--- /dev/null
+# MADE WITH CREATIVE COMMONS
+# Copyright (C) 2017 by Creative Commons.
+# This file is published under a Creative Commons Attribution-ShareAlike license (CC BY-SA), version 4.0
+# Authors: Paul Stacey and Sarah Hinchliff Pearson
+#
+msgid ""
+msgstr ""
+"Project-Id-Version: Made with Creative Commons 20170609-2\n"
+"POT-Creation-Date: 2020-10-26 22:28+0100\n"
+"PO-Revision-Date: 2021-11-30 00:50+0000\n"
+"Last-Translator: Rafael Fontenelle <rafaelff@gnome.org>\n"
+"Language-Team: Portuguese (Brazil) <https://hosted.weblate.org/projects/"
+"madewithcc/translation/pt_BR/>\n"
+"Language: pt_BR\n"
+"MIME-Version: 1.0\n"
+"Content-Type: text/plain; charset=UTF-8\n"
+"Content-Transfer-Encoding: 8bit\n"
+"Plural-Forms: nplurals=2; plural=n > 1;\n"
+"X-Generator: Weblate 4.10-dev\n"
+
+#. type: Attribute 'lang' of: <book>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3
+msgid "en"
+msgstr "pt_BR"
+
+#. type: Content of: <book><bookinfo><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5
+msgid "Made with Creative Commons"
+msgstr "Feito com Creative Commons"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8
+msgid "Paul"
+msgstr "Paul"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><surname>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9
+msgid "Stacey"
+msgstr "Stacey"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><firstname>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:12
+msgid "Sarah Hinchliff"
+msgstr "Sarah Hinchliff"
+
+#. type: Content of: <book><bookinfo><authorgroup><author><surname>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:13
+msgid "Pearson"
+msgstr "Pearson"
+
+#. type: Content of: <book><bookinfo><copyright>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:17
+msgid "<year>2017</year> <holder>Creative Commons</holder>"
+msgstr "<year>2017</year> <holder>Creative Commons</holder>"
+
+#. type: Content of: <book><bookinfo><publisher>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:21
+msgid "<publishername>Instituto de Investigaciones Económicas</publishername>"
+msgstr "<publishername>Instituto de Investigaciones Económicas</publishername>"
+
+#. type: Content of: <book><bookinfo><publisher><address><city>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:23
+msgid "Universidad Nacional Autónoma de México"
+msgstr "Universidad Nacional Autónoma de México"
+
+#. type: Content of: <book><bookinfo><legalnotice><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:28
+msgid ""
+"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 "
+"a link to the license, and indicate if changes were made. If you remix, "
+"transform, or build upon the material, you must distribute your "
+"contributions under the same license as the original. License details: "
+"<ulink url=\"http://creativecommons.org/licenses/by-sa/4.0/\"/>"
+msgstr ""
+"Este livro é publicado sob uma licença CC BY-SA, o que significa que você "
+"pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo "
+"para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito "
+"apropriado, forneça um link para o licença e indicar se foram feitas "
+"alterações. Se você remixar, transformar ou desenvolver o material, deverá "
+"distribuir suas contribuições sob a mesma licença do original. Detalhes da "
+"licença: <ulink url=\"https://creativecommons.org/licenses/by-sa/4.0/deed."
+"pt_BR\"/>"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:41
+msgid "Made with Creative Commons by Paul Stacey and Sarah Hinchliff Pearson"
+msgstr "Feito com Creative Commons por Paul Stacey e Sarah Hinchliff Pearson"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:42
+msgid "© 2017 by the Creative Commons Foundation."
+msgstr "© 2017 pela Creative Commons Foundation."
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:43
+msgid ""
+"Published under a Creative Commons Attribution-ShareAlike license (CC "
+"BY-SA), version 4.0."
+msgstr ""
+"Publicado sob uma licença Creative Commons Atribuição-CompartilhaIgual (CC "
+"BY-SA), versão 4.0."
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:45
+msgid ""
+"The license 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 a link to the license, and indicate if "
+"changes were made. If you remix, transform, or build upon the material, you "
+"must distribute your contributions under the same license as the "
+"original. License details: <ulink "
+"url=\"http://creativecommons.org/licenses/by-sa/4.0/\"/>"
+msgstr ""
+"A licença significa que você pode copiar, redistribuir, remixar, transformar "
+"e desenvolver o conteúdo para qualquer propósito, mesmo comercialmente, "
+"desde que você dê o crédito apropriado, forneça um link para a licença e "
+"indique se alterações foram feitas. Se você remixar, transformar ou "
+"desenvolver o material, deverá distribuir suas contribuições sob a mesma "
+"licença do original. Detalhes da licença: <ulink url=\"https"
+"://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR\"/>"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:52
+msgid "Illustrations by Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."
+msgstr ""
+"Ilustrações de Bryan Mathers, <ulink url=\"https://bryanmmathers.com/\"/>."
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:54
+msgid "Publisher: Gunnar Wolf."
+msgstr "Editor: Gunnar Wolf."
+
+#. space for information about translators
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:56
+msgid " "
+msgstr " Tradutor: Rafael Fontenelle "
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:58
+msgid ""
+"Made With Creative Commons was originally published with the kind support of "
+"Creative Commons and backers of our crowdfunding-campaign on the "
+"Kickstarter.com platform."
+msgstr ""
+"Feito com Creative Commons foi publicado originalmente com o amável apoio da "
+"Creative Commons e dos patrocinadores de nossa campanha de crowdfunding na "
+"plataforma Kickstarter.com."
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:61
+msgid ""
+"This edition of the book is maintained on <ulink "
+"url=\"https://gitlab.com/gunnarwolf/madewithcc-es/\"/>, and the translations "
+"are maintained on <ulink "
+"url=\"https://hosted.weblate.org/projects/madewithcc/\"/>. If you find any "
+"error in the book, please let us know."
+msgstr ""
+"Esta edição do livro é mantida no <ulink url=\"https://gitlab.com/gunnarwolf/"
+"madewithcc-es/\"/> e as traduções são mantidas no <ulink url=\"https://hosted"
+".weblate.org/projects/madewithcc/\"/>. Se você encontrar algum erro no "
+"livro, entre em contato conosco."
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:66
+msgid ""
+"ISBN: YET-TO-BE-DECIDED (PDF), YET-TO-BE-DECIDED (ePub), YET-TO-BE-DECIDED "
+"(Paperback)"
+msgstr ""
+"ISBN: AINDA A SER DECIDIDO (PDF), AINDA A SER DECIDIDO (ePub), AINDA A SER "
+"DECIDIDO (impressa)"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:69
+msgid "<ulink url=\"https://madewith.cc/\"/>"
+msgstr "<ulink url=\"https://madewith.cc/\"/>"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:72
+msgid "(Dewey) 346.048, 347.78"
+msgstr "(Dewey) 346.048, 347.78"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:75
+msgid "(US Library of Congress) Z286 O63 S73 2017"
+msgstr "(Biblioteca do Congresso dos EUA) Z286 O63 S73 2017"
+
+#. type: Content of: <book><colophon><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:78
+msgid "(Melvil) 025.523"
+msgstr "(Melvil) 025.523"
+
+#. type: Content of: <book><dedication><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:84
+msgid "David Foster Wallace"
+msgstr "David Foster Wallace"
+
+#. type: Content of: <book><dedication><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:85
+msgid ""
+"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."
+msgstr ""
+"Não sei muito sobre jornalismo de não ficção... A maneira que penso sobre "
+"essas coisas e em termos do que posso fazer é... ensaios como esse são "
+"ocasiões para observar alguém razoavelmente brilhante, mas também "
+"razoavelmente mediano, prestar mais atenção e pensar muito mais longamente "
+"sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance "
+"de fazer em nossas vidas diárias."
+
+#. type: Content of: <book><preface><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:94
+msgid "Foreword"
+msgstr "Prefácio"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:96
+msgid ""
+"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 "
+"defining and advancing open business models. He kindly disagreed, and called "
+"the pursuit of viable business models through CC <quote>a red "
+"herring.</quote>"
+msgstr ""
+"Três anos atrás, logo depois de ser contratado como CEO da Creative Commons, "
+"me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como "
+"um dos proponentes mais conhecidos da CC – alguém que também teve uma "
+"carreira de sucesso como escritor que compartilha seu trabalho usando CC – "
+"eu disse a ele que achava que a CC tinha um papel na definição e promoção de "
+"modelos de negócios abertos. Ele discordou gentilmente e considerou a busca "
+"de modelos de negócios viáveis por meio da CC <quote>uma pista falsa</quote>."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:105
+msgid ""
+"He was, in a way, completely correct—those who make things with Creative "
+"Commons have ulterior motives, as Paul Stacey explains in this book: "
+"<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.</quote>"
+msgstr ""
+"Ele estava, de certa forma, completamente correto – aqueles que fazem coisas "
+"com Creative Commons têm segundas intenções, como Paul Stacey explica neste "
+"livro: <quote>Independentemente do status legal, todos eles têm uma missão "
+"social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem "
+"fins lucrativos. O dinheiro é um meio para um fim social, não o fim em "
+"si.</quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:113
+msgid ""
+"In the case study about Cory Doctorow, Sarah Hinchliff Pearson cites Cory’s "
+"words from his book Information Doesn’t Want to Be Free: <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.</quote>"
+msgstr ""
+"No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as "
+"palavras de Cory em seu livro <emphasis>Information Doesn’t Want to Be "
+"Free</emphasis>: <quote>Entrar nas artes porque você quer ficar rico é como "
+"comprar bilhetes de loteria porque você quer ficar rico. Pode funcionar, mas "
+"quase certamente não. Embora, é claro, alguém sempre ganhe na "
+"loteria.</quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:121
+msgid ""
+"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."
+msgstr ""
+"Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e "
+"quase ninguém ganha. O que eles não dizem é que, se você decidir "
+"compartilhar seu trabalho, o retorno pode ser significativo e duradouro. "
+"Este livro está repleto de histórias de pessoas que assumem riscos muito "
+"maiores do que os dois dólares que pagamos por um bilhete de loteria e, em "
+"vez disso, colhem as recompensas que advêm de perseguir suas paixões e viver "
+"seus valores."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:130
+msgid ""
+"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: <quote>We don’t make "
+"jokes and games to make money—we make money so we can make more jokes and "
+"games.</quote>"
+msgstr ""
+"Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para "
+"continuar a criar e compartilhar geralmente requer alguma receita. Max "
+"Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso: "
+"<quote>Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro "
+"para que possamos fazer mais piadas e jogos.</quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:137
+msgid ""
+"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 "
+"the best open business models. Paul and Sarah were the ideal authors to "
+"write Made with Creative Commons."
+msgstr ""
+"O foco da Creative Commons é construir um commons vibrante e utilizável, "
+"movido pela colaboração e gratidão. Capacitar comunidades de colaboração "
+"está no centro de nossa estratégia. Com isso em mente, a Creative Commons "
+"iniciou o projeto deste livro. Liderado por Paul e Sarah, o projeto teve "
+"como objetivo definir e promover os melhores modelos de negócios abertos. "
+"Paul e Sarah eram os autores ideais para escrever Feito com Creative Commons."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:146
+msgid ""
+"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 "
+"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."
+msgstr ""
+"Paul sonha com um futuro onde novos modelos de criatividade e inovação "
+"superem a desigualdade e a escassez que hoje definem as piores partes do "
+"capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades "
+"de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou "
+"um melhor educador, um pesquisador perspicaz e também um jardineiro "
+"habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que "
+"inspira seus colegas e a comunidade."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:155
+msgid ""
+"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 "
+"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 "
+"more."
+msgstr ""
+"Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no "
+"bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o "
+"ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma "
+"campanha política que não terminou como ela esperava. Hoje, ela está mais "
+"determinada do que nunca a viver com seus valores na manga. Sempre posso "
+"contar com Sarah para empurrar a Creative Commons para focar em nosso "
+"impacto – para tornar a coisa principal a coisa principal. Ela é prática, "
+"orientada para os detalhes e inteligente. Não há ninguém na minha equipe com "
+"quem eu goste mais de debater."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:167
+msgid ""
+"As coauthors, Paul and Sarah complement each other perfectly. They "
+"researched, analyzed, argued, and worked as a team, sometimes together and "
+"sometimes independently. They dove into the research and writing with "
+"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 "
+"better book that is insightful, honest, and useful."
+msgstr ""
+"Como co-autores, Paul e Sarah se complementam perfeitamente. Eles "
+"pesquisaram, analisaram, discutiram e trabalharam em equipe, às vezes juntos "
+"e às vezes de forma independente. Eles mergulharam na pesquisa e na escrita "
+"com paixão e curiosidade, e um profundo respeito pelo que é necessário para "
+"construir o bem comum e compartilhar com o mundo. Eles permaneceram abertos "
+"a novas ideias, incluindo a possibilidade de que suas teorias iniciais "
+"precisassem ser aprimoradas ou pudessem estar completamente erradas. Isso é "
+"corajoso e tornou-se um livro melhor, perspicaz, honesto e útil."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:178
+msgid ""
+"From the beginning, CC wanted to develop this project with the principles "
+"and values of open collaboration. The book was funded, developed, "
+"researched, and written in the open. It is being shared openly under a CC "
+"BY-SA license for anyone to use, remix, or adapt with attribution. It is, in "
+"itself, an example of an open business model."
+msgstr ""
+"Desde o início, a CC quis desenvolver este projeto com os princípios e "
+"valores da colaboração aberta. O livro foi financiado, desenvolvido, "
+"pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente "
+"sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com "
+"atribuição. É, por si só, um exemplo de modelo de negócio aberto."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:186
+msgid ""
+"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, "
+"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 Creative Commons."
+msgstr ""
+"Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma "
+"campanha Kickstarter para gerar o financiamento básico para o livro. O "
+"restante foi fornecido por generosos doadores e apoiadores do CC. No final, "
+"tornou-se um dos projetos de livro de maior sucesso no Kickstarter, "
+"superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a "
+"maioria deles novos apoiadores da Creative Commons."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:195
+msgid ""
+"Paul and Sarah worked openly throughout the project, publishing the plans, "
+"drafts, case studies, and analysis, early and often, and they engaged "
+"communities all over the world to help write this book. As their opinions "
+"diverged and their interests came into focus, they divided their voices and "
+"decided to keep them separate in the final product. Working in this way "
+"requires both humility and self-confidence, and without question it has made "
+"Made with Creative Commons a better project."
+msgstr ""
+"Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os "
+"planos, rascunhos, estudos de caso e análises, desde o início e com "
+"frequência, e envolveram comunidades em todo o mundo para ajudar a escrever "
+"este livro. Como suas opiniões divergiram e seus interesses entraram em "
+"foco, eles dividiram suas vozes e decidiram mantê-los separados no produto "
+"final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem "
+"dúvida, tornou o Feito com Creative Commons um projeto melhor."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:205
+msgid ""
+"Those who work and share in the commons are not typical creators. They are "
+"part of something greater than themselves, and what they offer us all is a "
+"profound gift. What they receive in return is gratitude and a community."
