students having challenges? Then they identify
-potential authors and put them through a rigorous evaluation—only one in ten
+potential authors and put them through a rigorous evaluation—only one in ten
authors make it through. OpenStax selects a team of authors who come
together to develop a template for a chapter and collectively write the
-first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
books with just a single author as David says it risks the project going
longer than scheduled.) The draft is peer-reviewed with no less than three
reviewers per chapter. A second draft is generated, with artists producing
</p><p>
All the people involved in this process are paid. OpenStax does not rely on
volunteers. Writers, reviewers, illustrators, and editors are all paid an
-up-front fee—OpenStax does not use a royalty model. A best-selling author
+up-front fee—OpenStax does not use a royalty model. A best-selling author
might make more money under the traditional publishing model, but that is
-only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
all authors do better under the OER 2.0 model, as there is no risk to them
and they earn all the money up front.
</p><p>
- David thinks of the Attribution license (CC BY) as the <span class="quote">«<span class="quote">innovation
-license.</span>»</span> It’s core to the mission of OpenStax, letting people use
+ David thinks of the Attribution license (CC BY) as the <span class="quote">«<span class="quote">innovation
+license.</span>»</span> It’s core to the mission of OpenStax, letting people use
their textbooks in innovative ways without having to ask for permission. It
frees up the whole market and has been central to OpenStax being able to
bring on partners. OpenStax sees a lot of customization of their
and academic freedom.
</p><p>
Using CC BY is also a good example of using strategies that traditional
-publishers can’t. Traditional publishers rely on copyright to prevent others
+publishers can’t. Traditional publishers rely on copyright to prevent others
from making copies and heavily invest in digital rights management to ensure
-their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
with digital rights management and its costs. OpenStax books can be copied
and shared over and over again. CC BY changes the rules of engagement and
takes advantage of traditional market inefficiencies.
necessary precursor to international interest.
</p><p>
OpenStax has primarily focused on introductory-level college courses where
-there is high enrollment, but they are starting to think about verticals—a
+there is high enrollment, but they are starting to think about verticals—a
broad offering for a specific group or need. David thinks it would be
terrific if OpenStax could provide access to free textbooks through the
entire curriculum of a nursing degree, for example.
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.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>
Розділ 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1664" class="footnote"><p><a href="#idm1664" class="para"><sup class="para">[138] </sup></a><a class="ulink" href="http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg" target="_top">http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg</a></p></div><div id="ftn.idm1671" class="footnote"><p><a href="#idm1671" class="para"><sup class="para">[139] </sup></a><a class="ulink" href="http://openstax.org/adopters" target="_top">http://openstax.org/adopters</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="amanda-palmer"></a>
РоздÑ\96л 19. Amanda Palmer</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Amanda Palmer is a musician, artist, and writer. Based in the U.S.
</p><p>
<a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
and album sales), charg-ing for in-person version (performances), selling
merchandise
</p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
\end{flushright}</td></tr></table></div><p>
Since the beginning of her career, Amanda Palmer has been on what she calls
-a <span class="quote">«<span class="quote">journey with no roadmap,</span>»</span> continually experimenting to find
+a <span class="quote">«<span class="quote">journey with no roadmap,</span>»</span> continually experimenting to find
new ways to sustain her creative work.<a href="#ftn.idm1718" class="footnote" name="idm1718"><sup class="footnote">[140]</sup></a>
</p><p>
In her best-selling book, The Art of Asking, Amanda articulates exactly what
-she has been and continues to strive for—<span class="quote">«<span class="quote">the ideal sweet spot
+she has been and continues to strive forâ\80\94<span class="quote">«<span class="quote">the ideal sweet spot
. . . in which the artist can share freely and directly feel the
reverberations of their artistic gifts to the community, and make a living
-doing that.</span>»</span>
+doing that.</span>»</span>
</p><p>
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. <span class="quote">«<span class="quote">On
-the one hand, we have this beautiful shareability,</span>»</span> Amanda
-said. <span class="quote">«<span class="quote">On the other, you’ve got a bunch of confused artists wondering
-how to make money to buy food so we can make more art.</span>»</span>
+digital age is both an exciting and frustrating time for creators. <span class="quote">«<span class="quote">On
+the one hand, we have this beautiful shareability,</span>»</span> Amanda
+said. <span class="quote">«<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>»</span>
</p><p>
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
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. <span class="quote">«<span class="quote">All
-I needed was . . . some people,</span>»</span> she wrote in her book. <span class="quote">«<span class="quote">Enough
+people who ignored her, she felt thankful for those who stopped. <span class="quote">«<span class="quote">All
+I needed was . . . some people,</span>»</span> she wrote in her book. <span class="quote">«<span class="quote">Enough
people. Enough to make it worth coming back the next day, enough people to
help me make rent and put food on the table. Enough so I could keep making
-art.</span>»</span>
+art.</span>»</span>
</p><p>
Amanda has come a long way from her street-performing days, but her career
-remains dominated by that same sentiment—finding ways to reach <span class="quote">«<span class="quote">her
-crowd</span>»</span> and feeling gratitude when she does. With her band the Dresden
+remains dominated by that same sentimentâ\80\94finding ways to reach <span class="quote">«<span class="quote">her
+crowd</span>»</span> and feeling gratitude when she does. With her band the Dresden
Dolls, Amanda tried the traditional path of signing with a record label. It
-didn’t take for a variety of reasons, but one of them was that the label had
-absolutely no interest in Amanda’s view of success. They wanted hits, but
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
making music for the masses was never what Amanda and the Dresden Dolls set
out to do.
</p><p>
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 <span class="quote">«<span class="quote">pay what
-you want</span>»</span> basis and selling CDs and vinyl. She also made money from
+without involving a middle man, releasing digital files on a <span class="quote">«<span class="quote">pay what
+you want</span>»</span> basis and selling CDs and vinyl. She also made money from
live performances and merchandise sales. Eventually, in 2012 she decided to
try her hand at the sort of crowdfunding we know so well today. Her
Kickstarter project started with a goal of $100,000, and she made $1.2
on Patreon, a crowdfunding site that allows artists to get recurring
donations from fans. More than eight thousand people have signed up to
support her so she can create music, art, and any other creative
-<span class="quote">«<span class="quote">thing</span>»</span> that she is inspired to make. The recurring pledges are
-made on a <span class="quote">«<span class="quote">per thing</span>»</span> basis. All of the content she makes is
+<span class="quote">«<span class="quote">thing</span>»</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">«<span class="quote">per thing</span>»</span> basis. All of the content she makes is
made freely available under an Attribution-NonCommercial-ShareAlike license
(CC BY-NC-SA).
</p><p>
before she discovered Creative Commons. Amanda says the Dresden Dolls used
to get ten emails per week from fans asking if they could use their music
for different projects. They said yes to all of the requests, as long as it
-wasn’t for a completely for-profit venture. At the time, they used a
-short-form agreement written by Amanda herself. <span class="quote">«<span class="quote">I made everyone sign
-that contract so at least I wouldn’t be leaving the band vulnerable to
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">«<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
someone later going on and putting our music in a Camel cigarette
-ad,</span>»</span> Amanda said. Once she discovered Creative Commons, adopting the
+ad,</span>»</span> Amanda said. Once she discovered Creative Commons, adopting the
licenses was an easy decision because it gave them a more formal,
standardized way of doing what they had been doing all along. The
NonCommercial licenses were a natural fit.
</p><p>
Amanda embraces the way her fans share and build upon her music. In The Art
-of Asking, she wrote that some of her fans’ unofficial videos using her
+of Asking, she wrote that some of her fans’ unofficial videos using her
music surpass the official videos in number of views on YouTube. Rather than
-seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">«<span class="quote">We
-got into this because we wanted to share the joy of music,</span>»</span> she said.
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">«<span class="quote">We
+got into this because we wanted to share the joy of music,</span>»</span> she said.
</p><p>
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. <span class="quote">«<span class="quote">Not
+grew, the line between fans and friends was completely blurred. <span class="quote">«<span class="quote">Not
only did most our early fans know where I lived and where we practiced, but
-most of them had also been in my kitchen,</span>»</span> Amanda wrote in The Art of
+most of them had also been in my kitchen,</span>»</span> Amanda wrote in The Art of
Asking.
</p><p>
Even though her fan base is now huge and global, she continues to seek this
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. <span class="quote">«<span class="quote">Listening fast and caring immediately is a skill unto
-itself,</span>»</span> Amanda wrote.
+listen. <span class="quote">«<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>»</span> Amanda wrote.
</p><p>
Another part of the connection fans feel with Amanda is how much they know
about her life. Rather than trying to craft a public persona or image, she
essentially lives her life as an open book. She has written openly about
-incredibly personal events in her life, and she isn’t afraid to be
-vulnerable. Having that kind of trust in her fans—the trust it takes to be
-truly honest—begets trust from her fans in return. When she meets fans for
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
the first time after a show, they can legitimately feel like they know her.
- </p><p><span class="quote">«<span class="quote">With social media, we’re so concerned with the picture looking
+ </p><p><span class="quote">«<span class="quote">With social media, we’re so concerned with the picture looking
palatable and consumable that we forget that being human and showing the
flaws and exposing the vulnerability actually create a deeper connection
-than just looking fantastic,</span>»</span> Amanda said. <span class="quote">«<span class="quote">Everything in our
+than just looking fantastic,</span>»</span> Amanda said. <span class="quote">«<span class="quote">Everything in our
culture is telling us otherwise. But my experience has shown me that the
-risk of making yourself vulnerable is almost always worth it.</span>»</span>
+risk of making yourself vulnerable is almost always worth it.</span>»</span>
</p><p>
Not only does she disclose intimate details of her life to them, she sleeps
on their couches, listens to their stories, cries with them. In short, she
treats her fans like friends in nearly every possible way, even when they
-are complete strangers. This mentality—that fans are friends—is completely
-intertwined with Amanda’s success as an artist. It is also intertwined with
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
her use of Creative Commons licenses. Because that is what you do with your
-friends—you share.