+msgstr ""
+"Aqueles que trabalham e compartilham dos bens comuns não são criadores "
+"típicos. Eles são parte de algo maior do que eles próprios, e o que eles "
+"oferecem a todos nós é um dom profundo. O que eles recebem em troca é "
+"gratidão e uma comunidade."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:211
+msgid ""
+"Jonathan Mann, who is profiled in this book, writes a song a day. When I "
+"reached out to ask him to write a song for our Kickstarter (and to offer "
+"himself up as a Kickstarter benefit), he agreed immediately. Why would he "
+"agree to do that? Because the commons has collaboration at its core, and "
+"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."
+msgstr ""
+"Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por "
+"dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter ("
+"e se oferecer como um benefício do Kickstarter), ele concordou "
+"imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a "
+"colaboração em seu núcleo, e a comunidade como um valor chave, e porque as "
+"licenças CC ajudaram muitos a compartilhar as formas que escolheram com um "
+"público global."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:220
+msgid ""
+"Sarah writes, <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.</quote> Amanda Palmer, the other musician "
+"profiled in the book, would surely add this from her case study: "
+"<quote>There is no more satisfying end goal than having someone tell you "
+"that what you do is genuinely of value to them.</quote>"
+msgstr ""
+"Sarah escreve, <quote>Os esforços feitos com Creative Commons prosperam "
+"quando a comunidade é construída em torno do que eles fazem. Isso pode "
+"significar uma comunidade colaborando para criar algo novo, ou pode ser "
+"simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se "
+"unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente "
+"ser feito com Creative Commons traz automaticamente consigo algum elemento "
+"de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são "
+"atraídas para os valores simbolizados pelo uso de CC</quote>. Amanda Palmer, "
+"a outra música perfilada no livro, certamente acrescentaria isso de seu "
+"estudo de caso: <quote>Não há objetivo final mais satisfatório do que ter "
+"alguém lhe dizendo que o que você faz é genuinamente valioso para "
+"eles.</quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:234
+msgid ""
+"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 "
+"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."
+msgstr ""
+"Este não é um livro de negócios típico. Para quem procura uma receita ou um "
+"roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo "
+"social, construir algo grande por meio da colaboração ou se juntar a uma "
+"comunidade global poderosa e crescente, eles certamente ficarão satisfeitos. "
+"Feito com Creative Commons oferece um conjunto de valores e princípios "
+"claramente articulados para mudar o mundo, algumas ferramentas essenciais "
+"para explorar suas próprias oportunidades de negócios e duas dezenas de "
+"doses de pura inspiração."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:244
+msgid ""
+"In a 1996 Stanford Law Review article <quote>The Zones of "
+"Cyberspace</quote>, CC founder Lawrence Lessig wrote, <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.</quote>"
+msgstr ""
+"Em um artigo de 1996 da Stanford Law Review <quote>The Zones of Cyberspace</"
+"quote>, o fundador do CC Lawrence Lessig escreveu, <quote>O ciberespaço é um "
+"lugar. Pessoas moram lá. Elas experimentam todos os tipos de coisas que "
+"experimentam no espaço real, ali. Para alguns, elas experimentam mais. Elas "
+"vivenciam isso não como indivíduos isolados, jogando algum jogo de "
+"computador de alta tecnologia; elas experimentam isso em grupos, em "
+"comunidades, entre estranhos, entre pessoas que eles conhecem e às vezes "
+"gostam. </quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:254
+msgid ""
+"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, <quote>It’s all made of people.</quote>"
+msgstr ""
+"Estou extremamente orgulhoso de que a Creative Commons seja capaz de "
+"publicar este livro para as muitas comunidades que conhecemos e gostamos. "
+"Sou grato a Paul e Sarah por sua criatividade e ideias, e às comunidades "
+"globais que nos ajudaram a trazer isso para você. Como frequentemente diz o "
+"membro do conselho da CC, Johnathan Nightingale, <quote>É tudo feito de "
+"pessoas.</quote>"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:262
+msgid "That’s the true value of things that are Made with Creative Commons."
+msgstr "Esse é o verdadeiro valor das coisas feitas com Creative Commons."
+
+#. type: Content of: <book><preface><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:265
+msgid "Ryan Merkley,"
+msgstr "Ryan Merkley,"
+
+#. type: Content of: <book><preface><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:265
+msgid "CEO, Creative Commons"
+msgstr "CEO, Creative Commons"
+
+#. type: Content of: <book><preface><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:270
+msgid "Introduction"
+msgstr "Introdução"
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:272
+msgid ""
+"This book shows the world how sharing can be good for business—but with a "
+"twist."
+msgstr ""
+"Este livro mostra ao mundo como o compartilhamento pode ser bom para os "
+"negócios – mas com uma diferença."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:276
+msgid ""
+"We began the project intending to explore how creators, organizations, and "
+"businesses make money to sustain what they do when they share their work "
+"using Creative Commons licenses. Our goal was not to identify a formula for "
+"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 <quote>open "
+"business model canvas,</quote> an interactive online tool that would help "
+"people design and analyze their business model."
+msgstr ""
+"Começamos o projeto com a intenção de explorar como criadores, organizações "
+"e empresas ganham dinheiro para sustentar o que fazem quando compartilham "
+"seus trabalhos usando licenças Creative Commons. Nosso objetivo não era "
+"identificar uma fórmula para modelos de negócios que usam Creative Commons, "
+"mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram "
+"modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo "
+"sobre o que já funciona. No início, estruturamos nossa investigação em "
+"termos de negócios familiares. Criamos uma <quote>tela de modelo de negócios "
+"aberto</quote> em branco, uma ferramenta on-line interativa que ajudaria as "
+"pessoas a projetar e analisar seu modelo de negócios."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:288
+msgid ""
+"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 "
+"wrote up their stories. We analyzed what we heard and dug deep into the "
+"literature."
+msgstr ""
+"Por meio do generoso financiamento dos patrocinadores do Kickstarter, "
+"começamos este projeto primeiro identificando e – selecionando um grupo "
+"diverso de criadores, organizações e empresas que usam a Creative Commons de "
+"uma forma integral o que chamamos de ser Feito com Creative Commons. Nós os "
+"entrevistamos e escrevemos suas histórias. Analisamos o que ouvimos e nos "
+"aprofundamos na literatura."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:296
+msgid ""
+"But as we did our research, something interesting happened. Our initial way "
+"of framing the work did not match the stories we were hearing."
+msgstr ""
+"Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa "
+"maneira inicial de enquadrar o trabalho não combinava com as histórias que "
+"estávamos ouvindo."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:301
+msgid ""
+"Those we interviewed were not typical businesses selling to consumers and "
+"seeking to maximize profits and the bottom line. Instead, they were sharing "
+"to make the world a better place, creating relationships and community "
+"around the works being shared, and generating revenue not for unlimited "
+"growth but to sustain the operation."
+msgstr ""
+"Os entrevistados não eram empresas típicas que vendem para consumidores e "
+"buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles "
+"estavam compartilhando para tornar o mundo um lugar melhor, criando "
+"relacionamentos e comunidade em torno das obras que estavam sendo "
+"compartilhadas e gerando receita não para um crescimento ilimitado, mas para "
+"sustentar a operação."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:309
+msgid ""
+"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 <quote>business as usual.</quote>"
+msgstr ""
+"Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um "
+"modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo "
+"diferente. Algo que gera não apenas valor econômico, mas também valor social "
+"e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons "
+"não é um <quote>negócio de costume</quote>."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:317
+msgid ""
+"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, "
+"who provided invaluable edits, feedback, and advice. Our thinking changed "
+"dramatically over the course of a year and a half."
+msgstr ""
+"Tivemos que repensar a forma como concebemos esse projeto. E isso não "
+"aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas "
+"ideias em postagens de blog no Medium e com atualizações regulares para "
+"nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de "
+"caso e análises com nossos cocriadores do Kickstarter, que forneceram "
+"edições, feedback e conselhos inestimáveis. Nosso pensamento mudou "
+"drasticamente ao longo de um ano e meio."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:326
+msgid ""
+"Throughout the process, the two of us have often had very different ways of "
+"understanding and describing what we were learning. Learning 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 our different but complementary "
+"approaches as you read through our different sections."
+msgstr ""
+"Ao longo do processo, nós dois frequentemente tínhamos maneiras muito "
+"diferentes de compreender e descrever o que estávamos aprendendo. Aprender "
+"um com o outro foi uma das grandes alegrias deste trabalho e, esperamos, "
+"algo que tornou o produto final muito mais rico do que jamais poderia ter "
+"sido se qualquer um de nós empreendesse este projeto sozinho. Nós "
+"preservamos nossas vozes por toda parte, e você será capaz de sentir nossas "
+"abordagens diferentes, mas complementares, enquanto lê nossas diferentes "
+"seções."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:336
+msgid ""
+"While we recommend that you read the book from start to finish, each section "
+"reads more or less independently. The book is structured into two main "
+"parts."
+msgstr ""
+"Embora recomendamos que você leia o livro do início ao fim, cada seção é "
+"lida de forma mais ou menos independente. O livro está estruturado em duas "
+"partes principais."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:341
+msgid ""
+"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 "
+"beyond business and market terms and eloquently makes the case for sharing "
+"and enlarging the digital commons."
+msgstr ""
+"A parte um, a visão geral, começa com uma estrutura geral escrita por Paul. "
+"Ele fornece algum contexto histórico para os bens comuns digitais, "
+"descrevendo as três maneiras como a sociedade administrou recursos e "
+"compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende "
+"pensar além dos negócios e dos termos de mercado e eloquentemente defende o "
+"compartilhamento e a ampliação dos bens comuns digitais."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:349
+msgid ""
+"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 "
+"outlines the ways the creators, organizations, and businesses we interviewed "
+"bring in revenue, how they further the public interest and live out their "
+"values, and how they foster connections with the people with whom they "
+"share."
+msgstr ""
+"A visão geral continua com o capítulo de Sarah, enquanto ela considera o que "
+"significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro "
+"seja uma parte do bolo, há também um conjunto de valores voltados para o "
+"público e o tipo de conexões humanas que tornam o compartilhamento "
+"verdadeiramente significativo. Esta seção descreve as maneiras como os "
+"criadores, organizações e empresas que entrevistamos geram receita, como "
+"promovem o interesse público e vivem seus valores e como promovem conexões "
+"com as pessoas com quem compartilham."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:359
+msgid ""
+"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."
+msgstr ""
+"E para encerrar a primeira parte, temos uma pequena seção que explica as "
+"diferentes licenças Creative Commons. Falamos sobre o equívoco de que as "
+"licenças mais restritivas – aquelas que estão mais próximas do modelo com "
+"todos os direitos reservados do direito autoral tradicional – são as únicas "
+"maneiras de ganhar dinheiro."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:366
+msgid ""
+"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 "
+"in the interviews, we divided up the writing of these profiles."
+msgstr ""
+"A segunda parte do livro é composta pelas vinte e quatro histórias dos "
+"criadores, empresas e organizações que entrevistamos. Enquanto nós dois "
+"participamos das entrevistas, dividimos a redação desses perfis."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:372
+msgid ""
+"Of course, we are pleased to make the book available using a Creative "
+"Commons Attribution-ShareAlike license. Please copy, distribute, translate, "
+"localize, and build upon this work."
+msgstr ""
+"Obviamente, temos o prazer de disponibilizar o livro usando uma licença "
+"Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza, "
+"localize e desenvolva esta obra."
+
+#. type: Content of: <book><preface><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:377
+msgid ""
+"Writing this book has transformed and inspired us. The way we now look at "
+"and think about what it means to be Made with Creative 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."
+msgstr ""
+"Escrever este livro nos transformou e nos inspirou. A maneira como agora "
+"olhamos e pensamos sobre o que significa ser Feito com Creative Commons "
+"mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa "
+"a usar o Creative Commons e, assim, contribuir para a transformação de nossa "
+"economia e do mundo para melhor."
+
+#. type: Content of: <book><preface><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:384
+msgid "Paul and Sarah"
+msgstr "Paul e Sarah"
+
+#. type: Content of: <book><part><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:389
+msgid "The Big Picture"
+msgstr "O Quadro Geral"
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:391
+msgid "The New World of Digital Commons"
+msgstr "O Novo Mundo dos Comuns Digitais"
+
+#. type: Content of: <book><part><chapter><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:393
+msgid "Paul Stacey"
+msgstr "Paul Stacey"
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:404
+msgid "Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14."
+msgstr ""
+"Jonathan Rowe, <emphasis>Our Common Wealth</emphasis> (San Francisco: "
+"Berrett-Koehler, 2013), 14."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:397
+msgid ""
+"Jonathan Rowe eloquently describes the commons as <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.</quote><placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Jonathan Rowe descreve eloquentemente os comuns como <quote>o ar e os "
+"oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos "
+"são partes dos bens comuns. Assim como a linguagem e o conhecimento, as "
+"calçadas e praças públicas, as histórias da infância e os processos de "
+"democracia. Algumas partes dos comuns são dádivas da natureza, outras são o "
+"produto do esforço humano. Alguns são novos, como a Internet; outros são tão "
+"antigos quanto o solo e a caligrafia.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:409
+msgid ""
+"In Made with Creative Commons, we focus on our current era of digital "
+"commons, a commons of human-produced works. This commons cuts across a broad "
+"range of areas including cultural heritage, education, research, technology, "
+"art, design, literature, entertainment, business, and data. Human-produced "
+"works in all these areas are increasingly digital. The Internet is a kind of "
+"global, digital commons. The individuals, organizations, and businesses we "
+"profile in our case studies use Creative Commons to share their resources "
+"online over the Internet."
+msgstr ""
+"Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns "
+"digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum "
+"abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação, "
+"pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e "
+"dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais "
+"digitais. A Internet é uma espécie de comum digital global. Os indivíduos, "
+"organizações e empresas cujo perfil temos em nossos estudos de caso usam "
+"Creative Commons para compartilhar seus recursos online pela Internet."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:424
+msgid ""
+"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
+"the Commons (Gabriola Island, BC: New Society, 2014), 176."
+msgstr ""
+"David Bollier, <emphasis>Think Like a Commoner: A Short Introduction to the "
+"Life of the Commons</emphasis> (Gabriola Island, BC: New Society, 2014), 176."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:432
+msgid "Ibid., 15."
+msgstr "<emphasis>Ibid</emphasis>., 15."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:420
+msgid ""
+"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.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" "
+"id=\"1\"/> Commoning is guided by a set of values and norms that balance the "
+"costs and benefits of the enterprise with those of the community. Special "
+"regard is given to equitable access, use, and sustainability."
+msgstr ""
+"O comum não se trata apenas de recursos compartilhados, no entanto. É também "
+"sobre as práticas sociais e os valores que os gerem. Um recurso é um "
+"substantivo, mas \"comunalizar\" – colocar o recurso no espaço comum – é um "
+"verbo.<placeholder type=\"footnote\" id=\"0\"/> Os criadores, organizações e "
+"empresas que definimos estão todos engajados em compartilhar. O uso da "
+"Creative Commons os envolve na prática social de compartilhamento, "
+"gerenciando recursos de forma coletiva com uma comunidade de "
+"usuários.<placeholder type=\"footnote\" id=\"1\"/> O compartilhamento é "
+"guiado por um conjunto de valores e normas que equilibram os custos e "
+"benefícios da empresa com aqueles da comunidade. Atenção especial é dada ao "
+"acesso, uso e sustentabilidade equitativos."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:439
+msgid "The Commons, the Market, and the State"
+msgstr "Os Comuns, o Mercado e o Estado"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:445
+msgid "Ibid., 145."
+msgstr "<emphasis>Ibid</emphasis>., 145."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:441
+msgid ""
+"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 "
+"today.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Historicamente, houve três maneiras de gerenciar recursos e compartilhar "
+"riqueza: os comuns (administrados coletivamente), o estado (ou seja, o "
+"governo) e o mercado – com os dois últimos sendo as formas dominantes "
+"hoje.<placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:454
+msgid "Ibid., 175."
+msgstr "<emphasis>Ibid</emphasis>., 175."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:449
+msgid ""
+"The organizations and businesses in our case studies are unique in the way "
+"they participate in the commons while still engaging with the market and/or "
+"state. The extent of engagement with market or state varies. Some operate "
+"primarily as a commons with minimal or no reliance on the market or "
+"state.<placeholder type=\"footnote\" id=\"0\"/> Others are very much a part "
+"of the market or state, depending on them for financial sustainability. All "
+"operate as hybrids, blending the norms of the commons with those of the "
+"market or state."
+msgstr ""
+"As organizações e empresas em nossos estudos de caso são únicas na forma "
+"como participam dos bens comuns enquanto se envolvem com o mercado e/ou "
+"estado. A extensão do envolvimento com o mercado ou estado varia. Alguns "
+"operam principalmente como comuns com o mínimo ou nenhuma dependência do "
+"mercado ou estado.<placeholder type=\"footnote\" id=\"0\"/> Outros fazem "
+"parte do mercado ou estado, dependendo deles para a sustentabilidade "
+"financeira. Todos operam como híbridos, mesclando as normas dos comuns com "
+"as do mercado ou do estado."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:461
+msgid ""
+"Fig. <xref xrefstyle=\"template:%n\" linkend=\"fig-1\"/> is a depiction of "
+"how an enterprise can have varying levels of engagement with commons, state, "
+"and market."
+msgstr ""
+"A fig. <xref xrefstyle=\"template:%n\" linkend=\"fig-1\"/> é uma "
+"representação de como uma empresa pode ter vários níveis de envolvimento com "
+"comuns, estado e mercado."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:465
+msgid ""
+"Some of our case studies are simply commons and market enterprises with "
+"little or no engagement with the state. A depiction of those case studies "
+"would show the state sphere as tiny or even absent. Other case studies are "
+"primarily market-based with only a small engagement with the commons. A "
+"depiction of those case studies would show the market sphere as large and "
+"the commons sphere as small. The extent to which an enterprise sees itself "
+"as being primarily of one type or another affects the balance of norms by "
+"which they operate."
+msgstr ""
+"Alguns de nossos estudos de caso são simplesmente comuns e empresas de "
+"mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses "
+"estudos de caso mostraria a esfera do estado como pequena ou até ausente. "
+"Outros estudos de caso são principalmente baseados no mercado, com apenas um "
+"pequeno envolvimento com os comuns. Uma descrição desses estudos de caso "
+"mostraria a esfera do mercado tão grande e a esfera dos comuns tão pequena. "
+"A extensão em que uma empresa se considera primariamente de um tipo ou de "
+"outro afeta o equilíbrio das normas pelas quais opera."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:476
+msgid ""
+"All our case studies generate money as a means of livelihood and "
+"sustainability. Money is primarily of the market. Finding ways to generate "
+"revenue while holding true to the core values of the commons (usually "
+"expressed in mission statements) is challenging. To manage interaction and "
+"engagement between the commons and the market requires a deft touch, a "
+"strong sense of values, and the ability to blend the best of both."
+msgstr ""
+"Todos os nossos estudos de caso geram dinheiro como meio de subsistência e "
+"sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras "
+"de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns ("
+"geralmente expressos em declarações de missão) é um desafio. Gerenciar a "
+"interação e o engajamento entre os comuns e o mercado exige um toque hábil, "
+"um forte senso de valores e a capacidade de combinar o melhor de ambos."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:485
+msgid ""
+"The state has an important role to play in fostering the use and adoption of "
+"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."
+msgstr ""
+"O estado tem um papel importante a desempenhar na promoção do uso e adoção "
+"dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente "
+"para construir os comuns. Além do dinheiro, as leis e regulamentos relativos "
+"à propriedade, direitos autorais, negócios e finanças podem ser projetados "
+"para promover os comuns."
+
+#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:492 MadewithCreativeCommonsmostup-to-dateversion.xml:499
+msgid "Enterprise engagement with commons, state and market."
+msgstr "Engajamento empresarial com comuns, estado e mercado."
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:496
+msgid "Pictures/10000201000008000000045C30360249076453E6.png"
+msgstr "Pictures/10000201000008000000045C30360249076453E6.png"
+
+#. type: Content of: <book><part><chapter><sect1><figure>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:494 MadewithCreativeCommonsmostup-to-dateversion.xml:543 MadewithCreativeCommonsmostup-to-dateversion.xml:660 MadewithCreativeCommonsmostup-to-dateversion.xml:788 MadewithCreativeCommonsmostup-to-dateversion.xml:830 MadewithCreativeCommonsmostup-to-dateversion.xml:918
+msgid "<placeholder type=\"mediaobject\" id=\"0\"/>"
+msgstr "<placeholder type=\"mediaobject\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:505
+msgid ""
+"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 "
+"help them understand how best to do so. Participating in and using the "
+"commons the same way you do the market or state is not a strategy for "
+"success."
+msgstr ""
+"É útil entender como os comuns, o mercado e o estado gerenciam os recursos "
+"de maneira diferente, e não apenas para aqueles que se consideram "
+"principalmente como comuns. Para empresas ou organizações governamentais que "
+"desejam se envolver e usar os comuns, saber como os comuns funciona os "
+"ajudará a compreender a melhor forma de fazer isso. Participar e usar os "
+"comuns da mesma forma que você faz com o mercado ou estado não é uma "
+"estratégia para o sucesso."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:516
+msgid "The Four Aspects of a Resource"
+msgstr "Os Quatro Aspectos de um Recurso"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:521
+msgid ""
+"Daniel H. Cole, <quote>Learning from Lin: Lessons and Cautions from the "
+"Natural Commons for the Knowledge Commons,</quote> in Governing Knowledge "
+"Commons, eds. Brett M. Frischmann, Michael J. Madison, and Katherine J. "
+"Strandburg (New York: Oxford University Press, 2014), 53."
+msgstr ""
+"Daniel H. Cole, <quote>Learning from Lin: Lessons and Cautions from the "
+"Natural Commons for the Knowledge Commons</quote>, em <emphasis>Governing "
+"Knowledge Commons</emphasis>, eds. Brett M. Frischmann, Michael J. Madison e "
+"Katherine J. Strandburg (Nova York: Oxford University Press, 2014), 53."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:518
+msgid ""
+"As part of her Nobel Prize–winning work, Elinor Ostrom developed a framework "
+"for analyzing how natural resources are managed in a commons.<placeholder "
+"type=\"footnote\" id=\"0\"/> Her framework considered things like the "
+"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."
+msgstr ""
+"Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu "
+"uma estrutura para analisar como os recursos naturais são gerenciados em um "
+"comum.<placeholder type=\"footnote\" id=\"0\"/> Sua estrutura considerou "
+"coisas como as características biofísicas de recursos comuns, os atores da "
+"comunidade e as interações que ocorrem entre eles, regras em uso e "
+"resultados. Essa estrutura foi simplificada e generalizada para se aplicar "
+"aos comuns, ao mercado e ao estado neste capítulo."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:534
+msgid ""
+"To compare and contrast the ways in which the commons, market, 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. <xref xrefstyle=\"template:%n\" "
+"linkend=\"fig-2\"/>)."
+msgstr ""
+"Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o "
+"estado funcionam, vamos considerar quatro aspectos da gestão de recursos: "
+"características dos recursos, as pessoas envolvidas e o processo que usam, "
+"as normas e regras que desenvolvem para governar o uso e, finalmente, uso de "
+"recursos junto com os resultados desse uso (ver Fig. <xref xrefstyle="
+"\"template:%n\" linkend=\"fig-2\"/>)."
+
+#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:542 MadewithCreativeCommonsmostup-to-dateversion.xml:548
+msgid "Four aspects of resource management"
+msgstr "Quatro aspectos da gestão de recursos"
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:545
+msgid "Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png"
+msgstr "Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:554
+msgid "Characteristics"
+msgstr "Características"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:556
+msgid ""
+"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."
+msgstr ""
+"Os recursos têm características ou atributos específicos que afetam a "
+"maneira como podem ser usados. Alguns recursos são naturais; outros são "
+"produzidos pelo homem. E – significativamente para o comum de hoje – os "
+"recursos podem ser físicos ou digitais, o que afeta o potencial inerente de "
+"um recurso."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:563
+msgid ""
+"Physical resources exist in limited supply. If I have a physical resource "
+"and give it to you, I no longer have it. When a resource is removed and "
+"used, the supply becomes scarce or depleted. Scarcity can result in "
+"competing rivalry for the resource. Made with Creative Commons enterprises "
+"are usually digitally based but some of our case studies also produce "
+"resources in physical form. The costs of producing and distributing a "
+"physical good usually require them to engage with the market."
+msgstr ""
+"Os recursos físicos existem em oferta limitada. Se eu tenho um recurso "
+"físico e dou a você, não o tenho mais. Quando um recurso é removido e usado, "
+"o suprimento se torna escasso ou esgotado. A escassez pode resultar em "
+"rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons "
+"geralmente são baseadas em formato digital, mas alguns de nossos estudos de "
+"caso também produzem recursos na forma física. Os custos de produção e "
+"distribuição de um bem físico geralmente exigem que elas se envolvam com o "
+"mercado."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:574
+msgid ""
+"Physical resources are depletable, exclusive, and rivalrous. Digital "
+"resources, on the other hand, are nondepletable, nonexclusive, and "
+"nonrivalrous. If I share a digital resource with you, we both have the "
+"resource. Giving it to you does not mean I no longer have it. Digital "
+"resources can be infinitely stored, copied, and distributed without becoming "
+"depleted, and at close to zero cost. Abundance rather than scarcity is an "
+"inherent characteristic of digital resources."
+msgstr ""
+"Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos "
+"digitais, por outro lado, são não esgotáveis, não exclusivos e não rivais. "
+"Se eu compartilhar um recurso digital com você, ambos teremos o recurso. Dar "
+"a você não significa que eu não o tenha mais. Os recursos digitais podem ser "
+"armazenados, copiados e distribuídos infinitamente sem se esgotarem e com "
+"custo próximo a zero. Abundância, em vez de escassez, é uma característica "
+"inerente aos recursos digitais."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:584
+msgid ""
+"The nondepletable, nonexclusive, and nonrivalrous nature of digital "
+"resources means the rules and norms for managing them can (and ought to) be "
+"different from how physical resources are managed. However, this is not "
+"always the case. Digital resources are frequently made artificially "
+"scarce. Placing digital resources in the commons makes them free and "
+"abundant."
+msgstr ""
+"A natureza não esgotável, não exclusiva e não rival dos recursos digitais "
+"significa que as regras e normas para gerenciá-los podem (e devem) ser "
+"diferentes de como os recursos físicos são gerenciados. No entanto, nem "
+"sempre é esse o caso. Os recursos digitais são frequentemente tornados "
+"artificialmente escassos. Colocar recursos digitais nos comuns os torna "
+"livre e abundantes."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:592
+msgid ""
+"Our case studies frequently manage hybrid resources, which start out as "
+"digital with the possibility of being made into a physical resource. The "
+"digital file of a book can be printed on paper and made into a physical "
+"book. A computer-rendered design for furniture can be physically "
+"manufactured in wood. This conversion from digital to physical invariably "
+"has costs. Often the digital resources are managed in a free and open way, "
+"but money is charged to convert a digital resource into a physical one."
+msgstr ""
+"Nossos estudos de caso gerenciam frequentemente recursos híbridos, que "
+"começam como digitais com a possibilidade de se tornarem um recurso físico. "
+"O arquivo digital de um livro pode ser impresso em papel e transformado em "
+"livro físico. Um projeto de mobília renderizado por computador pode ser "
+"fisicamente fabricado em madeira. Essa conversão do digital para o físico "
+"invariavelmente tem custos. Muitas vezes, os recursos digitais são "
+"gerenciados de forma livre e aberta, mas o dinheiro é cobrado para converter "
+"um recurso digital em físico."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:603
+msgid ""
+"Beyond this idea of physical versus digital, the commons, market, and state "
+"conceive of resources differently (see Fig. <xref xrefstyle=\"template:%n\" "
+"linkend=\"fig-3\"/>). 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."
+msgstr ""
+"Além dessa ideia de físico versus digital, os comuns, o mercado e o estado "
+"concebem os recursos de maneira diferente (veja Fig. <xref xrefstyle="
+"\"template:%n\" linkend=\"fig-3\"/>). O mercado vê os recursos como bens "
+"privados – mercadorias para venda – dos quais o valor é extraído. O estado "
+"vê os recursos como bens públicos que fornecem valor aos cidadãos do estado. "
+"Os comuns vêem os recursos como comuns, proporcionando uma riqueza comum que "
+"se estende além das fronteiras do estado, a ser repassada de forma "
+"inalterada ou aprimorada para as gerações futuras."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:613
+msgid "People and processes"
+msgstr "Pessoas e processos"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:615
+msgid ""
+"In the commons, the market, and the state, different people and processes "
+"are used to manage resources. The processes used define both who has a say "
+"and how a resource is managed."
+msgstr ""
+"Nos comuns, no mercado e no estado, diferentes pessoas e processos são "
+"usados para gerenciar os recursos. Os processos usados definem quem tem uma "
+"palavra a dizer e como um recurso é gerenciado."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:620
+msgid ""
+"In the state, a government of elected officials is responsible for managing "
+"resources on behalf of the public. The citizens who produce and use those "
+"resources are not directly involved; instead, that responsibility is given "
+"over to the government. State ministries and departments staffed with "
+"public servants set budgets, implement programs, and manage resources based "
+"on government priorities and procedures."