+friends—you share.
</p><p>
After years of investing time and energy into building trust with her fans,
-she has a strong enough relationship with them to ask for support—through
+she has a strong enough relationship with them to ask for support—through
pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
lend a hand at a concert. As Amanda explains it, crowdfunding (which is
really what all of these different things are) is about asking for support
from people who know and trust you. People who feel personally invested in
your success.
- </p><p><span class="quote">«<span class="quote">When you openly, radically trust people, they not only take care of
-you, they become your allies, your family,</span>»</span> she wrote. There really
+ </p><p><span class="quote">«<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>»</span> 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 <span class="quote">«<span class="quote">weird little
-family.</span>»</span>
+consciously cultivated a feeling of belonging to their <span class="quote">«<span class="quote">weird little
+family.</span>»</span>
</p><p>
This sort of intimacy with fans is not possible or even desirable for every
-creator. <span class="quote">«<span class="quote">I don’t take for granted that I happen to be the type of
-person who loves cavorting with strangers,</span>»</span> Amanda said. <span class="quote">«<span class="quote">I
-recognize that it’s not necessarily everyone’s idea of a good time. Everyone
-does it differently. Replicating what I have done won’t work for others if
-it isn’t joyful to them. It’s about finding a way to channel energy in a way
-that is joyful to you.</span>»</span>
+creator. <span class="quote">«<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>»</span> Amanda said. <span class="quote">«<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>»</span>
</p><p>
Yet while Amanda joyfully interacts with her fans and involves them in her
-work as much as possible, she does keep one job primarily to herself—writing
+work as much as possible, she does keep one job primarily to herself—writing
the music. She loves the creativity with which her fans use and adapt her
work, but she intentionally does not involve them at the first stage of
creating her artistic work. And, of course, the songs and music are what
strengthens with human connection.
</p><p>
For Amanda, the entire point of being an artist is to establish and maintain
-this connection. <span class="quote">«<span class="quote">It sounds so corny,</span>»</span> she said, <span class="quote">«<span class="quote">but my
+this connection. <span class="quote">«<span class="quote">It sounds so corny,</span>»</span> she said, <span class="quote">«<span class="quote">but my
experience in forty years on this planet has pointed me to an obvious
-truth—that connection with human beings feels so much better and more
+truth—that connection with human beings feels so much better and more
fulfilling than approaching art through a capitalist lens. There is no more
satisfying end goal than having someone tell you that what you do is
-genuinely of value to them.</span>»</span>
+genuinely of value to them.</span>»</span>
</p><p>
As she explains it, when a fan gives her a ten-dollar bill, usually what
they are saying is that the money symbolizes some deeper value the music
-provided them. For Amanda, art is not just a product; it’s a
+provided them. For Amanda, art is not just a product; it’s a
relationship. Viewed from this lens, what Amanda does today is not that
different from what she did as a young street performer. She shares her
music and other artistic gifts. She shares herself. And then rather than
forcing people to help her, she lets them.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>
Розділ 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1718" class="footnote"><p><a href="#idm1718" class="para"><sup class="para">[140] </sup></a><a class="ulink" href="http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67" target="_top">http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="plos-public-library-of-science"></a>
РоздÑ\96л 20. PLOS (Public Library of Science)</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
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.
an author processing charge to be featured in the journal
</p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
\end{flushright}</td></tr></table></div><p>
The Public Library of Science (PLOS) began in 2000 when three leading
-scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
online petition. They were calling for scientists to stop submitting papers
-to journals that didn’t make the full text of their papers freely available
+to journals that didn’t make the full text of their papers freely available
immediately or within six months. Although tens of thousands signed the
petition, most did not follow through. In August 2001, Patrick and Michael
announced that they would start their own nonprofit publishing operation to
For Louise Page, the current publisher of PLOS, this traditional model
results in inequity. Access is restricted to those who can pay. Most
research is funded through government-appointed agencies, that is, with
-public funds. It’s unjust that the public who funded the research would be
+public funds. It’s unjust that the public who funded the research would be
required to pay again to access the results. Not everyone can afford the
ever-escalating subscription fees publishers charge, especially when library
budgets are being reduced. Restricting access to the results of scientific
publication. Rather than charge a subscription fee to access the journal,
PLOS decided to turn the model on its head and charge a publication fee,
known as an article-processing charge. This up-front fee, generally paid by
-the funder of the research or the author’s institution, covers the expenses
+the funder of the research or the author’s institution, covers the expenses
such as editorial oversight, peer-review management, journal production,
online hosting, and support for discovery. Fees are per article and are
billed upon acceptance for publishing. There are no additional charges based
</p><p>
Calculating the article-processing charge involves taking all the costs
associated with publishing the journal and determining a cost per article
-that collectively recovers costs. For PLOS’s journals in biology, medicine,
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
genetics, computational biology, neglected tropical diseases, and pathogens,
the article-processing charge ranges from $2,250 to
$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
</p><p>
PLOS believes that lack of funds should not be a barrier to
publication. Since its inception, PLOS has provided fee support for
-individuals and institutions to help authors who can’t afford the
+individuals and institutions to help authors who can’t afford the
article-processing charges.
</p><p>
Louise identifies marketing as one area of big difference between PLOS and
in staff, buildings, and infrastructure to market their journal and convince
customers to subscribe. Restricting access to subscribers means that tools
for managing access control are necessary. They spend millions of dollars on
-access-control systems, staff to manage them, and sales staff. With PLOS’s
-open-access publishing, there’s no need for these massive expenses; the
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
articles are free, open, and accessible to all upon
publication. Additionally, traditional publishers tend to spend more on
marketing to libraries, who ultimately pay the subscription fees. PLOS
there is always a trade-off with scale, as the bigger the volume of
articles, the more time the approval process inevitably takes.
</p><p>
- Peer review is another part of the process that could change. It’s possible
+ Peer review is another part of the process that could change. It’s possible
to redefine what peer review actually is, when to review, and what
constitutes the final article for publication. Louise talked about the
potential to shift to an open-review process, placing the emphasis on
-transparency rather than double-blind reviews. Louise thinks we’re moving
-into a direction where it’s actually beneficial for an author to know who is
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
reviewing their paper and for the reviewer to know their review will be
public. An open-review process can also ensure everyone gets credit; right
now, credit is limited to the publisher and author.
</p><p>
Louise says research with negative outcomes is almost as important as
positive results. If journals published more research with negative
-outcomes, we’d learn from what didn’t work. It could also reduce how much
+outcomes, we’d learn from what didn’t work. It could also reduce how much
the research wheel gets reinvented around the world.
</p><p>
Another adjustable practice is the sharing of articles at early preprint
with findings based on their research. Other researches may see findings the
preprint author has not yet thought of. However, preprints help researchers
get their discoveries out early and establish precedence. A big challenge is
-that researchers don’t have a lot of time to comment on preprints.
+that researchers don’t have a lot of time to comment on preprints.
</p><p>
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
Ultimately, for PLOS, its authors, and its readers, success is about making
research discoverable, available, and reproducible for the advancement of
science.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>
Розділ 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1796" class="footnote"><p><a href="#idm1796" class="para"><sup class="para">[141] </sup></a><a class="ulink" href="http://collections.plos.org" target="_top">http://collections.plos.org</a></p></div><div id="ftn.idm1799" class="footnote"><p><a href="#idm1799" class="para"><sup class="para">[142] </sup></a><a class="ulink" href="http://plos.org/article-level-metrics" target="_top">http://plos.org/article-level-metrics</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="rijksmuseum"></a>
РоздÑ\96л 21. Rijksmuseum</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Rijksmuseum is a Dutch national museum dedicated to art and
history. Founded in 1800 in the Netherlands
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
</p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
manager of the collections information department
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
</p><p>
By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
staff were fed up with the situation the museum was in. They also realized
-that even with the new and larger space, it still wouldn’t be able to show
-very much of the whole collection—eight thousand of over one million works
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
representing just 1 percent. Staff began exploring ways to express
themselves, to have something to show for all of the work they had been
doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
a way for the museum provide benefit to the public while it was closed? They
-began thinking about sharing Rijksmuseum’s collection using information
+began thinking about sharing Rijksmuseum’s collection using information
technology. And they put up a card-catalog like database of the entire
collection online.
</p><p>
of the one hundred most important pieces in the Rijksmuseum collection? That
eventually led to why not put the whole collection online?
</p><p>
- Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
library, museum, and archive for cultural heritage.<a href="#ftn.idm1822" class="footnote" name="idm1822"><sup class="footnote">[143]</sup></a> 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
business practice a bit scary, but at the same time it stimulated even more
discussion on whether the Rijksmuseum should follow suit.
</p><p>
- They realized that they don’t <span class="quote">«<span class="quote">own</span>»</span> the collection and couldn’t
+ They realized that they don’t <span class="quote">«<span class="quote">own</span>»</span> the collection and couldn’t
realistically monitor and enforce compliance with the restrictive licensing
terms they currently had in place. For example, many copies and versions of
-Vermeer’s Milkmaid (part of their collection) were already online, many of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
them of very poor quality. They could spend time and money policing its use,
-but it would probably be futile and wouldn’t make people stop using their
-images online. They ended up thinking it’s an utter waste of time to hunt
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
down people who use the Rijksmuseum collection. And anyway, restricting
access meant the people they were frustrating the most were schoolkids.
</p><p>
</p><p>
Releasing these high-quality images for free reduced the number of
poor-quality images that were proliferating. The high-quality image of
-Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
month. On the Internet, images from a source like the Rijksmuseum are more
trusted, and releasing them with a Creative Commons CC0 means they can
easily be found in other platforms. For example, Rijksmuseum images are now
used in thousands of Wikipedia articles, receiving ten to eleven million
-views per month. This extends Rijksmuseum’s reach far beyond the scope of
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
its website. Sharing these images online creates what Lizzy calls the
-<span class="quote">«<span class="quote">Mona Lisa effect,</span>»</span> where a work of art becomes so famous that
+<span class="quote">«<span class="quote">Mona Lisa effect,</span>»</span> where a work of art becomes so famous that
people want to see it in real life by visiting the actual museum.
</p><p>
Every museum tends to be driven by the number of physical visitors. The
Rijksmuseum.
</p><p>
As museums create a digital presence for themselves and put up digital
-representations of their collection online, there’s frequently a worry that
+representations of their collection online, there’s 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
about one million visitors a year before closing and now gets more than two
million a year. Making the collection available online has generated
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 children’s toys, people also see what museum the image comes
-from and this increases the museum’s visibility.
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
</p><p>
- In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
-a new web presence that would be different from any other museum’s. In
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
addition to redesigning their main website to be mobile friendly and
responsive to devices like the iPad, the Rijksmuseum also created the
Rijksstudio, where users and artists could use and do various things with
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 <span class="quote">«<span class="quote">like</span>»</span> works and compile your
+a bit like Pinterest. You can <span class="quote">«<span class="quote">like</span>»</span> works and compile your
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
</p><p>
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 artists’ works are still bound
+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
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. They’ve even partnered with the DIY marketplace Etsy
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
to inspire people to sell their creations. One great example you can find on
Etsy is a kimono designed by Angie Johnson, who used an image of an
elaborate cabinet along with an oil painting by Jan Asselijn called The
competition, known as the Rijksstudio Award.<a href="#ftn.idm1846" class="footnote" name="idm1846"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
invites the public to use Rijksstudio images to make new creative designs. A
jury of renowned designers and curators selects ten finalists and three
-winners. The final award comes with a prize of €10,000. The second edition
+winners. The final award comes with a prize of €10,000. The second edition
in 2015 attracted a staggering 892 top-class entries. Some award winners end
up with their work sold through the Rijksmuseum store, such as the 2014
entry featuring makeup based on a specific color scheme of a work of
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
-with the many improvements to the Rijksmuseum’s website, dramatically
+with the many improvements to the Rijksmuseum’s website, dramatically
increased visits to their website from thirty-five thousand visits per month
to three hundred thousand.
</p><p>
</p><p>
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 museum’s works. But Lizzy says those fears did not
-come true because <span class="quote">«<span class="quote">ninety-nine percent of people have respect for
-great art.</span>»</span> Many museums think they can make a lot of money by
-selling things related to their collection. But in Lizzy’s experience,
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">«<span class="quote">ninety-nine percent of people have respect for
+great art.</span>»</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
museums are usually bad at selling things, and sometimes efforts to generate
-a small amount of money block something much bigger—the real value that the
+a small amount of money block something much bigger—the real value that the
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
-use of their collection has generated great promotional value—far more than
+use of their collection has generated great promotional value—far more than
the previous practice of charging fees for access and use. Lizzy sums up
-their experience: <span class="quote">«<span class="quote">Give away; get something in return. Generosity
-makes people happy to join you and help out.</span>»</span>
+their experience: <span class="quote">«<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>»</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1822" class="footnote"><p><a href="#idm1822" class="para"><sup class="para">[143] </sup></a><a class="ulink" href="http://www.europeana.eu/portal/en" target="_top">http://www.europeana.eu/portal/en</a></p></div><div id="ftn.idm1834" class="footnote"><p><a href="#idm1834" class="para"><sup class="para">[144] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio" target="_top">http://www.rijksmuseum.nl/en/rijksstudio</a></p></div><div id="ftn.idm1842" class="footnote"><p><a href="#idm1842" class="para"><sup class="para">[145] </sup></a><a class="ulink" href="http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe" target="_top">http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe</a></p></div><div id="ftn.idm1846" class="footnote"><p><a href="#idm1846" class="para"><sup class="para">[146] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award</a>; the 2014
award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2014" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2014</a>;
-the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>
Розділ 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+the 2015 award: <a class="ulink" href="http://www.rijksmuseum.nl/en/rijksstudio-award-2015" target="_top">http://www.rijksmuseum.nl/en/rijksstudio-award-2015</a></p></div><div id="ftn.idm1851" class="footnote"><p><a href="#idm1851" class="para"><sup class="para">[147] </sup></a><a class="ulink" href="http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4" target="_top">http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="shareable"></a>
РоздÑ\96л 22. Shareable</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
</p><p>
<a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
</p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
executive editor
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
In 2013, Shareable faced an impasse. The nonprofit online publication had
helped start a sharing movement four years prior, but over time, they
watched one part of the movement stray from its ideals. As giants like Uber
-and Airbnb gained ground, attention began to center on the <span class="quote">«<span class="quote">sharing
-economy</span>»</span> we know now—profit-driven, transactional, and loaded with
+and Airbnb gained ground, attention began to center on the <span class="quote">«<span class="quote">sharing
+economy</span>»</span> we know now—profit-driven, transactional, and loaded with
venture-capital money. Leaders of corporate start-ups in this domain invited
Shareable to advocate for them. The magazine faced a choice: ride the wave
or stand on principle.
</p><p>
As an organization, Shareable decided to draw a line in the sand. In 2013,
the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
-the PandoDaily that charted Shareable’s new critical stance on the Silicon
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
Valley version of the sharing economy, while contrasting it with aspects of
the real sharing economy like open-source software, participatory budgeting
(where citizens decide how a public budget is spent), cooperatives, and
-more. He wrote, <span class="quote">«<span class="quote">It’s not so much that collaborative consumption is
-dead, it’s more that it risks dying as it gets absorbed by the
-<span class="quote">„<span class="quote">Borg.</span>“</span></span>»</span>
+more. He wrote, <span class="quote">«<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">â\80\9e<span class="quote">Borg.</span>â\80\9c</span></span>»</span>
</p><p>
Neal said their public critique of the corporate sharing economy defined
what Shareable was and is. He does not think the magazine would still be
-around had they chosen differently. <span class="quote">«<span class="quote">We would have gotten another type
-of audience, but it would have spelled the end of us,</span>»</span> he
-said. <span class="quote">«<span class="quote">We are a small, mission-driven organization. We would never
+around had they chosen differently. <span class="quote">«<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>»</span> he
+said. <span class="quote">«<span class="quote">We are a small, mission-driven organization. We would never
have been able to weather the criticism that Airbnb and Uber are getting
-now.</span>»</span>
+now.</span>»</span>
</p><p>
- Interestingly, impassioned supporters are only a small sliver of Shareable’s
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
total audience. Most are casual readers who come across a Shareable story
because it happens to align with a project or interest they have. But
choosing principles over the possibility of riding the coattails of the
-major corporate players in the sharing space saved Shareable’s
+major corporate players in the sharing space saved Shareable’s
credibility. Although they became detached from the corporate sharing
-economy, the online magazine became the voice of the <span class="quote">«<span class="quote">real sharing
-economy</span>»</span> and continued to grow their audience.
+economy, the online magazine became the voice of the <span class="quote">«<span class="quote">real sharing
+economy</span>»</span> and continued to grow their audience.
</p><p>
Shareable is a magazine, but the content they publish is a means to
furthering their role as a leader and catalyst of a movement. Shareable
-became a leader in the movement in 2009. <span class="quote">«<span class="quote">At that time, there was a
+became a leader in the movement in 2009. <span class="quote">«<span class="quote">At that time, there was a
sharing movement bubbling beneath the surface, but no one was connecting the
-dots,</span>»</span> Neal said. <span class="quote">«<span class="quote">We decided to step into that space and take
-on that role.</span>»</span> The small team behind the nonprofit publication truly
+dots,</span>»</span> Neal said. <span class="quote">«<span class="quote">We decided to step into that space and take
+on that role.</span>»</span> The small team behind the nonprofit publication truly
believed sharing could be central to solving some of the major problems
-human beings face—resource inequality, social isolation, and global warming.
+human beings face—resource inequality, social isolation, and global warming.
</p><p>
They have worked hard to find ways to tell stories that show different
-metrics for success. <span class="quote">«<span class="quote">We wanted to change the notion of what
-constitutes the good life,</span>»</span> Neal said. While they started out with a
+metrics for success. <span class="quote">«<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>»</span> Neal said. While they started out with a
very broad focus on sharing generally, today they emphasize stories about
-the physical commons like <span class="quote">«<span class="quote">sharing cities</span>»</span> (i.e., urban areas
+the physical commons like <span class="quote">«<span class="quote">sharing cities</span>»</span> (i.e., urban areas
managed in a sustainable, cooperative way), as well as digital platforms
that are run democratically. They particularly focus on how-to content that
help their readers make changes in their own lives and communities.