+msgstr ""
+"No estado, um governo de funcionários eleitos é responsável por administrar "
+"os recursos em nome do público. Os cidadãos que produzem e usam esses "
+"recursos não estão diretamente envolvidos; em vez disso, essa "
+"responsabilidade é entregue ao governo. Ministérios e departamentos "
+"estaduais com funcionários públicos definem orçamentos, implementam "
+"programas e administram recursos com base nas prioridades e procedimentos do "
+"governo."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:629
+msgid ""
+"In the market, the people involved are producers, buyers, sellers, and "
+"consumers. Businesses act as intermediaries between those who produce "
+"resources and those who consume or use them. Market processes seek to "
+"extract as much monetary value from resources as possible. In the market, "
+"resources are managed as commodities, frequently mass-produced, and sold to "
+"consumers on the basis of a cash transaction."
+msgstr ""
+"No mercado, as pessoas envolvidas são produtores, compradores, vendedores e "
+"consumidores. As empresas atuam como intermediários entre aqueles que "
+"produzem recursos e aqueles que os consomem ou usam. Os processos de mercado "
+"procuram extrair o máximo de valor monetário possível dos recursos. No "
+"mercado, os recursos são administrados como mercadorias, frequentemente "
+"produzidos em massa e vendidos aos consumidores com base em uma transação em "
+"dinheiro."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:640
+msgid ""
+"Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity "
+"and the Commons (New York: Zed Books, 2014), 93."
+msgstr ""
+"Max Haiven, <emphasis>Crises of Imagination, Crises of Power: Capitalism, "
+"Creativity and the Commons</emphasis> (Nova York: Zed Books, 2014), 93."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:638
+msgid ""
+"In contrast to the state and market, resources in a commons are managed more "
+"directly by the people involved.<placeholder type=\"footnote\" id=\"0\"/> "
+"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 "
+"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."
+msgstr ""
+"Em contraste com o estado e o mercado, os recursos em um comum são "
+"gerenciados mais diretamente pelas pessoas envolvidas.<placeholder type="
+"\"footnote\" id=\"0\"/> Os criadores de recursos humanos produzidos podem "
+"colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do "
+"mercado é necessária. Qualquer um pode participar dos comuns e determinar "
+"por si mesmo até que ponto deseja se envolver – como contribuidor, usuário "
+"ou gerente. As pessoas envolvidas incluem não apenas aqueles que criam e "
+"usam os recursos, mas também aqueles afetados pelo resultado do uso. Quem "
+"você é afeta a sua opinião, as ações que você pode tomar e a extensão da "
+"tomada de decisão. Nos comuns, a comunidade como um todo gerencia os "
+"recursos. Os recursos colocados nos comuns usando Creative Commons exigem "
+"que os usuários dêem crédito ao criador original. Conhecer a pessoa por trás "
+"de um recurso torna os comuns menos anônimos e mais pessoais."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:658 MadewithCreativeCommonsmostup-to-dateversion.xml:665
+msgid "How the market, commons and state concieve of resources."
+msgstr "Como o mercado, os bens comuns e o estado geram recursos."
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><sect2><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:662
+msgid "Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png"
+msgstr "Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:672
+msgid "Norms and rules"
+msgstr "Normas e regras"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:674
+msgid ""
+"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."
+msgstr ""
+"As interações sociais entre as pessoas e os processos usados pelo estado, "
+"mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e "
+"regras definem permissões, alocam direitos e resolvem disputas."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:680
+msgid ""
+"State authority is governed by national constitutions. Norms related to "
+"priorities and decision making are defined by elected officials and "
+"parliamentary procedures. State rules are expressed through policies, "
+"regulations, and laws. The state influences the norms and rules of the "
+"market and commons through the rules it passes."
+msgstr ""
+"A autoridade do estado é governada pelas constituições nacionais. As normas "
+"relacionadas a prioridades e tomada de decisões são definidas por "
+"funcionários eleitos e procedimentos parlamentares. As regras estaduais são "
+"expressas por meio de políticas, regulamentos e leis. O estado influencia as "
+"normas e regras do mercado e dos comuns por meio das regras que passa."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:688
+msgid ""
+"Market norms are influenced by economics and competition for scarce "
+"resources. Market rules follow property, business, and financial laws "
+"defined by the state."
+msgstr ""
+"As normas de mercado são influenciadas pela economia e pela competição por "
+"recursos escassos. As regras do mercado seguem as leis de propriedade, "
+"negócios e financeiras definidas pelo estado."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:700
+msgid "Bollier, Think Like a Commoner, 175."
+msgstr "Bollier, <emphasis>Think Like a Commoner</emphasis>, 175."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:693
+msgid ""
+"As with the market, a commons can be influenced by state policies, "
+"regulations, and laws. But the norms and rules of a commons are largely "
+"defined by the community. They weigh individual costs and benefits against "
+"the costs and benefits to the whole community. Consideration is given not "
+"just to economic efficiency but also to equity and "
+"sustainability.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Tal como acontece com o mercado, um comum pode ser influenciado por "
+"políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum "
+"são amplamente definidas pela comunidade. Elas pesam os custos e benefícios "
+"individuais em relação aos custos e benefícios para toda a comunidade. A "
+"consideração é dada não apenas à eficiência econômica, mas também à equidade "
+"e sustentabilidade.<placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:705
+msgid "Goals"
+msgstr "Objetivos"
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:707
+msgid ""
+"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."
+msgstr ""
+"A combinação dos aspectos que discutimos até agora – as características "
+"inerentes do recurso, pessoas e processos, e normas e regras – moldam como "
+"os recursos são usados. O uso também é influenciado pelos diferentes "
+"objetivos que o estado, o mercado e os comuns têm."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:719
+msgid ""
+"Joshua Farley and Ida Kubiszewski, <quote>The Economics of Information in a "
+"Post-Carbon Economy,</quote> 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."
+msgstr ""
+"Joshua Farley e Ida Kubiszewski, <quote>The Economics of Information in a "
+"Post-Carbon Economy</quote> em <emphasis>Free Knowledge: Confronting the "
+"Commodification of Human Discovery</emphasis>, eds. Patricia W. Elliott e "
+"Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:714
+msgid ""
+"In the market, the focus is on maximizing the utility of a resource. What we "
+"pay for the goods we consume is seen as an objective measure of the utility "
+"they provide. The goal then becomes maximizing total monetary value in the "
+"economy.<placeholder type=\"footnote\" id=\"0\"/> Units consumed translates "
+"to sales, revenue, profit, and growth, and these are all ways to measure "
+"goals of the market."
+msgstr ""
+"No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos "
+"pelos bens que consumimos é visto como uma medida objetiva da utilidade que "
+"eles fornecem. A meta então passa a ser maximizar o valor monetário total na "
+"economia.<placeholder type=\"footnote\" id=\"0\"/> As unidades consumidas se "
+"traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras "
+"de medir as metas do mercado."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:729
+msgid ""
+"The state aims to use and manage resources in a way that balances the "
+"economy with the social and cultural needs of its citizens. Health care, "
+"education, jobs, the environment, transportation, security, heritage, and "
+"justice are all facets of a healthy society, and the state applies its "
+"resources toward these aims. State goals are reflected in quality of life "
+"measures."
+msgstr ""
+"O estado visa usar e administrar os recursos de uma forma que equilibre a "
+"economia com as necessidades sociais e culturais de seus cidadãos. Saúde, "
+"educação, empregos, meio ambiente, transporte, segurança, patrimônio e "
+"justiça são facetas de uma sociedade saudável, e o estado aplica seus "
+"recursos para esses objetivos. Metas estaduais são refletidas em medidas de "
+"qualidade de vida."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:738
+msgid ""
+"In the commons, the goal is maximizing access, equity, distribution, "
+"participation, innovation, and sustainability. You can measure success by "
+"looking at how many people access and use a resource; how users are "
+"distributed across gender, income, and location; if a community to extend "
+"and enhance the resources is being formed; and if the resources are being "
+"used in innovative ways for personal and social good."
+msgstr ""
+"Nos comuns, a meta é maximizar o acesso, equidade, distribuição, "
+"participação, inovação e sustentabilidade. Você pode medir o sucesso "
+"observando quantas pessoas acessam e usam um recurso; como os usuários são "
+"distribuídos por gênero, renda e localização; se uma comunidade para "
+"estender e aumentar os recursos está sendo formada; e se os recursos estão "
+"sendo usados de maneiras inovadoras para o bem pessoal e social."
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:747
+msgid ""
+"As hybrid combinations of the commons with the market or state, the success "
+"and sustainability of all our case study enterprises depends on their "
+"ability to strategically utilize and balance these different aspects of "
+"managing resources."
+msgstr ""
+"Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a "
+"sustentabilidade de todas as nossas empresas de estudo de caso dependem de "
+"sua capacidade de utilizar e equilibrar estrategicamente esses diferentes "
+"aspectos de gerenciamento de recursos."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:755
+msgid "A Short History of the Commons"
+msgstr "Uma Breve História dos Comuns"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:757
+msgid ""
+"Using the commons to manage resources is part of a long historical "
+"continuum. However, in contemporary society, the market and the state "
+"dominate the discourse on how resources are best managed. Rarely is the "
+"commons even considered as an option. The commons has largely disappeared "
+"from consciousness and consideration. There are no news reports or speeches "
+"about the commons."
+msgstr ""
+"Usar os comuns para gerenciar recursos faz parte de um longo continuum "
+"histórico. No entanto, na sociedade contemporânea, o mercado e o Estado "
+"dominam o discurso sobre como os recursos são mais bem administrados. "
+"Raramente os comuns são considerados uma opção. Os comuns desapareceram "
+"amplamente da consciência e da consideração. Não há notícias ou discursos "
+"sobre os comuns."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:766
+msgid ""
+"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 "
+"history."
+msgstr ""
+"Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em "
+"todo o mundo são indicações de um movimento de base em direção aos comuns. "
+"Os comuns estão ressurgindo. Para entender a resiliência dos comuns e sua "
+"renovação atual, é útil saber um pouco de sua história."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:777
+msgid ""
+"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."
+msgstr ""
+"Rowe, <emphasis>Our Common Wealth</emphasis>, 19; e Heather Menzies, "
+"<emphasis>Reclaiming the Commons for the Common Good: A Memoir and "
+"Manifesto</emphasis> (Gabriola Island, BC: New Society, 2014), 42–43."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:773
+msgid ""
+"For centuries, indigenous people and preindustrialized societies managed "
+"resources, including water, food, firewood, irrigation, fish, wild game, and "
+"many other things collectively as a commons.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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. <xref xrefstyle=\"template:%n\" "
+"linkend=\"fig-4\"/> illustrates the commons in relation to the state and the "
+"market.)"
+msgstr ""
+"Durante séculos, povos indígenas e sociedades pré-industrializadas "
+"administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes, "
+"caça selvagem e muitas outras coisas coletivamente como comuns.<placeholder "
+"type=\"footnote\" id=\"0\"/> Não havia mercado, não havia economia global. O "
+"estado na forma de governantes influenciou os bens comuns, mas de forma "
+"alguma os controlou. A participação social direta em um comum era a "
+"principal maneira pela qual os recursos eram administrados e as necessidades "
+"atendidas. (Fig. <xref xrefstyle=\"template:%n\" linkend=\"fig-4\"/> ilustra "
+"os comuns em relação ao Estado e ao mercado.)"
+
+#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:787 MadewithCreativeCommonsmostup-to-dateversion.xml:793
+msgid "In preindustrialized society."
+msgstr "Na sociedade pré-industrializada."
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:790
+msgid "Pictures/10000201000009C4000005153EACBD62F00F6BA9.png"
+msgstr "Pictures/10000201000009C4000005153EACBD62F00F6BA9.png"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:802
+msgid "Bollier, Think Like a Commoner, 55–78."
+msgstr "Bollier, <emphasis>Think Like a Commoner</emphasis>, 55–78."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:806
+msgid ""
+"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 Commoner, 88."
+msgstr ""
+"Fritjof Capra e Ugo Mattei, <emphasis>The Ecology of Law: Toward a Legal "
+"System in Tune with Nature and Community</emphasis> (Oakland, CA: Berrett-"
+"Koehler, 2015), 46–57; e Bollier, <emphasis>Think Like a Commoner</"
+"emphasis>, 88."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:799
+msgid ""
+"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.<placeholder type=\"footnote\" id=\"0\"/> In olden days, "
+"<quote>commoners</quote> were evicted from the land, fences and hedges "
+"erected, laws passed, and security set up to forbid access.<placeholder "
+"type=\"footnote\" id=\"1\"/> Gradually, resources became the property of the "
+"state and the state became the primary means by which resources were "
+"managed. (See Fig. <xref xrefstyle=\"template:%n\" linkend=\"fig-5\"/>)."
+msgstr ""
+"Isso é seguido por uma longa história do Estado (uma monarquia ou governante)"
+" assumindo o controle dos comuns para seus próprios fins. Isso é chamado de "
+"cerco dos comuns.<placeholder type=\"footnote\" id=\"0\"/> Antigamente, "
+"<quote>plebeus</quote> eram expulsos da terra, cercas e sebes erguidas, leis "
+"aprovadas e segurança criada para proibir o acesso.<placeholder type="
+"\"footnote\" id=\"1\"/> Gradualmente, recursos tornou-se propriedade do "
+"Estado e o Estado tornou-se o principal meio pelo qual os recursos eram "
+"administrados. (Veja Fig. <xref xrefstyle=\"template:%n\" linkend=\"fig-5\""
+"/>)."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:815
+msgid ""
+"Holdings of land, water, and game were distributed to ruling family and "
+"political appointees. Commoners displaced from the land migrated to "
+"cities. With the emergence of the industrial revolution, land and resources "
+"became commodities sold to businesses to support production. Monarchies "
+"evolved into elected parliaments. Commoners became labourers earning money "
+"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. <xref "
+"xrefstyle=\"template:%n\" linkend=\"fig-6\"/> shows how today the market is "
+"the primary means by which resources are managed."
+msgstr ""
+"Propriedades de terra, água e caça foram distribuídas para famílias "
+"governantes e nomeados políticos. Plebeus deslocados da terra migraram para "
+"as cidades. Com o surgimento da revolução industrial, a terra e os recursos "
+"tornaram-se mercadorias vendidas a empresas para apoiar a produção. As "
+"monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se "
+"trabalhadores que ganham dinheiro operando a maquinaria da indústria. As "
+"leis financeiras, comerciais e de propriedade foram revisadas pelos governos "
+"para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o "
+"acesso imediato aos bens produzidos no mercado resultou em um padrão de vida "
+"em elevação, saúde melhorada e educação. A Fig. <xref xrefstyle=\"template:%"
+"n\" linkend=\"fig-6\"/> mostra como hoje o mercado é o principal meio pelo "
+"qual os recursos são gerenciados."
+
+#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:829 MadewithCreativeCommonsmostup-to-dateversion.xml:835
+msgid "The commons is gradually superseded by the state."
+msgstr "O comum é gradualmente substituído pelo Estado."
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:832
+msgid "Pictures/10000201000009C4000005150F069409C1CC12F0.png"
+msgstr "Pictures/10000201000009C4000005150F069409C1CC12F0.png"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:841
+msgid ""
+"However, the world today is going through turbulent times. The benefits of "
+"the market have been offset by unequal distribution and overexploitation."
+msgstr ""
+"No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios "
+"do mercado foram compensados pela distribuição desigual e superexploração."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:846
+msgid ""
+"Overexploitation was the topic of Garrett Hardin’s influential essay "
+"<quote>The Tragedy of the Commons,</quote> 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 truism and a justification for private property and free markets."
+msgstr ""
+"A superexploração foi o tópico do influente ensaio de Garrett Hardin "
+"<quote>The Tragedy of the Commons</quote>, publicado na Science em 1968. "
+"Hardin argumenta que todos em um bem comum procuram maximizar o ganho "
+"pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns "
+"são alcançados. O comum é então tragicamente esgotado a ponto de não poder "
+"mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como "
+"um truísmo econômico e uma justificativa para a propriedade privada e os "
+"mercados livres."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:874
+msgid ""
+"Brett M. Frischmann, Michael J. Madison, and Katherine J. Strandburg, "
+"<quote>Governing Knowledge Commons,</quote> in Frischmann, Madison, and "
+"Strandburg Governing Knowledge Commons, 12."
+msgstr ""
+"Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg, "
+"<quote>Governing Knowledge Commons</quote>, em Frischmann, Madison e "
+"Strandburg, <emphasis>Governing Knowledge Commons</emphasis>, 12."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:857
+msgid ""
+"However, there is one serious flaw with Hardin’s <quote>The Tragedy of the "
+"Commons</quote>—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 commons can be successfully managed by local communities "
+"without any regulation by central authorities or without privatization. "
+"Government and privatization are not the only two choices. There is a third "
+"way: management by the people, where those that are directly impacted are "
+"directly involved. With natural resources, there is a regional locality. The "
+"people in the region are the most familiar with the natural resource, have "
+"the most direct relationship and history with it, and are therefore best "
+"situated to manage it. 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.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"No entanto, há uma falha séria em <quote>The Tragedy of the Commons</quote> "
+"de Hardin – é uma ficção. Hardin não estudou realmente como funcionam os "
+"comuns reais. Elinor Ostrom ganhou o Prêmio Nobel de Economia em 2009 por "
+"seu trabalho ao estudar diferentes áreas comuns em todo o mundo. O trabalho "
+"de Ostrom mostra que os recursos naturais comuns podem ser administrados com "
+"sucesso pelas comunidades locais, sem qualquer regulamentação das "
+"autoridades centrais ou sem privatização. Governo e privatização não são as "
+"únicas opções. Existe uma terceira via: gestão pelas pessoas, onde aqueles "
+"que são diretamente impactados estão diretamente envolvidos. Com recursos "
+"naturais, existe uma localidade regional. As pessoas da região são as mais "
+"familiarizadas com o recurso natural, têm com ele a relação e a história "
+"mais direta e, portanto, estão em melhor posição para gerenciá-lo. A "
+"abordagem de Ostrom para a governança dos recursos naturais rompeu com as "
+"convenções; ela reconheceu a importância dos comuns como uma alternativa ao "
+"mercado ou estado para resolver problemas de ação coletiva.<placeholder type="
+"\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:881
+msgid ""
+"Hardin failed to consider the actual social dynamic of the commons. His "
+"model assumed that people in the commons act autonomously, out of pure "
+"self-interest, without interaction or consideration of others. But as Ostrom "
+"found, in reality, managing common resources together forms a community and "
+"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 "
+"accurately be titled The Tragedy of the Market."
+msgstr ""
+"Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo "
+"pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse "
+"próprio, sem interação ou consideração pelos outros. Mas, como Ostrom "
+"descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma "
+"comunidade e incentiva o discurso. Isso naturalmente gera normas e regras "
+"que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum "
+"sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em "
+"inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A "
+"Tragédia do Mercado."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:897
+msgid ""
+"Farley and Kubiszewski, <quote>Economics of Information,</quote> in Elliott "
+"and Hepting, Free Knowledge, 203."
+msgstr ""
+"Farley e Kubiszewski, <quote>Economics of Information</quote>, em Elliott y "
+"Hepting, <emphasis>Free Knowledge</emphasis>, 203."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:893
+msgid ""
+"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.<placeholder type=\"footnote\" id=\"0\"/> "
+"The emergence of information technology and the Internet has led to an "
+"explosion in digital resources and new means of sharing and "
+"distribution. Digital resources can never be depleted. An absence of a "
+"theory or model for how abundance works, however, has led the market to make "
+"digital resources artificially scarce and makes it possible for the usual "
+"market norms and rules to be applied."
+msgstr ""
+"A história de Hardin é baseada na premissa de recursos esgotáveis. Os "
+"economistas têm se concentrado quase exclusivamente nos mercados baseados na "
+"escassez. Muito pouco se sabe sobre como funciona a abundância.<placeholder "
+"type=\"footnote\" id=\"0\"/> O surgimento da tecnologia da informação e da "
+"Internet levou a uma explosão de recursos digitais e novos meios de "
+"compartilhamento e distribuição. Os recursos digitais nunca podem ser "
+"esgotados. A ausência de uma teoria ou modelo de funcionamento da "
+"abundância, no entanto, tem levado o mercado a tornar artificialmente "
+"escassos os recursos digitais e possibilitar a aplicação das normas e regras "
+"usuais de mercado."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:909
+msgid ""
+"When it comes to use of state funds to create digital goods, however, there "
+"is really no justification for artificial scarcity. The norm for state "
+"funded digital works should be that they are freely and openly available to "
+"the public that paid for them."
+msgstr ""
+"Quando se trata de usar fundos do estado para criar bens digitais, no "
+"entanto, realmente não há justificativa para a escassez artificial. A norma "
+"para obras digitais financiadas pelo estado deve ser que elas estejam livre "
+"e abertamente disponíveis ao público que pagou por elas."
+
+#. type: Content of: <book><part><chapter><sect1><figure><mediaobject><textobject><phrase>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:916 MadewithCreativeCommonsmostup-to-dateversion.xml:923
+msgid "How the market, the state and the commons look today."
+msgstr "Como o mercado, o estado e os comuns são hoje."
+
+#. type: Attribute 'fileref' of: <book><part><chapter><sect1><figure><mediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:920
+msgid "Pictures/10000201000009C400000515F1CAA15B223F6BAF.png"
+msgstr "Pictures/10000201000009C400000515F1CAA15B223F6BAF.png"
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:930
+msgid "The Digital Revolution"
+msgstr "A Revolução Digital"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:932
+msgid ""
+"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:"
+msgstr ""
+"Nos primeiros dias da computação, programadores e desenvolvedores aprenderam "
+"uns com os outros compartilhando software. Na década de 1980, o movimento do "
+"software livre codificou essa prática de compartilhamento em um conjunto de "
+"princípios e liberdades:"
+
+#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:940
+msgid "The freedom to run a software program as you wish, for any purpose."
+msgstr ""
+"A liberdade de executar um programa de software como desejar, para qualquer "
+"propósito."
+
+#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:946
+msgid ""
+"The freedom to study how a software program works (because access to the "
+"source code has been freely given), and change it so it does your computing "
+"as you wish."
+msgstr ""
+"A liberdade de estudar como um programa de software funciona (porque o "
+"acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele "
+"faça sua computação como você desejar."
+
+#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:953
+msgid "The freedom to redistribute copies."
+msgstr "A liberdade de redistribuir cópias."
+
+#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:959
+msgid ""
+"<quote>What Is Free Software?</quote> GNU Operating System, the Free "
+"Software Foundation’s Licensing and Compliance Lab, accessed December 30, "
+"2016, <ulink url=\"http://www.gnu.org/philosophy/free-sw\"/>."
+msgstr ""
+"<quote>O que é software livre?</quote> Sistema operacional GNU, o "
+"Laboratório de licenciamento e conformidade da Free Software Foundation, "
+"acessado em 30 de dezembro de 2016, <ulink url=\"http://www.gnu.org/"
+"philosophy/free-sw\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:958
+msgid ""
+"The freedom to distribute copies of your modified versions to "
+"others.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"A liberdade de distribuir cópias de suas versões modificadas para outras "
+"pessoas.<placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:968
+msgid ""
+"These principles and freedoms constitute a set of norms and rules that "
+"typify a digital commons."
+msgstr ""
+"Esses princípios e liberdades constituem um conjunto de normas e regras que "
+"tipificam um comum digital."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:983
+msgid ""
+"Wikipedia, s.v. <quote>Open-source software,</quote> last modified November "
+"22, 2016."
+msgstr ""
+"Wikipédia, s.v. <quote>Open-source software</quote>, última modificação em "
+"22 de novembro de 2016."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:972
+msgid ""
+"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 "
+"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 service increases with the number of people using it.<placeholder "
+"type=\"footnote\" id=\"0\"/> The dramatic growth of the Internet itself owes "
+"much to the fact that nobody has a proprietary lock on core Internet "
+"protocols."
+msgstr ""
+"No final da década de 1990, para tornar o compartilhamento de código-fonte e "
+"colaboração mais atraente para as empresas, a iniciativa de software de "
+"código-fonte aberto converteu esses princípios em licenças e padrões para "
+"gerenciar o acesso e distribuição de software. Os benefícios do código "
+"aberto – como confiabilidade, escalabilidade e qualidade verificada por "
+"revisão por pares independentes – tornaram-se amplamente reconhecidos e "
+"aceitos. Os clientes gostaram da maneira como o código aberto lhes deu "
+"controle sem ficar preso a uma tecnologia proprietária fechada. O software "
+"livre e de código aberto também gerou um efeito de rede onde o valor de um "
+"produto ou serviço aumenta com o número de pessoas que o usam.<placeholder "
+"type=\"footnote\" id=\"0\"/> O crescimento dramático da própria Internet "
+"deve muito ao fato de que ninguém tem um bloqueio proprietário nos "
+"protocolos básicos da Internet."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:998
+msgid ""
+"Eric S. Raymond, <quote>The Magic Cauldron,</quote> in The Cathedral and the "
+"Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, "
+"rev. ed. (Sebastopol, CA: O’Reilly Media, 2001), <ulink "
+"url=\"http://www.catb.org/esr/writings/cathedral-bazaar/\"/>."
+msgstr ""
+"Eric S. Raymond, <quote>The Magic Cauldron</quote>, em <emphasis>The "
+"Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental "
+"Revolutionary</emphasis>, rev. ed. Sebastopol, CA: O’Reilly Media, 2001, "
+"<ulink url=\"http://www.catb.org/esr/writings/cathedral-bazaar/\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:990
+msgid ""
+"While open-source software functions as a commons, many businesses and "
+"markets did build up around it. Business models based on the licenses and "
+"standards of open-source software evolved alongside organizations that "
+"managed software code on principles of abundance rather than scarcity. Eric "
+"Raymond’s essay <quote>The Magic Cauldron</quote> does a great job of "
+"analyzing the economics and business models associated with open-source "
+"software.<placeholder type=\"footnote\" id=\"0\"/> These models can provide "
+"examples of sustainable approaches for those Made with Creative Commons."
+msgstr ""
+"Embora o software de código aberto funcione como um bem comum, muitas "
+"empresas e mercados se desenvolveram em torno dele. Modelos de negócios "
+"baseados em licenças e padrões de software de código aberto evoluíram junto "
+"com organizações que gerenciavam o código de software com base em princípios "
+"de abundância em vez de escassez. O ensaio de Eric Raymond <quote>The Magic "
+"Cauldron</quote> faz um ótimo trabalho ao analisar a economia e os modelos "
+"de negócios associados ao software de código aberto.<placeholder type="
+"\"footnote\" id=\"0\"/> Esses modelos podem fornecer exemplos de abordagens "
+"sustentáveis para aqueles feitos com Creative Commons."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1007
+msgid ""
+"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, "
+"books, music, and many other forms of digital content could now be readily "
+"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 "
+"permission."
+msgstr ""
+"Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas "
+"também de uma abundância de participação. O crescimento da computação "
+"pessoal, da tecnologia da informação e da Internet possibilitou a "
+"participação em massa na produção e distribuição de trabalhos criativos. "
+"Fotos, livros, música e muitas outras formas de conteúdo digital agora "
+"podiam ser prontamente criados e distribuídos por quase qualquer pessoa. "
+"Apesar desse potencial de abundância, por padrão, essas obras digitais são "
+"regidas por leis de direitos autorais. De acordo com os direitos autorais, "
+"uma obra digital é propriedade do criador e, por lei, outras pessoas estão "
+"proibidas de acessá-la e usá-la sem a permissão do criador."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1026
+msgid ""
+"New York Times Customer Insight Group, The Psychology of Sharing: Why Do "
+"People Share Online? (New York: New York Times Customer Insight Group, "
+"2011), <ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
+msgstr ""
+"New York Times Customer Insight Group, <emphasis>The Psychology of Sharing: "
+"Why Do People Share Online?</emphasis> (Nova York: New York Times Customer "
+"Insight Group, 2011), <ulink url=\"http://www.iab.net/media/file/"
+"POSWhitePaper.pdf\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1020
+msgid ""
+"But people like to share. One of the ways we define ourselves is by sharing "
+"valuable and entertaining content. Doing so grows and nourishes "
+"relationships, seeks to change opinions, encourages action, and informs "
+"others about who we are and what we care about. Sharing lets us feel more "
+"involved with the world.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é "
+"compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre "
+"relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros "
+"sobre quem somos e com o que nos importamos. Compartilhar permite que nos "
+"sintamos mais envolvidos com o mundo.<placeholder type=\"footnote\" id=\"0\""
+"/>"
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1034
+msgid "The Birth of Creative Commons"
+msgstr "O Nascimento da Creative Commons"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1036
+msgid ""
+"In 2001, Creative Commons was created as a nonprofit to support all those "
+"who wanted to share digital content. A suite of Creative Commons licenses "
+"was modeled on those of open-source software but for use with digital "
+"content rather than software code. The licenses give everyone from "
+"individual creators to large companies and institutions a simple, "
+"standardized way to grant copyright permissions to their creative work."
+msgstr ""
+"Em 2001, Creative Commons foi criada como uma organização sem fins "
+"lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo "
+"digital. Um conjunto de licenças Creative Commons foi modelado com base no "
+"software de código aberto, mas para uso com conteúdo digital em vez de "
+"código de software. As licenças oferecem a todos, de criadores individuais a "
+"grandes empresas e instituições, uma maneira simples e padronizada de "
+"conceder permissões de direitos autorais para suas obras criativas."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1056
+msgid ""
+"<quote>Licensing Considerations,</quote> Creative Commons, accessed December "
+"30, 2016, <ulink "
+"url=\"http://creativecommons.org/share-your-work/licensing-considerations/\"/>."