</p><p>
- More than half of Shareable’s stories are written by paid journalists that
-are contracted by the magazine. <span class="quote">«<span class="quote">Particularly in content areas that
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">«<span class="quote">Particularly in content areas that
are a priority for us, we really want to go deep and control the
-quality,</span>»</span> Neal said. The rest of the content is either contributed by
+quality,</span>»</span> Neal said. The rest of the content is either contributed by
guest writers, often for free, or written by other publications from their
network of content publishers. Shareable is a member of the Post Growth
Alliance, which facilitates the sharing of content and audiences among a
large and growing group of mostly nonprofits. Each organization gets a
chance to present stories to the group, and the organizations can use and
-promote each other’s stories. Much of the content created by the network is
+promote each other’s stories. Much of the content created by the network is
licensed with Creative Commons.
</p><p>
- All of Shareable’s original content is published under the Attribution
+ All of Shareable’s original content is published under the Attribution
license (CC BY), meaning it can be used for any purpose as long as credit is
-given to Shareable. Creative Commons licensing is aligned with Shareable’s
-vision, mission, and identity. That alone explains the organization’s
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
embrace of the licenses for their content, but Neal also believes CC
-licensing helps them increase their reach. <span class="quote">«<span class="quote">By using CC
-licensing,</span>»</span> he said, <span class="quote">«<span class="quote">we realized we could reach far more
+licensing helps them increase their reach. <span class="quote">«<span class="quote">By using CC
+licensing,</span>»</span> he said, <span class="quote">«<span class="quote">we realized we could reach far more
people through a formal and informal network of republishers or
-affiliates. That has definitely been the case. It’s hard for us to measure
+affiliates. That has definitely been the case. It’s hard for us to measure
the reach of other media properties, but most of the outlets who republish
-our work have much bigger audiences than we do.</span>»</span>
+our work have much bigger audiences than we do.</span>»</span>
</p><p>
In addition to their regular news and commentary online, Shareable has also
experimented with book publishing. In 2012, they worked with a traditional
publisher to release Share or Die: Voices of the Get Lost Generation in an
Age of Crisis. The CC-licensed book was available in print form for purchase
-or online for free. To this day, the book—along with their CC-licensed guide
-Policies for Shareable Cities—are two of the biggest generators of traffic
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
on their website.
</p><p>
In 2016, Shareable self-published a book of curated Shareable stories called
community-supported will better represent their vision of the world.
</p><p>
For Shareable, success is very much about their impact on the world. This is
-true for Neal, but also for everyone who works for Shareable. <span class="quote">«<span class="quote">We
-attract passionate people,</span>»</span> Neal said. At times, that means
+true for Neal, but also for everyone who works for Shareable. <span class="quote">«<span class="quote">We
+attract passionate people,</span>»</span> Neal said. At times, that means
employees work so hard they burn out. Neal tries to stress to the Shareable
team that another part of success is having fun and taking care of yourself
-while you do something you love. <span class="quote">«<span class="quote">A central part of human beings is
-that we long to be on a great adventure with people we love,</span>»</span> he
-said. <span class="quote">«<span class="quote">We are a species who look over the horizon and imagine and
-create new worlds, but we also seek the comfort of hearth and home.</span>»</span>
+while you do something you love. <span class="quote">«<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>»</span> he
+said. <span class="quote">«<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>»</span>
</p><p>
In 2013, Shareable ran its first crowdfunding campaign to launch their
Sharing Cities Network. Neal said at first they were on pace to fail
spectacularly. They called in their advisers in a panic and asked for
-help. The advice they received was simple—<span class="quote">«<span class="quote">Sit your ass in a chair and
-start making calls.</span>»</span> That’s exactly what they did, and they ended up
+help. The advice they received was simpleâ\80\94<span class="quote">«<span class="quote">Sit your ass in a chair and
+start making calls.</span>»</span> That’s exactly what they did, and they ended up
reaching their $50,000 goal. Neal said the campaign helped them reach new
people, but the vast majority of backers were people in their existing base.
</p><p>
Shareable began hosting events in 2010. These events were designed to bring
the sharing community together. But over time they realized they could reach
far more people if they helped their readers to host their own
-events. <span class="quote">«<span class="quote">If we wanted to go big on a conference, there was a huge risk
+events. <span class="quote">«<span class="quote">If we wanted to go big on a conference, there was a huge risk
and huge staffing needs, plus only a fraction of our community could travel
-to the event,</span>»</span> Neal said. Enabling others to create their own events
+to the event,</span>»</span> Neal said. Enabling others to create their own events
around the globe allowed them to scale up their work more effectively and
reach far more people. Shareable has catalyzed three hundred different
events reaching over twenty thousand people since implementing this strategy
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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>
Розділ 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>
РоздÑ\96л 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Siyavula is a for-profit educational-technology company that creates
textbooks and integrated learning experiences. Founded in 2012 in South
Africa.
services, sponsorships
</p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
subjects for grades 4 to 12 in South Africa.
</p><p>
In terms of creating an open business model that involves Creative Commons,
-Siyavula—and its founder, Mark Horner—have been around the block a few
+Siyavula—and its founder, Mark Horner—have been around the block a few
times. Siyavula has significantly shifted directions and strategies to
-survive and prosper. Mark says it’s been very organic.
+survive and prosper. Mark says it’s been very organic.
</p><p>
It all started in 2002, when Mark and several other colleagues at the
University of Cape Town in South Africa founded the Free High School Science
-Texts project. Most students in South Africa high schools didn’t have access
+Texts project. Most students in South Africa high schools didn’t have access
to high-quality, comprehensive science and math textbooks, so Mark and his
colleagues set out to write them and make them freely available.
</p><p>
As physicists, Mark and his colleagues were advocates of open-source
software. To make the books open and free, they adopted the Free Software
-Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation
’s GNU Free Documentation License.<a href="#ftn.idm1924" class="footnote" name="idm1924"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
documents, to author the books. Over a period of five years, the Free High
School Science Texts project produced math and physical-science textbooks
for grades 10 to 12.
In 2007, the Shuttleworth Foundation offered funding support to make the
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
+the textbooks’ pedagogical content. This pleased both the authors and
Shuttleworth; Mark remains incredibly proud of this accomplishment.
</p><p>
But the development of new textbooks froze at this stage. Mark shifted his
-focus to rural schools, which didn’t have textbooks at all, and looked into
+focus to rural schools, which didn’t have textbooks at all, and looked into
the printing and distribution options. A few sponsors came on board but not
enough to meet the need.
</p><p>
result was the Cape Town Open Education Declaration, a statement of
principles, strategies, and commitment to help the open-education movement
grow.<a href="#ftn.idm1930" class="footnote" name="idm1930"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
-run a project writing open content for all subjects for K–12 in
+run a project writing open content for all subjects for K–12 in
English. That project became Siyavula.
</p><p>
They wrote six original textbooks. A small publishing company offered
-Shuttleworth the option to buy out the publisher’s existing K–9 content for
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
every subject in South African schools in both English and Afrikaans. A deal
was struck, and all the acquired content was licensed with Creative Commons,
significantly expanding the collection beyond the six original books.
</p><p>
Mark wanted to build out the remaining curricula collaboratively through
-communities of practice—that is, with fellow educators and writers. Although
+communities of practice—that is, with fellow educators and writers. Although
sharing is fundamental to teaching, there can be a few challenges when you
create educational resources collectively. One concern is legal. It is
standard practice in education to copy diagrams and snippets of text, but of
-course this doesn’t always comply with copyright law. Another concern is
-transparency. Sharing what you’ve authored means everyone can see it and
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
opens you up to criticism. To alleviate these concerns, Mark adopted a
team-based approach to authoring and insisted the curricula be based
entirely on resources with Creative Commons licenses, thereby ensuring they
Not only did Mark want the resources to be shareable, he wanted all teachers
to be able to remix and edit the content. Mark and his team had to come up
with an open editable format and provide tools for editing. They ended up
-putting all the books they’d acquired and authored on a platform called
+putting all the books they’d acquired and authored on a platform called
Connexions.<a href="#ftn.idm1936" class="footnote" name="idm1936"><sup class="footnote">[150]</sup></a> Siyavula trained many
teachers to use Connexions, but it proved to be too complex and the
textbooks were rarely edited.
</p><p>
Then the Shuttleworth Foundation decided to completely restructure its work
as a foundation into a fellowship model (for reasons completely unrelated to
-Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
an independent entity and took ownership over it as a Shuttleworth fellow.
</p><p>
Mark and his team experimented with several different strategies. They
Africa would give their brand huge exposure and could drive vast amounts of
traffic to their website. In addition to print books, Siyavula could also
make the books available on their website, making it possible for learners
-to access them using any device—computer, tablet, or mobile phone.
+to access them using any device—computer, tablet, or mobile phone.
</p><p>
Mark and his team began imagining what they could develop beyond what was in
-the textbooks as a service they charge for. One key thing you can’t do well
+the textbooks as a service they charge for. One key thing you can’t do well
in a printed textbook is demonstrate solutions. Typically, a one-line answer
is given at the end of the book but nothing on the process for arriving at
that solution. Mark and his team developed practice items and detailed
-solutions, giving learners plenty of opportunity to test out what they’ve
+solutions, giving learners plenty of opportunity to test out what they’ve
learned. Furthermore, an algorithm could adapt these practice items to the
individual needs of each learner. They called this service Intelligent
Practice and embedded links to it in the open textbooks.
an unexpected wrinkle: the books were delivered late. Rather than wait,
schools who could afford it provided students with a different textbook. The
Siyavula books were eventually distributed, but with well-off schools mainly
-using a different book, the primary market for Siyavula’s Intelligent
+using a different book, the primary market for Siyavula’s Intelligent
Practice service inadvertently became low-income learners.
</p><p>
- Siyavula’s site did see a dramatic increase in traffic. They got five
+ Siyavula’s site did see a dramatic increase in traffic. They got five
hundred thousand visitors per month to their math site and the same number
to their science site. Two-fifths of the traffic was reading on a
-<span class="quote">«<span class="quote">feature phone</span>»</span> (a nonsmartphone with no apps). People on basic
+<span class="quote">«<span class="quote">feature phone</span>»</span> (a nonsmartphone with no apps). People on basic
phones were reading math and science on a two-inch screen at all hours of
the day. To Mark, it was quite amazing and spoke to a need they were
servicing.
At first, the Intelligent Practice services could only be paid using a
credit card. This proved problematic, especially for those in the low-income
demographic, as credit cards were not prevalent. Mark says Siyavula got a
-harsh business-model lesson early on. As he describes it, it’s not just
+harsh business-model lesson early on. As he describes it, it’s not just
about product, but how you sell it, who the market is, what the price is,
and what the barriers to entry are.
</p><p>
- Mark describes this as the first version of Siyavula’s business model: open
+ Mark describes this as the first version of Siyavula’s business model: open
textbooks serving as marketing material and driving traffic to your site,
where you can offer a related service and convert some people into a paid
customer.
</p><p>
- For Mark a key decision for Siyavula’s business was to focus on how they can
-add value on top of their basic service. They’ll charge only if they are
-adding unique value. The actual content of the textbook isn’t unique at all,
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
so Siyavula sees no value in locking it down and charging for it. Mark
contrasts this with traditional publishers who charge over and over again
for the same content without adding value.
</p><p>
- Version two of Siyavula’s business model was a big, ambitious idea—scale
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
up. They also decided to sell the Intelligent Practice service to schools
directly. Schools can subscribe on a per-student, per-subject basis. A
single subscription gives a learner access to a single subject, including
schools where both the science and math departments subscribe.
</p><p>
Teachers get a dashboard that allows them to monitor the progress of an
-entire class or view an individual learner’s results. They can see the
+entire class or view an individual learner’s results. They can see the
questions that learners are working on, identify areas of difficulty, and be
more strategic in their teaching. Students also have their own personalized
-dashboard, where they can view the sections they’ve practiced, how many
-points they’ve earned, and how their performance is improving.
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
</p><p>
Based on the success of this effort, Siyavula decided to substantially
increase the production of open educational resources so they could provide
</p><p>
In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
produced a series of natural sciences and technology workbooks for grades 4
-to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
-teacher’s guides and other resources.
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
</p><p>
Through this experience, Siyavula learned they could get sponsors to help
fund openly licensed textbooks. It helped that Siyavula had by this time
distributed to over one million students.
</p><p>
The Siyavula books that are reviewed, approved, and branded by the
-government are freely and openly available on Siyavula’s website under an
-Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
cannot be modified. Non-government-branded books are available under an
Attribution license (CC BY), allowing others to modify and redistribute the
books.
Although the South African government paid to print and distribute hard
copies of the books to schoolkids, Siyavula itself received no funding from
the government. Siyavula initially tried to convince the government to
-provide them with five rand per book (about US35¢). With those funds, Mark
+provide them with five rand per book (about US35¢). With those funds, Mark
says that Siyavula could have run its entire operation, built a
community-based model for producing more books, and provide Intelligent
Practice for free to every child in the country. But after a lengthy
Just as Siyavula was planning to scale up the production of open textbooks
even more, the South African government changed its textbook policy. To save
costs, the government declared there would be only one authorized textbook
-for each grade and each subject. There was no guarantee that Siyavula’s
+for each grade and each subject. There was no guarantee that Siyavula’s
would be chosen. This scared away potential sponsors.
</p><p>
Rather than producing more textbooks, Siyavula focused on improving its
Intelligent Practice technology for its existing books. Mark calls this
-version three of Siyavula’s business model—focusing on the technology that
+version three of Siyavula’s business model—focusing on the technology that
provides the revenue-generating service and generating more users of this
service. Version three got a significant boost in 2014 with an investment by
the Omidyar Network (the philanthropic venture started by eBay founder
all kids by selling the nonpersonal data Intelligent Practice collects.
</p><p>
Siyavula is a for-profit business but one with a social mission. Their
-shareholders’ agreement lists lots of requirements around openness for
+shareholders’ agreement lists lots of requirements around openness for
Siyavula, including stipulations that content always be put under an open
-license and that they can’t charge for something that people volunteered to
+license and that they can’t charge for something that people volunteered to
do for them. They believe each individual should have access to the
resources and support they need to achieve the education they
deserve. Having educational resources openly licensed with Creative Commons
revenue-generating services to sustain the ongoing operation of Siyavula. In
terms of open business models, Mark and Siyavula may have been around the
block a few times, but both he and the company are stronger for it.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>
Розділ 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1924" class="footnote"><p><a href="#idm1924" class="para"><sup class="para">[148] </sup></a><a class="ulink" href="http://www.gnu.org/licenses/fdl" target="_top">http://www.gnu.org/licenses/fdl</a></p></div><div id="ftn.idm1930" class="footnote"><p><a href="#idm1930" class="para"><sup class="para">[149] </sup></a><a class="ulink" href="http://www.capetowndeclaration.org" target="_top">http://www.capetowndeclaration.org</a></p></div><div id="ftn.idm1936" class="footnote"><p><a href="#idm1936" class="para"><sup class="para">[150] </sup></a><a class="ulink" href="http://cnx.org" target="_top">http://cnx.org</a></p></div><div id="ftn.idm1955" class="footnote"><p><a href="#idm1955" class="para"><sup class="para">[151] </sup></a><a class="ulink" href="http://www.siyavula.com/products-primary-school.html" target="_top">http://www.siyavula.com/products-primary-school.html</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="sparkfun"></a>
РоздÑ\96л 24. SparkFun</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
SparkFun is an online electronics retailer specializing in open
hardware. Founded in 2003 in the U.S.
</p><p>
copies (electronics sales)
</p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
with a huge grin on his face. He was traveling in China when he came across
their LilyPad wearable technology being made by someone else. His reaction
was glee.
- </p><p><span class="quote">«<span class="quote">Being copied is the greatest earmark of flattery and success,</span>»</span>
-Nathan said. <span class="quote">«<span class="quote">I thought it was so cool that they were selling to a
+ </p><p><span class="quote">«<span class="quote">Being copied is the greatest earmark of flattery and success,</span>»</span>
+Nathan said. <span class="quote">«<span class="quote">I thought it was so cool that they were selling to a
market we were never going to get access to otherwise. It was evidence of
-our impact on the world.</span>»</span>
+our impact on the world.</span>»</span>
</p><p>
This worldview runs through everything SparkFun does. SparkFun is an
electronics manufacturer. The company sells its products directly to the
schematics, images, tutorial content, and curricula, so anyone can make
their products on their own. Being copied is part of the design.
</p><p>
- Nathan believes open licensing is good for the world. <span class="quote">«<span class="quote">It touches on
-our natural human instinct to share,</span>»</span> he said. But he also strongly
+ Nathan believes open licensing is good for the world. <span class="quote">«<span class="quote">It touches on
+our natural human instinct to share,</span>»</span> he said. But he also strongly
believes it makes SparkFun better at what they do. They encourage copying,
and their products are copied at a very fast rate, often within ten to
twelve weeks of release. This forces the company to compete on something
other than product design, or what most commonly consider their intellectual
property.
- </p><p><span class="quote">«<span class="quote">We compete on business principles,</span>»</span> Nathan said.
-<span class="quote">«<span class="quote">Claiming your territory with intellectual property allows you to get
+ </p><p><span class="quote">«<span class="quote">We compete on business principles,</span>»</span> Nathan said.
+<span class="quote">«<span class="quote">Claiming your territory with intellectual property allows you to get
comfy and rest on your laurels. It gives you a safety net. We took away that
-safety net.</span>»</span>
+safety net.</span>»</span>
</p><p>
The result is an intense company-wide focus on product development and
-improvement. <span class="quote">«<span class="quote">Our products are so much better than they were five
-years ago,</span>»</span> Nathan said. <span class="quote">«<span class="quote">We used to just sell products. Now
-it’s a product plus a video, a seventeen-page hookup guide, and example
+improvement. <span class="quote">«<span class="quote">Our products are so much better than they were five
+years ago,</span>»</span> Nathan said. <span class="quote">«<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
firmware on three different platforms to get you up and running faster. We
have gotten better because we had to in order to compete. As painful as it
-is for us, it’s better for the customers.</span>»</span>
+is for us, itâ\80\99s better for the customers.</span>»</span>
</p><p>
SparkFun parts are available on eBay for lower prices. But people come
directly to SparkFun because SparkFun makes their lives easier. The example
code works; there is a service number to call; they ship replacement parts
the day they get a service call. They invest heavily in service and
-support. <span class="quote">«<span class="quote">I don’t believe businesses should be competing with IP
-[intellectual property] barriers,</span>»</span> Nathan said. <span class="quote">«<span class="quote">This is the
-stuff they should be competing on.</span>»</span>
+support. <span class="quote">«<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>»</span> Nathan said. <span class="quote">«<span class="quote">This is the
+stuff they should be competing on.</span>»</span>
</p><p>
- SparkFun’s company history began in Nathan’s college dorm room. He spent a
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
lot of time experimenting with and building electronics, and he realized
-there was a void in the market. <span class="quote">«<span class="quote">If you wanted to place an order for
-something,</span>»</span> he said, <span class="quote">«<span class="quote">you first had to search far and wide to
-find it, and then you had to call or fax someone.</span>»</span> In 2003, during
+there was a void in the market. <span class="quote">«<span class="quote">If you wanted to place an order for
+something,</span>»</span> he said, <span class="quote">«<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>»</span> In 2003, during
his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
and started reselling products out of his bedroom. After he graduated, he
started making and selling his own products.