+msgstr ""
+"<quote>Licensing Considerations</quote>, Creative Commons, acessado em 30 de "
+"dezembro de 2016, <ulink url=\"http://creativecommons.org/share-your-work/"
+"licensing-considerations/\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1045
+msgid ""
+"Creative Commons licenses have a three-layer design. The norms and rules of "
+"each license are first expressed in full legal language as used by "
+"lawyers. This layer is called the legal code. But since most creators and "
+"users are not lawyers, the licenses also have a commons deed, expressing the "
+"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 "
+"a way that software systems, search engines, and other kinds of technology "
+"can understand.<placeholder type=\"footnote\" id=\"0\"/> Taken together, "
+"these three layers ensure creators, users, and even the Web itself "
+"understand the norms and rules associated with digital content in a commons."
+msgstr ""
+"As licenças Creative Commons têm um design de três camadas. As normas e "
+"regras de cada licença são primeiramente expressas em linguagem jurídica "
+"completa, conforme usada pelos advogados. Essa camada é chamada de código "
+"legal. Mas como a maioria dos criadores e usuários não são advogados, as "
+"licenças também têm uma escritura comum, expressando as permissões em "
+"linguagem simples, que as pessoas comuns podem ler e entender rapidamente. "
+"Ele atua como uma interface amigável para a camada de código legal abaixo. A "
+"terceira camada é a que pode ser lida por máquina, tornando mais fácil para "
+"a web saber que uma obra é licenciada pelo Creative Commons, expressando "
+"permissões de uma forma que sistemas de software, mecanismos de busca e "
+"outros tipos de tecnologia possam entender.<placeholder type=\"footnote\" id="
+"\"0\"/> Juntas, essas três camadas garantem que criadores, usuários e até "
+"mesmo a própria web entendam as normas e regras associadas ao conteúdo "
+"digital em um comum."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1064
+msgid ""
+"In 2015, there were over one billion Creative Commons licensed works in a "
+"global commons. These works were viewed online 136 billion times. People are "
+"using Creative Commons licenses all around the world, in thirty-four "
+"languages. These resources include photos, artwork, research articles in "
+"journals, educational resources, music and other audio tracks, and videos."
+msgstr ""
+"Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um "
+"espaço comum global. Esses trabalhos foram vistos online 136 bilhões de "
+"vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em "
+"trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de "
+"pesquisa em periódicos, recursos educacionais, música e outras faixas de "
+"áudio e vídeos."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1077
+msgid ""
+"Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative "
+"Commons, 2015), <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
+msgstr ""
+"Creative Commons, <emphasis>2015 State of the Commons</emphasis> (Mountain "
+"View, CA: Creative Commons, 2015), <ulink url=\"http://stateof."
+"creativecommons.org/2015/\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1072
+msgid ""
+"Individual artists, photographers, musicians, and filmmakers use Creative "
+"Commons, but so do museums, governments, creative industries, manufacturers, "
+"and publishers. Millions of websites use CC licenses, including major "
+"platforms like Wikipedia and Flickr and smaller ones like blogs.<placeholder "
+"type=\"footnote\" id=\"0\"/> Users of Creative Commons are diverse and cut "
+"across many different sectors. (Our case studies were chosen to reflect that "
+"diversity.)"
+msgstr ""
+"Artistas, fotógrafos, músicos e cineastas individuais usam o Creative "
+"Commons, mas o mesmo acontece com museus, governos, indústrias criativas, "
+"fabricantes e editoras. Milhões de sites usam licenças CC, incluindo "
+"plataformas principais como Wikipédia e Flickr e outras menores como "
+"blogs.<placeholder type=\"footnote\" id=\"0\"/> Os usuários do Creative "
+"Commons são diversos e abrangem muitos setores diferentes. (Nossos estudos "
+"de caso foram escolhidos para refletir essa diversidade.)"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1085
+msgid ""
+"Some see Creative Commons as a way to share a gift with others, a way of "
+"getting known, or a way to provide social benefit. Others are simply "
+"committed to the norms associated with a commons. And for some, "
+"participation has been spurred by the free-culture movement, a social "
+"movement that promotes the freedom to distribute and modify creative "
+"works. The free-culture movement sees a commons as providing significant "
+"benefits compared to restrictive copyright laws. This ethos of free exchange "
+"in a commons aligns the free-culture movement with the free and open-source "
+"software movement."
+msgstr ""
+"Alguns vêem o Creative Commons como uma forma de compartilhar um presente "
+"com outras pessoas, uma forma de se tornar conhecido ou uma forma de "
+"fornecer benefício social. Outros estão simplesmente comprometidos com as "
+"normas associadas a bens comuns. E para alguns, a participação foi "
+"estimulada pelo movimento da cultura livre, um movimento social que promove "
+"a liberdade de distribuir e modificar trabalhos criativos. O movimento da "
+"cultura livre vê os comuns como proporcionando benefícios significativos em "
+"comparação com as leis restritivas de direitos autorais. Este ethos de troca "
+"livre em um comum alinha o movimento da cultura livre com o movimento do "
+"software livre e de código aberto."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1097
+msgid ""
+"Over time, Creative Commons has spawned a range of open movements, including "
+"open educational resources, open access, open science, and open data. The "
+"goal in every case has been to democratize participation and share digital "
+"resources at no cost, with legal permissions for anyone to freely access, "
+"use, and modify."
+msgstr ""
+"Com o tempo, o Creative Commons gerou uma série de movimentos abertos, "
+"incluindo recursos educacionais abertos, acesso aberto, ciência aberta e "
+"dados abertos. O objetivo em todos os casos foi democratizar a participação "
+"e compartilhar recursos digitais sem nenhum custo, com permissões legais "
+"para qualquer pessoa acessar, usar e modificar livremente."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1110
+msgid ""
+"Wikipedia, s.v. <quote>Open Government Partnership,</quote> last modified "
+"September 24, 2016, <ulink "
+"url=\"http://en.wikipedia.org/wiki/Open_Government_Partnership\"/>."
+msgstr ""
+"Wikipédia, s.v. <quote>Open Government Partnership</quote>, última "
+"modificação em 24 de setembro de 2016, <ulink url=\"http://en.wikipedia.org/"
+"wiki/Open_Government_Partnership\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1105
+msgid ""
+"The state is increasingly involved in supporting open movements. The Open "
+"Government Partnership was launched in 2011 to provide an international "
+"platform for governments to become more open, accountable, and responsive to "
+"citizens. Since then, it has grown from eight participating countries to "
+"seventy.<placeholder type=\"footnote\" id=\"0\"/> In all these countries, "
+"government and civil society are working together to develop and implement "
+"ambitious open-government reforms. Governments are increasingly adopting "
+"Creative Commons to ensure works funded with taxpayer dollars are open and "
+"free to the public that paid for them."
+msgstr ""
+"O Estado está cada vez mais envolvido no apoio a movimentos abertos. A "
+"Parceria para Governo Aberto foi lançada em 2011 para fornecer uma "
+"plataforma internacional para os governos se tornarem mais abertos, "
+"responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países "
+"participantes para setenta.<placeholder type=\"footnote\" id=\"0\"/> Em "
+"todos esses países, o governo e a sociedade civil estão trabalhando juntos "
+"para desenvolver e implementar reformas ambiciosas de governo aberto. Os "
+"governos estão adotando cada vez mais a Creative Commons para garantir que "
+"as obras financiadas com os dólares dos contribuintes sejam abertas e livres "
+"ao público que as pagou."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1121
+msgid "The Changing Market"
+msgstr "O Mercado em Mudança"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1129
+msgid "Capra and Mattei, Ecology of Law, 114."
+msgstr "Capra e Mattei, <emphasis>Ecology of Law</emphasis>, 114."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1137
+msgid "Ibid., 116."
+msgstr "<emphasis>Ibid</emphasis>., 116."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1123
+msgid ""
+"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, "
+"services, and infrastructures.<placeholder type=\"footnote\" id=\"0\"/> "
+"While this system has been highly efficient at generating consumerism and "
+"the growth of gross domestic product, the impact on human well-being has "
+"been mixed. Offsetting rising living standards and improvements to health "
+"and education are ever-increasing wealth inequality, social inequality, "
+"poverty, deterioration of our natural environment, and breakdowns of "
+"democracy.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+"O mercado de hoje é amplamente impulsionado pelo capitalismo global. Os "
+"sistemas jurídicos e financeiros são estruturados para apoiar a extração, a "
+"privatização e o crescimento corporativo. A percepção de que o mercado é "
+"mais eficiente do que o estado levou à privatização contínua de muitos "
+"recursos naturais públicos, serviços públicos, serviços e "
+"infraestruturas.<placeholder type=\"footnote\" id=\"0\"/> Embora este "
+"sistema tenha sido altamente eficiente na geração de consumismo e no "
+"crescimento do produto interno bruto, o impacto no bem-estar humano foi "
+"misto. Compensando o aumento dos padrões de vida e as melhorias na saúde e "
+"na educação, estão sempre aumentando a desigualdade de riqueza, a "
+"desigualdade social, a pobreza, a deterioração de nosso ambiente natural e o "
+"colapso da democracia.<placeholder type=\"footnote\" id=\"1\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1147
+msgid ""
+"The Swedish International Development Cooperation Agency, <quote>Stockholm "
+"Statement</quote> accessed February 15, 2017, <ulink "
+"url=\"http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf\"/>"
+msgstr ""
+"A Agência Sueca de Cooperação para o Desenvolvimento Internacional, "
+"<quote>Stockholm Statement</quote> acessada em 15 de fevereiro de 2017, "
+"<ulink url=\"http://sida.se/globalassets/sida/eng/press/stockholm-statement."
+"pdf\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1141
+msgid ""
+"In light of these challenges there is a growing recognition that GDP growth "
+"should not be an end in itself, that development needs to be socially and "
+"economically inclusive, that environmental sustainability is a requirement "
+"not an option, and that we need to better balance the market, state and "
+"community.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Diante desses desafios, há um crescente reconhecimento de que o crescimento "
+"do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser "
+"social e economicamente inclusivo, que a sustentabilidade ambiental é um "
+"requisito, não uma opção, e que precisamos equilibrar melhor o mercado , "
+"Estado e comunidade.<placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1159
+msgid ""
+"City of Bologna, Regulation on Collaboration between Citizens and the City "
+"for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory "
+"for the GOVernance of Commons) (Bologna, Italy: City of Bologna, 2014), "
+"<ulink "
+"url=\"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\"/>."
+msgstr ""
+"Cidade de Bolonha, <emphasis>Regulation on Collaboration between Citizens "
+"and the City for the Care and Regeneration of Urban Commons</emphasis>, "
+"trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália: "
+"Cidade de Bolonha, 2014), <ulink url=\"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\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1169
+msgid ""
+"The Seoul Sharing City website is <ulink "
+"url=\"http://english.sharehub.kr\"/>; for Amsterdam Sharing City, go to "
+"<ulink url=\"http://www.sharenl.nl/amsterdam-sharing-city/\"/>."
+msgstr ""
+"O site de Seoul Sharing City website é <ulink url=\"http://english.sharehub."
+"kr\"/>; para Amsterdam Sharing City, acesse <ulink url=\"http://www.sharenl."
+"nl/amsterdam-sharing-city/\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1154
+msgid ""
+"These realizations have led to a resurgence of interest in the commons as a "
+"means of enabling that balance. City governments like Bologna, Italy, are "
+"collaborating with their citizens to put in place regulations for the care "
+"and regeneration of urban commons.<placeholder type=\"footnote\" id=\"0\"/> "
+"Seoul and Amsterdam call themselves <quote>sharing cities,</quote> 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.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+"Essas realizações levaram a um ressurgimento do interesse pelos comuns como "
+"meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália, "
+"estão colaborando com seus cidadãos para estabelecer regulamentações para o "
+"cuidado e regeneração de comuns urbanos.<placeholder type=\"footnote\" id=\"0"
+"\"/> Seul e Amsterdã se autodenominam <quote>cidades compartilhadas</quote>, "
+"buscando tornar mais sustentáveis e eficientes uso de recursos escassos. "
+"Eles veem o compartilhamento como uma forma de melhorar o uso dos espaços "
+"públicos, a mobilidade, a coesão social e a segurança.<placeholder type="
+"\"footnote\" id=\"1\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1186
+msgid ""
+"Tom Slee, What’s Yours Is Mine: Against the Sharing Economy (New York: OR "
+"Books, 2015), 42."
+msgstr ""
+"Tom Slee, <emphasis>What’s Yours Is Mine: Against the Sharing Economy</"
+"emphasis> (Nova York: OR Books, 2015), 42."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1176
+msgid ""
+"The market itself has taken an interest in the sharing economy, with "
+"businesses like Airbnb providing a peer-to-peer marketplace for short-term "
+"lodging and Uber providing a platform for ride sharing. However, Airbnb and "
+"Uber are still largely operating under the usual norms and rules of the "
+"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 "
+"extending the deregulated free market into new areas of our "
+"lives.<placeholder type=\"footnote\" id=\"0\"/> 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 "
+"sharing economy and the commons make better use of asset capacity. The "
+"sharing economy sees personal residents and cars as having latent spare "
+"capacity with rental value. The equitable access of the commons broadens and "
+"diversifies the number of people who can use and derive value from an asset."
+msgstr ""
+"O próprio mercado se interessou pela economia de compartilhamento, com "
+"empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem "
+"de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de "
+"caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte "
+"sob as normas e regras usuais do mercado, tornando-os menos comuns e mais "
+"como uma empresa tradicional em busca de ganhos financeiros. Grande parte da "
+"economia compartilhada não trata dos comuns ou da construção de uma "
+"alternativa para uma economia de mercado impulsionada pelas corporações; "
+"trata-se de estender o mercado livre desregulamentado a novas áreas de "
+"nossas vidas.<placeholder type=\"footnote\" id=\"0\"/> Embora nenhuma das "
+"pessoas que entrevistamos para nossos estudos de caso se descreva como parte "
+"da economia compartilhada, na verdade existem alguns paralelos "
+"significativos. Tanto a economia compartilhada quanto os comuns fazem melhor "
+"uso da capacidade dos ativos. A economia compartilhada vê residentes "
+"pessoais e carros como tendo capacidade ociosa latente com valor de aluguel. "
+"O acesso equitativo dos comuns amplia e diversifica o número de pessoas que "
+"podem usar e obter valor de um ativo."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1208
+msgid ""
+"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
+"Something for Nothing, Reprint with new preface. (New York: Hyperion, "
+"2010), 78."