Once he started designing his own products, he began putting the software
and schematics online to help with technical support. After doing some
research on licensing options, he chose Creative Commons licenses because he
-was drawn to the <span class="quote">«<span class="quote">human-readable deeds</span>»</span> that explain the
+was drawn to the <span class="quote">«<span class="quote">human-readable deeds</span>»</span> that explain the
licensing terms in simple terms. SparkFun still uses CC licenses for all of
the schematics and firmware for the products they create.
</p><p>
The company has grown from a solo project to a corporation with 140
employees. In 2015, SparkFun earned $33 million in revenue. Selling
components and widgets to hobbyists, professionals, and artists remains a
-major part of SparkFun’s business. They sell their own products, but they
+major part of SparkFun’s business. They sell their own products, but they
also partner with Arduino (also profiled in this book) by manufacturing
-boards for resale using Arduino’s brand.
+boards for resale using Arduino’s brand.
</p><p>
SparkFun also has an educational department dedicated to creating a hands-on
curriculum to teach students about electronics using prototyping
re-create and fix their products on their own, the more recent focus on
introducing young people to technology is a natural extension of their core
business.
- </p><p><span class="quote">«<span class="quote">We have the burden and opportunity to educate the next generation of
-technical citizens,</span>»</span> Nathan said. <span class="quote">«<span class="quote">Our goal is to affect the
+ </p><p><span class="quote">«<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>»</span> Nathan said. <span class="quote">«<span class="quote">Our goal is to affect the
lives of three hundred and fifty thousand high school students by
-2020.</span>»</span>
+2020.</span>»</span>
</p><p>
- The Creative Commons license underlying all of SparkFun’s products is
+ The Creative Commons license underlying all of SparkFun’s products is
central to this mission. The license not only signals a willingness to
share, but it also expresses a desire for others to get in and tinker with
their products, both to learn and to make their products better. SparkFun
uses the Attribution-ShareAlike license (CC BY-SA), which is a
-<span class="quote">«<span class="quote">copyleft</span>»</span> license that allows people to do anything with the
+<span class="quote">«<span class="quote">copyleft</span>»</span> license that allows people to do anything with the
content as long as they provide credit and make any adaptations available
under the same licensing terms.
</p><p>
thousand to two thousand customers and other technology enthusiasts from
around the area to race their own self-created bots against each other,
participate in training workshops, and socialize. From a business
-perspective, Nathan says it’s a terrible idea. But they don’t hold the event
-for business reasons. <span class="quote">«<span class="quote">The reason we do it is because I get to travel
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">«<span class="quote">The reason we do it is because I get to travel
and have interactions with our customers all the time, but most of our
-employees don’t,</span>»</span> he said. <span class="quote">«<span class="quote">This event gives our employees the
-opportunity to get face-to-face contact with our customers.</span>»</span> The
+employees donâ\80\99t,</span>»</span> he said. <span class="quote">«<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>»</span> The
event infuses their work with a human element, which makes it more
meaningful.
</p><p>
Nathan has worked hard to imbue a deeper meaning into the work SparkFun
does. The company is, of course, focused on being fiscally responsible, but
-they are ultimately driven by something other than money. <span class="quote">«<span class="quote">Profit is
-not the goal; it is the outcome of a well-executed plan,</span>»</span> Nathan
-said. <span class="quote">«<span class="quote">We focus on having a bigger impact on the world.</span>»</span> Nathan
+they are ultimately driven by something other than money. <span class="quote">«<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>»</span> Nathan
+said. <span class="quote">«<span class="quote">We focus on having a bigger impact on the world.</span>»</span> Nathan
believes they get some of the brightest and most amazing employees because
-they aren’t singularly focused on the bottom line.
+they aren’t singularly focused on the bottom line.
</p><p>
The company is committed to transparency and shares all of its financials
with its employees. They also generally strive to avoid being another
soulless corporation. They actively try to reveal the humans behind the
-company, and they work to ensure people coming to their site don’t find only
+company, and they work to ensure people coming to their site don’t find only
unchanging content.
</p><p>
- SparkFun’s customer base is largely made up of industrious electronics
-enthusiasts. They have customers who are regularly involved in the company’s
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
customer support, independently responding to questions in forums and
product-comment sections. Customers also bring product ideas to the
company. SparkFun regularly sifts through suggestions from customers and
-tries to build on them where they can. <span class="quote">«<span class="quote">From the beginning, we have
-been listening to the community,</span>»</span> Nathan said. <span class="quote">«<span class="quote">Customers
+tries to build on them where they can. <span class="quote">«<span class="quote">From the beginning, we have
+been listening to the community,</span>»</span> Nathan said. <span class="quote">«<span class="quote">Customers
would identify a pain point, and we would design something to address
-it.</span>»</span>
+it.</span>»</span>
</p><p>
However, this sort of customer engagement does not always translate to
-people actively contributing to SparkFun’s projects. The company has a
+people actively contributing to SparkFun’s projects. The company has a
public repository of software code for each of its devices online. On a
particularly active project, there will only be about two dozen people
contributing significant improvements. The vast majority of projects are
-relatively untouched by the public. <span class="quote">«<span class="quote">There is a theory that if you
-open-source it, they will come,</span>»</span> Nathan said. <span class="quote">«<span class="quote">That’s not
-really true.</span>»</span>
+relatively untouched by the public. <span class="quote">«<span class="quote">There is a theory that if you
+open-source it, they will come,</span>»</span> Nathan said. <span class="quote">«<span class="quote">That’s not
+really true.</span>»</span>
</p><p>
Rather than focusing on cocreation with their customers, SparkFun instead
focuses on enabling people to copy, tinker, and improve products on their
own. They heavily invest in tutorials and other material designed to help
people understand how the products work so they can fix and improve things
-independently. <span class="quote">«<span class="quote">What gives me joy is when people take open-source
-layouts and then build their own circuit boards from our designs,</span>»</span>
+independently. <span class="quote">«<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>»</span>
Nathan said.
</p><p>
Obviously, opening up the design of their products is a necessary step if
a few dollars when others copy 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.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>
Розділ 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>
РоздÑ\96л 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
TeachAIDS is a nonprofit that creates educational materials designed to
teach people around the world about HIV and AIDS. Founded in 2005 in the
U.S.
</p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
</p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
Shuman Ghosemajumder, the chair
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
</p><p>
In late 2005, Piya and her team used research-based design to create new
educational materials and worked with local partners in India to help
-distribute them. As soon as the animated software was posted online, Piya’s
+distribute them. As soon as the animated software was posted online, Piya’s
team started receiving requests from individuals and governments who were
-interested in bringing this model to more countries. <span class="quote">«<span class="quote">We realized
+interested in bringing this model to more countries. <span class="quote">«<span class="quote">We realized
fairly quickly that educating large populations about a topic that was
considered taboo would be challenging. We began by identifying optimal local
partners and worked toward creating an effective, culturally appropriate
-education,</span>»</span> Piya said.
+education,</span>»</span> Piya said.
</p><p>
- Very shortly after the initial release, Piya’s team decided to spin the
+ Very shortly after the initial release, Piya’s team decided to spin the
endeavor into an independent nonprofit out of Stanford University. They also
decided to use Creative Commons licenses on the materials.