+msgstr ""
+"Chris Anderson, <emphasis>Free: How Today’s Smartest Businesses Profit by "
+"Giving Something for Nothing</emphasis>, reimpressão com novo prefácio. ("
+"Nova York: Hyperion, 2010), 78."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1198
+msgid ""
+"One way Made with Creative Commons case studies differ from those of the "
+"sharing economy is their focus on digital resources. Digital resources "
+"function under different economic rules than physical ones. In a world where "
+"prices always seem to go up, information technology is an "
+"anomaly. Computer-processing power, storage, and bandwidth are all rapidly "
+"increasing, but rather than costs going up, costs are coming down. Digital "
+"technologies are getting faster, better, and cheaper. The cost of anything "
+"built on these technologies will always go down until it is close to "
+"zero.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"Uma maneira que os estudos de caso do Feito com Creative Commons diferem "
+"daqueles da economia compartilhada é seu foco em recursos digitais. Os "
+"recursos digitais funcionam sob regras econômicas diferentes das físicas. Em "
+"um mundo onde os preços sempre parecem subir, a tecnologia da informação é "
+"uma anomalia. O poder de processamento do computador, o armazenamento e a "
+"largura de banda estão aumentando rapidamente, mas, em vez de os custos "
+"aumentarem, os custos estão diminuindo. As tecnologias digitais estão "
+"ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa "
+"construída sobre essas tecnologias sempre diminuirá até chegar perto de "
+"zero.<placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1214
+msgid ""
+"Those that are Made with Creative Commons are looking to leverage the unique "
+"inherent characteristics of digital resources, including lowering costs. The "
+"use of digital-rights-management technologies in the form of locks, "
+"passwords, and controls to prevent digital goods from being accessed, "
+"changed, replicated, and distributed is minimal or nonexistent. Instead, "
+"Creative Commons licenses are used to put digital content out in the "
+"commons, taking advantage of the unique economics associated with being "
+"digital. The aim is to see digital resources used as widely and by as many "
+"people as possible. Maximizing access and participation is a common goal. "
+"They aim for abundance over scarcity."
+msgstr ""
+"Aquelas que são feitas com Creative Commons procuram aproveitar as "
+"características inerentes exclusivas dos recursos digitais, incluindo a "
+"redução de custos. O uso de tecnologias de gerenciamento de direitos "
+"digitais na forma de bloqueios, senhas e controles para evitar que bens "
+"digitais sejam acessados, alterados, replicados e distribuídos é mínimo ou "
+"inexistente. Em vez disso, as licenças Creative Commons são usadas para "
+"disponibilizar conteúdo digital nos comuns, aproveitando a economia "
+"exclusiva associada a ser digital. O objetivo é ver os recursos digitais "
+"usados da forma mais ampla e pelo maior número de pessoas possível. "
+"Maximizar o acesso e a participação é um objetivo comum. Eles visam a "
+"abundância em vez da escassez."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1233
+msgid ""
+"Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the "
+"Collaborative Commons, and the Eclipse of Capitalism (New York: Palgrave "
+"Macmillan, 2014), 273."
+msgstr ""
+"Jeremy Rifkin, <emphasis>The Zero Marginal Cost Society: The Internet of "
+"Things, the Collaborative Commons, and the Eclipse of Capitalism</emphasis> ("
+"Nova York: Palgrave Macmillan, 2014) , 273."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1228
+msgid ""
+"The incremental cost of storing, copying, and distributing digital goods is "
+"next to zero, making abundance possible. But imagining a market based on "
+"abundance rather than scarcity is so alien to the way we conceive of "
+"economic theory and practice that we struggle to do so.<placeholder "
+"type=\"footnote\" id=\"0\"/> Those that are Made with Creative Commons are "
+"each pioneering in this new landscape, devising their own economic models "
+"and practice."
+msgstr ""
+"O custo incremental de armazenamento, cópia e distribuição de bens digitais "
+"é próximo a zero, tornando a abundância possível. Mas imaginar um mercado "
+"baseado na abundância e não na escassez é tão estranho ao modo como "
+"concebemos a teoria e prática econômica que lutamos para fazê-"
+"lo.<placeholder type=\"footnote\" id=\"0\"/> Aqueles que são feitos com "
+"Creative Commons são, cada um, pioneiros neste novo cenário, criando seus "
+"próprios modelos e práticas econômicas."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1241
+msgid ""
+"Some are looking to minimize their interactions with the market and operate "
+"as autonomously as possible. Others are operating largely as a business "
+"within the existing rules and norms of the market. And still others are "
+"looking to change the norms and rules by which the market operates."
+msgstr ""
+"Alguns buscam minimizar suas interações com o mercado e operar da forma mais "
+"autônoma possível. Outros estão operando principalmente como um negócio "
+"dentro das regras e normas existentes do mercado. E ainda outros estão "
+"procurando mudar as normas e regras pelas quais o mercado opera."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1255
+msgid ""
+"Gar Alperovitz, 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), 39."
+msgstr ""
+"Gar Alperovitz, <emphasis>What Then Must We Do? Straight Talk about the Next "
+"American Revolution: Democratizing Wealth and Building a Community-"
+"Sustaining Economy from the Ground Up</emphasis> (White River Junction, VT: "
+"Chelsea Green, 2013), 39."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1264
+msgid ""
+"Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; "
+"Journeys to a Generative Economy (San Francisco: Berrett-Koehler, 2012), "
+"8–9."
+msgstr ""
+"Marjorie Kelly, <emphasis>Owning Our Future: The Emerging Ownership "
+"Revolution; Journeys to a Generative Economy</emphasis> (São Francisco: "
+"Berrett-Koehler, 2012), 8–9."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1248
+msgid ""
+"For an ordinary corporation, making social benefit a part of its 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 making a profit to making a positive impact on society, workers, "
+"the community, and the environment.<placeholder type=\"footnote\" id=\"0\"/> "
+"Community-owned businesses, worker-owned businesses, cooperatives, guilds, "
+"and other organizational forms offer alternatives to the traditional "
+"corporation. Collectively, these alternative market entities are changing "
+"the rules and norms of the market.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+"Para uma empresa comum, fazer do benefício social uma parte de suas "
+"operações é difícil, pois é legalmente exigido para tomar decisões que "
+"beneficiam financeiramente os acionistas. Mas novas formas de negócios estão "
+"surgindo. Existem corporações de benefícios e empresas sociais, que ampliam "
+"seus objetivos de negócios de gerar lucro para gerar um impacto positivo na "
+"sociedade, nos trabalhadores, na comunidade e no meio ambiente.<placeholder "
+"type=\"footnote\" id=\"0\"/> Empresas de propriedade da comunidade, empresas "
+"de propriedade dos trabalhadores, cooperativas, guildas e outras formas "
+"organizacionais oferecem alternativas à corporação tradicional. "
+"Coletivamente, essas entidades de mercado alternativas estão mudando as "
+"regras e normas do mercado.<placeholder type=\"footnote\" id=\"1\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1276
+msgid ""
+"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
+"John Wiley and Sons, 2010). A preview of the book is available at <ulink "
+"url=\"http://strategyzer.com/books/business-model-generation\"/>."
+msgstr ""
+"Alex Osterwalder e Yves Pigneur, <emphasis>Business Model Generation</"
+"emphasis> (Hoboken, NJ: John Wiley and Sons, 2010). Uma pré-visualização do "
+"livro está disponível em <ulink url=\"http://strategyzer.com/books/business-"
+"model-generation\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1269
+msgid ""
+"<quote>A book on open business models</quote> 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 <quote>open process</quote> involving "
+"470 coauthors from forty-five countries, it is useful as a framework for "
+"talking about business models.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+"<quote>Um livro sobre modelos de negócios abertos</quote> é como o "
+"descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado "
+"<emphasis>Business Model Generation</emphasis> como nossa referência para "
+"definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos "
+"usando um <quote>processo aberto</quote> envolvendo 470 coautores de "
+"quarenta e cinco países, é útil como uma estrutura para falar sobre modelos "
+"de negócios <placeholder type=\"footnote\" id=\"0\"/>"
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1286
+msgid ""
+"This business model canvas is available to download at <ulink "
+"url=\"http://strategyzer.com/canvas/business-model-canvas\"/>."
+msgstr ""
+"Esta tela de modelo de negócios está disponível para download em <ulink url="
+"\"http://strategyzer.com/canvas/business-model-canvas\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1294
+msgid ""
+"We’ve made the <quote>Open Business Model Canvas,</quote> designed by the "
+"coauthor Paul Stacey, available online at <ulink "
+"url=\"http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>. "
+"You can also find the accompanying Open Business Model Canvas Questions at "
+"<ulink "
+"url=\"http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."
+msgstr ""
+"Fizemos o <quote>Open Business Model Canvas</quote>, projetado pelo co-autor "
+"Paul Stacey, disponível online em <ulink url=\"http://docs.google.com/"
+"drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit\"/>. Você "
+"também pode encontrar as perguntas do Open Business Model Canvas em <ulink "
+"url=\"http://docs.google.com/drawings/d/"
+"1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1283
+msgid ""
+"It contains a <quote>business model canvas,</quote> which conceives of a "
+"business model as having nine building blocks.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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 "
+"<quote>type of open environment that the business fits "
+"in.</quote><placeholder type=\"footnote\" id=\"1\"/> This enhanced canvas "
+"proved useful when we analyzed businesses and helped start-ups plan their "
+"economic model."
+msgstr ""
+"Ele contém uma <quote>tela de modelo de negócios </quote>, que concebe um "
+"modelo de negócios como tendo nove blocos de construção.<placeholder type="
+"\"footnote\" id=\"0\"/> Essa tela em branco pode servir como uma ferramenta "
+"para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa "
+"tela de modelo de negócios em uma tela de modelo de negócios aberta, "
+"adicionando mais três blocos de construção relevantes para o mercado "
+"híbrido, empresas comuns: bem social, licença Creative Commons e <quote>tipo "
+"de ambiente aberto em que a empresa se encaixa</quote>.<placeholder type="
+"\"footnote\" id=\"1\"/> Essa tela aprimorada provou ser útil quando "
+"analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1304
+msgid ""
+"In our case study interviews, many expressed discomfort over 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 more central to the mission shared resources "
+"and commons values are, the less comfort there is in describing yourself, or "
+"depicting what you do, as a business. Not all who have endeavors Made with "
+"Creative Commons use business speak; for some the process has been "
+"experimental, emergent, and organic rather than carefully planned using a "
+"predefined model."
+msgstr ""
+"Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em "
+"se descreverem como um modelo de negócios aberto – o termo modelo de "
+"negócios sugeria principalmente estar situado no mercado. Sua posição no "
+"espectro de bens comuns ao mercado afeta até que ponto você se vê como uma "
+"empresa no mercado. Quanto mais importantes para a missão são os recursos "
+"compartilhados e os valores comuns, menos conforto há em se descrever ou "
+"descrever o que você faz como um negócio. Nem todos os que têm "
+"empreendimentos Feitos com Creative Commons falam de negócios; para alguns, "
+"o processo foi experimental, emergente e orgânico, em vez de cuidadosamente "
+"planejado usando um modelo predefinido."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1326
+msgid ""
+"A more comprehensive list of revenue streams is available in this post I "
+"wrote on Medium on March 6, 2016. <quote>What Is an Open Business Model and "
+"How Can You Generate Revenue?</quote>, available at <ulink "
+"url=\"http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15\"/>."
+msgstr ""
+"Uma lista mais abrangente de fluxos de receita está disponível neste post "
+"que escrevi no Medium em 6 de março de 2016. <quote>What Is an Open Business "
+"Model and How Can You Generate Revenue?</quote>, disponível em <ulink url="
+"\"http://medium.com/made-with-creative-commons/what-is-an-open-business-"
+"model-and-how-can-you-generate-revenue-5854d2659b15\"/>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1317
+msgid ""
+"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, <quote>digital for free "
+"but physical for a fee,</quote> 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.)<placeholder type=\"footnote\" "
+"id=\"0\"/> There is no single magic bullet, and each endeavor has devised "
+"ways that work for them. Most make use of more than one way. Diversifying "
+"revenue streams lowers risk and provides multiple paths to sustainability."
+msgstr ""
+"Todos os criadores, empresas e organizações que definimos se envolvem com o "
+"mercado para gerar receita de alguma forma. As maneiras pelas quais isso é "
+"feito variam amplamente. Doações, pague o que puder, assinaturas, "
+"<quote>digital de graça, mas físico por uma taxa</quote>, crowdfunding, "
+"matchmaking, serviços de valor agregado, patrocinadores... A lista continua "
+"e continua. (Descrição inicial de como obter receita disponível por meio da "
+"nota de referência. Para as reflexões mais recentes, consulte Como trazer "
+"dinheiro na próxima seção.)<placeholder type=\"footnote\" id=\"0\"/> Não "
+"existe uma fórmula mágica única e cada empreendimento inventou maneiras que "
+"funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos "
+"fluxos de receita reduz o risco e oferece vários caminhos para a "
+"sustentabilidade."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1338
+msgid "Benefits of the Digital Commons"
+msgstr "Benefícios do Comum Digital"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1340
+msgid ""
+"While it may be clear why commons-based organizations want to interact and "
+"engage with the market (they need money to survive), it may be less obvious "
+"why the market would engage with the commons. The digital commons offers "
+"many benefits."
+msgstr ""
+"Embora possa estar claro por que as organizações baseadas em comuns desejam "
+"interagir e se envolver com o mercado (elas precisam de dinheiro para "
+"sobreviver), pode ser menos óbvio por que o mercado se envolveria com os "
+"comuns. Os comuns digitais oferecem muitos benefícios."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1346
+msgid ""
+"The commons speeds dissemination. The free flow of resources in the commons "
+"offers tremendous economies of scale. Distribution is decentralized, with "
+"all those in the commons empowered to share the resources they have access "
+"to. Those that are Made with Creative Commons have a reduced need for sales "
+"or marketing. Decentralized distribution amplifies supply and know-how."
+msgstr ""
+"O comum acelera a disseminação. O fluxo livre de recursos nos comuns oferece "
+"enormes economias de escala. A distribuição é descentralizada, com todos "
+"aqueles que estão nos comuns com poderes para compartilhar os recursos aos "
+"quais têm acesso. Aqueles que são feitos com Creative Commons têm uma "
+"necessidade reduzida de vendas ou marketing. A distribuição descentralizada "
+"amplia a oferta e o <emphasis>know-how</emphasis>."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1355
+msgid ""
+"The commons ensures access to all. The market has traditionally operated by "
+"putting resources behind a paywall requiring payment first before "
+"access. The commons puts resources in the open, providing access up front "
+"without payment. Those that are Made with Creative Commons make little or no "
+"use of digital rights management (DRM) to manage resources. Not using DRM "
+"frees them of the costs of acquiring DRM technology and staff resources to "
+"engage in the punitive practices associated with restricting access. The way "
+"the commons provides access to everyone levels the playing field and "
+"promotes inclusiveness, equity, and fairness."