</p><p>
the integrity of the medical information in the content. They chose the
Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
gives the public the right to distribute only verbatim copies of the
-content, and for noncommercial purposes. <span class="quote">«<span class="quote">We wanted attribution for
-TeachAIDS, and we couldn’t stand by derivatives without vetting
-them,</span>»</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">«<span class="quote">It
+content, and for noncommercial purposes. <span class="quote">«<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>»</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">«<span class="quote">It
was almost a no-brainer to go with a CC license because it was a
plug-and-play solution to this exact problem. It has allowed us to scale our
materials safely and quickly worldwide while preserving our content and
-protecting us at the same time.</span>»</span>
+protecting us at the same time.</span>»</span>
</p><p>
Choosing a license that does not allow adaptation of the content was an
outgrowth of the careful precision with which TeachAIDS crafts their
content. The organization invests heavily in research and testing to
-determine the best method of conveying the information. <span class="quote">«<span class="quote">Creating
-high-quality content is what matters most to us,</span>»</span> Piya
-said. <span class="quote">«<span class="quote">Research drives everything we do.</span>»</span>
+determine the best method of conveying the information. <span class="quote">«<span class="quote">Creating
+high-quality content is what matters most to us,</span>»</span> Piya
+said. <span class="quote">«<span class="quote">Research drives everything we do.</span>»</span>
</p><p>
One important finding was that people accept the message best when it comes
from familiar voices they trust and admire. To achieve this, TeachAIDS
but highly controlled, creative process is undertaken entirely by people who
are specifically brought on to help with a particular project, rather than
ongoing staff. The final product they create is designed to require zero
-training for people to implement in practice. <span class="quote">«<span class="quote">In our research, we
-found we can’t depend on people passing on the information correctly, even
-if they have the best of intentions,</span>»</span> Piya said. <span class="quote">«<span class="quote">We need
-materials where you can push play and they will work.</span>»</span>
+training for people to implement in practice. <span class="quote">«<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>»</span> Piya said. <span class="quote">«<span class="quote">We need
+materials where you can push play and they will work.</span>»</span>
</p><p>
- Piya’s team was able to produce all of these versions over several years
+ Piya’s team was able to produce all of these versions over several years
with a head count that never exceeded eight full-time employees. The
organization is able to reduce costs by relying heavily on volunteers and
in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
model to subsidize content creation and physical distribution of the
materials. Charging even a low price was simply not an
-option. <span class="quote">«<span class="quote">Educators from various nonprofits around the world were just
+option. <span class="quote">«<span class="quote">Educators from various nonprofits around the world were just
creating their own materials using whatever they could find for free
-online,</span>»</span> Shuman said. <span class="quote">«<span class="quote">The only way to persuade them to use our
-highly effective model was to make it completely free.</span>»</span>
+online,</span>»</span> Shuman said. <span class="quote">«<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>»</span>
</p><p>
Like many content creators offering their work for free, they settled on
advertising as a funding model. But they were extremely careful not to let
project. Instead, sponsorships are structured as unrestricted donations to
the nonprofit. This gives the nonprofit more stability, but even more
importantly, it enables them to subsidize projects being localized for an
-area with no sponsors. <span class="quote">«<span class="quote">If we just created versions based on where we
+area with no sponsors. <span class="quote">«<span class="quote">If we just created versions based on where we
could get sponsorships, we would only have materials for wealthier
-countries,</span>»</span> Shuman said.
+countries,</span>»</span> Shuman said.
</p><p>
- As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">«<span class="quote">When we go into a new
-country, various companies hear about us and reach out to us,</span>»</span> Piya
-said. <span class="quote">«<span class="quote">We don’t have to do much to find or attract them.</span>»</span> They
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">«<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>»</span> Piya
+said. <span class="quote">«<span class="quote">We donâ\80\99t have to do much to find or attract them.</span>»</span> They
believe the sponsorships are easy to sell because they offer so much value
to sponsors. TeachAIDS sponsorships give corporations the chance to reach
new eyeballs with their brand, but at a much lower cost than other
</p><p>
Importantly, the value to corporate sponsors goes beyond commercial
considerations. As a nonprofit with a clearly articulated social mission,
-corporate sponsorships are donations to a cause. <span class="quote">«<span class="quote">This is something
-companies can be proud of internally,</span>»</span> Shuman said. Some companies
+corporate sponsorships are donations to a cause. <span class="quote">«<span class="quote">This is something
+companies can be proud of internally,</span>»</span> Shuman said. Some companies
have even built publicity campaigns around the fact that they have sponsored
these initiatives.
</p><p>
- The core mission of TeachAIDS—ensuring global access to life-saving
-education—is at the root of everything the organization does. It underpins
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
the work; it motivates the funders. The CC license on the materials they
create furthers that mission, allowing them to safely and quickly scale
-their materials worldwide. <span class="quote">«<span class="quote">The Creative Commons license has been a
-game changer for TeachAIDS,</span>»</span> Piya said.
- </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>
Розділ 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+their materials worldwide. <span class="quote">«<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>»</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>
РоздÑ\96л 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
Tribe of Noise is a for-profit online music platform serving the film, TV,
video, gaming, and in-store-media industries. Founded in 2008 in the
Netherlands.
</p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
</p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
cofounder
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Paul Stacey
}
They hired two lawyers to investigate further, and while they uncovered five
or six examples, Hessel found the business models lacking. The lawyers
expressed interest in being their legal team should they decide to pursue
-this as an entrepreneurial opportunity. Hessel says, <span class="quote">«<span class="quote">When lawyers are
-interested in a venture like this, you might have something special.</span>»</span>
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">«<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>»</span>
So after some more research, in early 2008, Hessel and Sandra decided to
build a platform.
</p><p>
artists, or at least a portion of their repertoire. Hessel and his legal
team reached out to collecting societies, starting with those in the
Netherlands. What would be the best legal way forward that would respect the
-wishes of composers and musicians who’d be interested in trying out new
+wishes of composers and musicians who’d be interested in trying out new
models like the In-store Music Service? Collecting societies at first were
hesitant and said no, but Tribe of Noise persisted arguing that they
primarily work with unknown artists and provide them exposure in parts of
-the world where they don’t get airtime normally and a source of revenue—and
-this convinced them that it was OK. However, Hessel says, <span class="quote">«<span class="quote">We are
-still fighting for a good cause every single day.</span>»</span>
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">«<span class="quote">We are
+still fighting for a good cause every single day.</span>»</span>
</p><p>
Instead of building a large sales force, Tribe of Noise partnered with big
organizations who have lots of clients and can act as a kind of Tribe of
Noise reseller. The largest telecom network in the Netherlands, for example,
-sells Tribe’s In-store Music Service subscriptions to their business
+sells Tribe’s In-store Music Service subscriptions to their business
clients, which include fashion retailers and fitness centers. They have a
similar deal with the leading trade association representing hotels and
-restaurants in the country. Hessel hopes to <span class="quote">«<span class="quote">copy and paste</span>»</span>
+restaurants in the country. Hessel hopes to <span class="quote">«<span class="quote">copy and paste</span>»</span>
this service into other countries where collecting societies understand what
you can do with Creative Commons. Outside of the Netherlands, early
adoptions have happened in Scandinavia, Belgium, and the U.S.
</p><p>
- Tribe of Noise doesn’t pay the musicians up front; they get paid when their
-music ends up in Tribe of Noise’s in-store music channels. The musicians’
-share is 42.5 percent. It’s not uncommon in a traditional model for the
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
artist to get only 5 to 10 percent, so a share of over 40 percent is a
-significantly better deal. Here’s how they give an example on their
+significantly better deal. Here’s how they give an example on their
website:
</p><p>
A few of your songs [licensed with CC BY-SA], for example five in total, are
selected for a bespoke in-store music channel broadcasting at a large
retailer with 1,000 stores nationwide. In this case the overall playlist
-contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
agreed with this retailer is US$12 per month per play-out. So if 42.5% is
shared with the Tribe musicians in this playlist and your share is 1.43%,
you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
one of their songs may become an overnight hit. If that happened the CC
BY-SA license would preclude them getting rich off the sale of that song.
</p><p>
- Hessel’s legal team took this feedback and created a second model and
+ Hessel’s legal team took this feedback and created a second model and
separate area of the platform called Tribe of Noise Pro. Songs uploaded to
-Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
-instead created a <span class="quote">«<span class="quote">nonexclusive exploitation</span>»</span> contract, similar
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">«<span class="quote">nonexclusive exploitation</span>»</span> contract, similar
to a Creative Commons license but allowing musicians to opt out whenever
they want. When you opt out, Tribe of Noise agrees to take your music off
the Tribe of Noise platform within one to two months. This lets the musician
reuse their song for a better deal.
</p><p>
Tribe of Noise Pro is primarily geared toward media makers who are looking
-for music. If they buy a license from this catalog, they don’t have to state
+for music. If they buy a license from this catalog, they don’t have to state
the name of the creator; they just license the song for a specific
amount. This is a big plus for media makers. And musicians can pull their
repertoire at any time. Hessel sees this as a more direct and clean deal.
</p><p>
Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
-the community area of Tribe of Noises. There aren’t that many artists who
+the community area of Tribe of Noises. There aren’t that many artists who
upload only to Tribe of Noise Pro, which has a smaller repertoire of music
than the community area.
</p><p>
hybrid model by licensing some of their songs under CC BY-SA and opting in
others with collecting societies like ASCAP or BMI.
</p><p>
- It’s not uncommon for performance-rights organizations, record labels, or
+ It’s not uncommon for performance-rights organizations, record labels, or
music publishers to sign contracts with musicians based on exclusivity. Such
an arrangement prevents those musicians from uploading their music to Tribe
of Noise. In the United States, you can have a collecting society handle
represent. So far, Tribe of Noise has been able to make all this work
without litigation.
</p><p>
- For Hessel the key to Tribe of Noise’s success is trust. The fact that
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
Creative Commons licenses work the same way all over the world and have been
translated into all languages really helps build that trust. Tribe of Noise
believes in creating a model where they work together with musicians. They
can only do that if they have a live and kicking community, with people who
think that the Tribe of Noise team has their best interests in
mind. Creative Commons makes it possible to create a new business model for
-music, a model that’s based on trust.
- </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>
Розділ 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2090" class="footnote"><p><a href="#idm2090" class="para"><sup class="para">[152] </sup></a><a class="ulink" href="http://www.instoremusicservice.com" target="_top">http://www.instoremusicservice.com</a></p></div><div id="ftn.idm2099" class="footnote"><p><a href="#idm2099" class="para"><sup class="para">[153] </sup></a><a class="ulink" href="http://www.tribeofnoise.com/info_instoremusic.php" target="_top">http://www.tribeofnoise.com/info_instoremusic.php</a></p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="wikimedia-foundation"></a>
РоздÑ\96л 27. Wikimedia Foundation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
and its sister projects. Founded in 2003 in the U.S.
</p><p>
</p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
</p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
Officer of Community Engagement, and Stephen LaPorte, legal counsel
- </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ </p></td><td width="10%" valign="top">Â </td></tr><tr><td width="10%" valign="top">Â </td><td colspan="2" align="right" valign="top">--\begin{flushright}
\textit{
Profile written by Sarah Hinchliff Pearson
}
to reuse and adapt it for any purpose.
</p><p>
As of December 2016, there were more than forty-two million articles in the
-295 language editions of the online encyclopedia, according to—what
-else?—the Wikipedia article about Wikipedia.
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
</p><p>
The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
the Wikipedia domain name and hosts the site, along with many other related
particular theme, user groups, and many thousands who are not connected to a
particular organization.
</p><p>
- As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">«<span class="quote">There is a common
-saying that Wikipedia works in practice but not in theory.</span>»</span> While it
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">«<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>»</span> While it
undoubtedly has its challenges and flaws, Wikipedia and its sister projects
are a striking testament to the power of human collaboration.
</p><p>
Because of its extraordinary breadth and scope, it does feel a bit like a
unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
-makes the projects successful—community, transparency, a strong mission,
-trust—are consistent with what it takes to be successfully Made with
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
Creative Commons more generally. With Wikipedia, everything just happens at
an unprecedented scale.
</p><p>
edits are made every hour.
</p><p>
The nature of the content the community creates is ideal for asynchronous
-cocreation. <span class="quote">«<span class="quote">An encyclopedia is something where incremental community
-improvement really works,</span>»</span> Luis Villa, former Chief Officer of
+cocreation. <span class="quote">«<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>»</span> Luis Villa, former Chief Officer of
Community Engagement, told us. The rules and processes that govern
cocreation on Wikipedia and its sister projects are all community-driven and
vary by language edition. There are entire books written on the intricacies
system. The extensive peer-review process includes elaborate systems to
resolve disputes, methods for managing particularly controversial subject
areas, talk pages explaining decisions, and much, much more. The Wikimedia
-Foundation’s decision to leave governance of the projects to the community
-is very deliberate. <span class="quote">«<span class="quote">We look at the things that the community can do
-well, and we want to let them do those things,</span>»</span> Stephen told
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">«<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>»</span> Stephen told
us. Instead, the foundation focuses its time and resources on what the
community cannot do as effectively, like the software engineering that
supports the technical infrastructure of the sites. In 2015-16, about half
-of the foundation’s budget went to direct support for the Wikimedia sites.
+of the foundation’s budget went to direct support for the Wikimedia sites.
</p><p>
Some of that is directed at servers and general IT support, but the
foundation also invests a significant amount on architecture designed to
-help the site function as effectively as possible. <span class="quote">«<span class="quote">There is a
+help the site function as effectively as possible. <span class="quote">«<span class="quote">There is a
constantly evolving system to keep the balance in place to avoid Wikipedia
-becoming the world’s biggest graffiti wall,</span>»</span> Luis said. Depending on
+becoming the worldâ\80\99s biggest graffiti wall,</span>»</span> Luis said. Depending on
how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
are positive. Some portion of that success is attributable to the tools
-Wikimedia has in place to try to incentivize good actors. <span class="quote">«<span class="quote">The secret
-to having any healthy community is bringing back the right people,</span>»</span>
-Luis said. <span class="quote">«<span class="quote">Vandals tend to get bored and go away. That is partially
-our model working, and partially just human nature.</span>»</span> Most of the
+Wikimedia has in place to try to incentivize good actors. <span class="quote">«<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>»</span>
+Luis said. <span class="quote">«<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>»</span> Most of the
time, people want to do the right thing.
</p><p>
Wikipedia not only relies on good behavior within its community and on its
(CC BY-SA), which means it can be used for any purpose and modified so long
as credit is given and anything new is shared back with the public under the
same license. In theory, that means anyone can copy the content and start a
-new Wikipedia. But as Stephen explained, <span class="quote">«<span class="quote">Being open has only made
+new Wikipedia. But as Stephen explained, <span class="quote">«<span class="quote">Being open has only made
Wikipedia bigger and stronger. The desire to protect is not always what is
-best for everyone.</span>»</span>
+best for everyone.</span>»</span>
</p><p>
Of course, the primary reason no one has successfully co-opted Wikipedia is
that copycat efforts do not have the Wikipedia community to sustain what
they do. Wikipedia is not simply a source of up-to-the-minute content on
-every given topic—it is also a global patchwork of humans working together
+every given topic—it is also a global patchwork of humans working together
in a million different ways, in a million different capacities, for a
million different reasons. While many have tried to guess what makes
Wikipedia work as well it does, the fact is there is no single
-explanation. <span class="quote">«<span class="quote">In a movement as large as ours, there is an incredible
-diversity of motivations,</span>»</span> Stephen said. For example, there is one
+explanation. <span class="quote">«<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>»</span> Stephen said. For example, there is one
editor of the English Wikipedia edition who has corrected a single
grammatical error in articles more than forty-eight thousand
times.<a href="#ftn.idm2145" class="footnote" name="idm2145"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
users are also editors. But editing is not the only way to contribute to
-Wikipedia. <span class="quote">«<span class="quote">Some donate text, some donate images, some donate
-financially,</span>»</span> Stephen told us. <span class="quote">«<span class="quote">They are all
-contributors.</span>»</span>
+Wikipedia. <span class="quote">«<span class="quote">Some donate text, some donate images, some donate
+financially,</span>»</span> Stephen told us. <span class="quote">«<span class="quote">They are all
+contributors.</span>»</span>
</p><p>
But the vast majority of us who use Wikipedia are not contributors; we are
passive readers. The Wikimedia Foundation survives primarily on individual
</p><p>
Any given edit on Wikipedia could be motivated by nearly an infinite number
of reasons. But the social mission of the project is what binds the global
-community together. <span class="quote">«<span class="quote">Wikipedia is an example of how a mission can
-motivate an entire movement,</span>»</span> Stephen told us.
+community together. <span class="quote">«<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>»</span> Stephen told us.
</p><p>
- Of course, what results from that movement is one of the Internet’s great
-public resources. <span class="quote">«<span class="quote">The Internet has a lot of businesses and stores,
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">«<span class="quote">The Internet has a lot of businesses and stores,
but it is missing the digital equivalent of parks and open public
-spaces,</span>»</span> Stephen said. <span class="quote">«<span class="quote">Wikipedia has found a way to be that
-open public space.</span>»</span>
+spaces,</span>»</span> Stephen said. <span class="quote">«<span class="quote">Wikipedia has found a way to be that
+open public space.</span>»</span>
</p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2145" class="footnote"><p><a href="#idm2145" class="para"><sup class="para">[154] </sup></a><a class="ulink" href="http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/" target="_top">http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/</a></p></div></div></div></div>\chapter*{<title>Bibliography</title>}\addcontentsline{toc}{chapter}{<title>Bibliography</title>}<p>
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+ Eckhardt, Giana, and Fleura Bardhi. <span class="quote">«<span class="quote">The Sharing Economy Isn’t about
+Sharing at All.</span>
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+ Farley, Joshua, and Ida Kubiszewski. <span class="quote">«<span class="quote">The Economics of Information in
+a Post-Carbon Economy.</span>»</span> Chap. 11 in Elliott and Hepting, Free
Knowledge.
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+Nonprofit Funding Models.</span>»</span> Stanford Social Innovation Review, Spring
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+Strandburg. <span class="quote">«<span class="quote">Governing Knowledge Commons.</span>»</span> Chap. 1 in
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Stephany, Alex. The Business of Sharing: Making in the New Sharing
Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
-Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
-Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
-Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
-Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
-Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
-Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
-Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
Yancey Strickler
Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
-O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
-Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
-Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
-Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
-Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
-Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
-Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
-Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
-Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
-Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
-Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
Dom Lane, 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
+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
Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
-Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
-Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
-Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
-Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
-Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
-Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
-Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
-Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, 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
+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,
-Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
-Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
-Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
-Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
-Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
-O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
-Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
-Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
-Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
-Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
-Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
-Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
-Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
-Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
-l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
-Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
-Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
-Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
-Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
-Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
-Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
-<span class="quote">«<span class="quote">Macro</span>»</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+<span class="quote">«<span class="quote">Macro</span>»</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
-Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
-Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
-Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
-Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
-Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
-Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
-Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
-O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
-Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
-Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
-McCue, Richard <span class="quote">«<span class="quote">TalkToMeGuy</span>»</span> Olson, Richard Best, Richard
+McCue, Richard <span class="quote">«<span class="quote">TalkToMeGuy</span>»</span> Olson, Richard Best, Richard
Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
-Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
-A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
-Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
-Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
-Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
-Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
+Thibault Badenas, Thomas Bacig, Thomas Boehnlein, Thomas Bøvith, Thomas
Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
-Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
-Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
Bamford, Tom Caswell, Tom Goren, Tom Kent, Tom MacWright, Tom Maillioux, Tom
Merkli, Tom Merritt, Tom Myers, Tom Olijhoek, Tom Rubin, Tommaso De Benetti,
Tommy Dahlen, Tony Ciak, Tony Nwachukwu, Torsten Skomp, Tracey Depellegrin,
Tracey Henton, Tracey James, Traci Long DeForge, Trent Yarwood, Trevor
-Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
+Hogue, Trey Blalock, Trey Hunner, Tryggvi Björgvinsson, Tumuult, Tushar Roy,
Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
-Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
-Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
</ul>
+<p>See <a href="https://gitlab.com/gunnarwolf/madewithcc-es">Gitlab project</a>
+and <a href="https://hosted.weblate.org/projects/madewithcc/translation/">Weblate translation setup</a> to learn how to contribute.</p>
+
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projects / text-madewithcc.git / commitdiff