+msgstr ""
+"O comum garante o acesso a todos. O mercado tem operado tradicionalmente "
+"colocando recursos atrás de um paywall, que exige o pagamento antes do "
+"acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem "
+"pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum "
+"uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o "
+"DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe "
+"para se envolver em práticas punitivas associadas à restrição de acesso. A "
+"maneira como os comuns fornecem acesso a todos nivela o campo de jogo e "
+"promove inclusão, equidade e justiça."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1368
+msgid ""
+"The commons maximizes participation. Resources in the commons can be used "
+"and contributed to by everyone. Using the resources of others, contributing "
+"your own, and mixing yours with others to create new works are all dynamic "
+"forms of participation made possible by the commons. Being Made with "
+"Creative Commons means 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 "
+"democracy, and many other socially beneficial practices."
+msgstr ""
+"O comum maximiza a participação. Os recursos nos comuns podem ser usados e "
+"contribuídos por todos. Usar os recursos dos outros, contribuir com os seus "
+"e misturar os seus com outros para criar novas obras são formas dinâmicas de "
+"participação possibilitadas pelos comuns. Ser feito com Creative Commons "
+"significa que você está envolvendo o maior número possível de usuários com "
+"seus recursos. Os usuários também estão criando, editando, remixando, "
+"fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns "
+"possibilitam que as pessoas participem diretamente da cultura, da construção "
+"do conhecimento e até da democracia e de muitas outras práticas socialmente "
+"benéficas."
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1390
+msgid ""
+"Henry Chesbrough, Open Innovation: The New Imperative for Creating and "
+"Profiting from Technology (Boston: Harvard Business Review Press, 2006), "
+"31–44."
+msgstr ""
+"Henry Chesbrough, <emphasis>Open Innovation: The New Imperative for Creating "
+"and Profiting from Technology</emphasis> (Boston: Harvard Business Review "
+"Press, 2006), 31–44."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1381
+msgid ""
+"The commons spurs innovation. Resources in the hands of more people who can "
+"use them leads to new ideas. The way commons resources can be modified, "
+"customized, and improved results in derivative works never imagined by the "
+"original creator. Some endeavors that are Made with Creative Commons "
+"deliberately encourage users to take the resources being shared and innovate "
+"them. Doing so moves research and development (R&D) from being solely "
+"inside the organization to being in the community.<placeholder "
+"type=\"footnote\" id=\"0\"/> Community-based innovation will keep an "
+"organization or business on its toes. It must continue to contribute new "
+"ideas, absorb and build on top of the innovations of others, and steward the "
+"resources and the relationship with the community."
+msgstr ""
+"Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que "
+"podem usá-los levam a novas ideias. A maneira como os recursos comuns podem "
+"ser modificados, personalizados e melhores resultados em trabalhos derivados "
+"nunca imaginados pelo criador original. Alguns empreendimentos Feitos com "
+"Creative Commons encorajam deliberadamente os usuários a pegar os recursos "
+"que estão sendo compartilhados e inová-los. Isso move a pesquisa e o "
+"desenvolvimento (R&D) de apenas dentro da organização para estar na "
+"comunidade.<placeholder type=\"footnote\" id=\"0\"/> A inovação baseada na "
+"comunidade manterá uma organização ou negócio em alerta. Deve continuar a "
+"contribuir com novas ideias, absorver e construir sobre as inovações dos "
+"outros e administrar os recursos e o relacionamento com a comunidade."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1399
+msgid ""
+"The commons boosts reach and impact. The digital commons is "
+"global. Resources may be created for a local or regional need, but they go "
+"far and wide generating a global impact. In the digital world, there are no "
+"borders between countries. When you are Made with Creative Commons, you are "
+"often local and global at the same time: Digital designs being globally "
+"distributed but made and manufactured locally. Digital books or music being "
+"globally distributed but readings and concerts performed locally. The "
+"digital commons magnifies impact by connecting creators to those who use and "
+"build on their work both locally and globally."
+msgstr ""
+"O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos "
+"podem ser criados para uma necessidade local ou regional, mas eles vão longe "
+"e geram um impacto global. No mundo digital, não existem fronteiras entre "
+"países. Quando você é Feito com Creative Commons, geralmente é local e "
+"global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas "
+"feitos e fabricados localmente. Livros digitais ou música sendo distribuídos "
+"globalmente, mas leituras e shows realizados localmente. O comum digital "
+"amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem "
+"sua obra local e globalmente."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1412
+msgid ""
+"The commons is generative. Instead of extracting value, the commons adds "
+"value. Digitized resources persist without becoming depleted, and through "
+"use are improved, personalized, and localized. Each use adds value. The "
+"market focuses on generating value for the business and the customer. The "
+"commons generates value for a broader range of beneficiaries including the "
+"business, the customer, the creator, the public, and the commons itself. The "
+"generative nature of the commons means that it is more cost-effective and "
+"produces a greater return on investment. Value is not just measured in "
+"financial terms. Each new resource added to the commons provides value to "
+"the public and contributes to the overall value of the commons."
+msgstr ""
+"O comum é gerador. Em vez de extrair valor, o comum agrega valor. Os "
+"recursos digitalizados persistem sem se esgotarem e, com o uso, são "
+"aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado "
+"tem como foco a geração de valor para o negócio e para o cliente. Os comuns "
+"geram valor para uma gama mais ampla de beneficiários, incluindo a empresa, "
+"o cliente, o criador, o público e os próprios comuns. A natureza generativa "
+"dos comuns significa que é mais econômico e produz um maior retorno sobre o "
+"investimento. O valor não é medido apenas em termos financeiros. Cada novo "
+"recurso adicionado aos comuns fornece valor ao público e contribui para o "
+"valor geral dos comuns."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1426
+msgid ""
+"The commons brings people together for a common cause. The commons vests "
+"people directly with the responsibility to manage the resources for the "
+"common good. The costs and benefits for the individual are balanced with the "
+"costs and benefits for the community and for future generations. Resources "
+"are not anonymous or mass produced. Their provenance is known and "
+"acknowledged through attribution and other means. Those that are Made with "
+"Creative Commons generate awareness and reputation based on their "
+"contributions to the commons. The reach, impact, and sustainability of those "
+"contributions rest largely on their ability to forge relationships and "
+"connections with those who use and improve them. By functioning on the basis "
+"of social engagement, not monetary exchange, the commons unifies people."
+msgstr ""
+"Os comuns unem as pessoas por uma causa comum. Os comuns conferem às pessoas "
+"a responsabilidade direta de administrar os recursos para o bem comum. Os "
+"custos e benefícios para o indivíduo são equilibrados com os custos e "
+"benefícios para a comunidade e para as gerações futuras. Os recursos não são "
+"anônimos ou produzidos em massa. Sua proveniência é conhecida e reconhecida "
+"por meio de atribuição e outros meios. Aqueles que são Feitos com Creative "
+"Commons geram consciência e reputação com base em suas contribuições para os "
+"comuns. O alcance, o impacto e a sustentabilidade dessas contribuições "
+"dependem em grande parte de sua capacidade de estabelecer relacionamentos e "
+"conexões com aqueles que as usam e melhoram. Ao funcionar com base no "
+"engajamento social, não na troca monetária, os comuns unificam as pessoas."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1441
+msgid ""
+"The benefits of the commons are many. When these benefits align with the "
+"goals of individuals, communities, businesses in the market, or state "
+"enterprises, choosing to manage resources as a commons ought to be the "
+"option of choice."
+msgstr ""
+"Os benefícios dos comuns são muitos. Quando esses benefícios se alinham com "
+"os objetivos dos indivíduos, comunidades, negócios no mercado ou empresas "
+"estatais, a escolha de administrar recursos como os comuns deve ser a melhor "
+"opção."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1448
+msgid "Our Case Studies"
+msgstr "Nossos estudos de caso"
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1450
+msgid ""
+"The creators, organizations, and businesses in our case studies operate as "
+"nonprofits, for-profits, and social enterprises. Regardless of legal "
+"status, they all have a social mission. Their primary reason for being is "
+"to make the world a better place, not to profit. Money is a means to a "
+"social end, not the end itself. They factor public interest into decisions, "
+"behavior, and practices. Transparency and trust are really important. Impact "
+"and success are measured against social aims expressed in mission "
+"statements, and are not just about the financial bottom line."
+msgstr ""
+"Os criadores, organizações e empresas em nossos estudos de caso operam como "
+"organizações sem fins lucrativos, com fins lucrativos e empresas sociais. "
+"Independentemente do status legal, todos eles têm uma missão social. A "
+"principal razão de sua existência é tornar o mundo um lugar melhor, sem fins "
+"lucrativos. O dinheiro é um meio para um fim social, não o fim em si. Eles "
+"fatoram o interesse público nas decisões, comportamento e práticas. "
+"Transparência e confiança são muito importantes. O impacto e o sucesso são "
+"medidos em relação aos objetivos sociais expressos nas declarações de missão "
+"e não se referem apenas aos resultados financeiros."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1462
+msgid ""
+"The case studies are based on the narratives told to us by founders and key "
+"staff. Instead of solely using financials as the measure of success and "
+"sustainability, they emphasized their mission, practices, and means by which "
+"they measure success. Metrics of success are a blend of how social goals "
+"are being met and how sustainable the enterprise is."
+msgstr ""
+"Os estudos de caso são baseados nas narrativas contadas a nós por fundadores "
+"e funcionários principais. Em vez de usar apenas finanças como medida de "
+"sucesso e sustentabilidade, eles enfatizaram sua missão, práticas e meios "
+"pelos quais medem o sucesso. As métricas de sucesso são uma mistura de como "
+"as metas sociais estão sendo atendidas e o quão sustentável é a empresa."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1470
+msgid ""
+"Our case studies are diverse, ranging from publishing to education and "
+"manufacturing. All of the organizations, businesses, and creators in the "
+"case studies produce digital resources. Those resources exist in many forms "
+"including books, designs, songs, research, data, cultural works, education "
+"materials, graphic icons, and video. Some are digital representations of "
+"physical resources. Others are born digital but can be made into physical "
+"resources."
+msgstr ""
+"Nossos estudos de caso são diversos, abrangendo desde publicação até "
+"educação e manufatura. Todas as organizações, empresas e criadores nos "
+"estudos de caso produzem recursos digitais. Esses recursos existem em muitas "
+"formas, incluindo livros, designs, canções, pesquisas, dados, obras "
+"culturais, materiais educacionais, ícones gráficos e vídeo. Alguns são "
+"representações digitais de recursos físicos. Outros nascem digitais, mas "
+"podem ser transformados em recursos físicos."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1480
+msgid ""
+"They are creating new resources, or using the resources of others, or mixing "
+"existing resources together to make something new. They, and their audience, "
+"all play a direct, participatory role in managing those resources, including "
+"their preservation, curation, distribution, and enhancement. Access and "
+"participation is open to all regardless of monetary means."
+msgstr ""
+"Eles estão criando novos recursos, ou usando os recursos de outras pessoas, "
+"ou combinando recursos existentes para fazer algo novo. Eles, e seu público, "
+"todos desempenham um papel direto e participativo no gerenciamento desses "
+"recursos, incluindo sua preservação, curadoria, distribuição e "
+"aprimoramento. O acesso e a participação estão abertos a todos, "
+"independentemente dos meios monetários."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1488
+msgid ""
+"And as users of Creative Commons licenses, they are automatically part of a "
+"global community. The new digital commons is global. Those we profiled come "
+"from nearly every continent in the world. To build and interact within this "
+"global community is conducive to success."
+msgstr ""
+"E como usuários de licenças Creative Commons, eles automaticamente fazem "
+"parte de uma comunidade global. Os novos comuns digitais são globais. "
+"Aqueles que traçamos vêm de quase todos os continentes do mundo. Construir e "
+"interagir dentro desta comunidade global conduz ao sucesso."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1495
+msgid ""
+"Creative Commons licenses may express legal rules around the use of "
+"resources in a commons, but success in the commons requires more than "
+"following the letter of the law and acquiring financial means. Over and over "
+"we heard in our interviews how success and sustainability are tied to a set "
+"of beliefs, values, and principles that underlie their actions: Give more "
+"than you take. Be open and inclusive. Add value. Make visible what you are "
+"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 "
+"transparent. Defend the commons."
+msgstr ""
+"As licenças Creative Commons podem expressar regras legais sobre o uso de "
+"recursos nos comuns, mas o sucesso nos comuns requer mais do que seguir a "
+"letra da lei e obter meios financeiros. Repetidamente, ouvimos em nossas "
+"entrevistas como o sucesso e a sustentabilidade estão vinculados a um "
+"conjunto de crenças, valores e princípios que fundamentam suas ações: Dê "
+"mais do que recebe. Seja aberto e inclusivo. Adicionar valor. Torne visível "
+"o que você está usando dos comuns, o que você está adicionando e o que está "
+"monetizando. Maximize a abundância. Dê atribuição. Expressar gratidão. "
+"Desenvolva confiança; não explore. Construa relacionamento e comunidade. "
+"Seja transparente. Defenda os comuns."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1508
+msgid ""
+"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 "
+"functioning within market and state systems. The commons generates benefits "
+"neither the market nor state can achieve on their own. Rather than the "
+"market or state dominating as primary means of resource management, a more "
+"balanced alternative is possible."
+msgstr ""
+"Os novos comuns digitais estão aqui para ficar. Os estudos de caso de Feito "
+"com Creative Commons mostram como é possível fazer parte desses comuns "
+"enquanto ainda funciona dentro dos sistemas de mercado e estaduais. Os "
+"comuns geram benefícios que nem o mercado nem o estado podem alcançar por "
+"conta própria. Em vez de o mercado ou estado dominar como meio principal de "
+"gestão de recursos, uma alternativa mais equilibrada é possível."
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1517
+msgid ""
+"Enterprise use of Creative Commons has only just begun. The case studies in "
+"this book are merely starting points. Each is changing and evolving over "
+"time. Many more are joining and inventing new models. This overview aims to "
+"provide a framework and language for thinking and talking about the new "
+"digital commons. The remaining sections go deeper providing further guidance "
+"and insights on how it works."
+msgstr ""
+"O uso empresarial do Creative Commons apenas começou. Os estudos de caso "
+"neste livro são apenas pontos de partida. Cada um está mudando e evoluindo "
+"com o tempo. Muitos mais estão se juntando e inventando novos modelos. Esta "
+"visão geral tem como objetivo fornecer uma estrutura e uma linguagem para "
+"pensar e falar sobre os novos comuns digitais. As seções restantes são "
+"aprofundadas, fornecendo mais orientações e percepções sobre como funciona."
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1528
+msgid "How to Be Made with Creative Commons"
+msgstr "Como ser Feito com Creative Commons"
+
+#. type: Content of: <book><part><chapter><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1530
+msgid "Sarah Hinchliff Pearson"
+msgstr "Sarah Hinchliff Pearson"
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1534
+msgid ""
+"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 "
+"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 "
+"way that enables the public not only to access it but also to make use of "
+"it."
+msgstr ""
+"Quando iniciamos este projeto em agosto de 2015, decidimos escrever um livro "
+"sobre modelos de negócios que envolvem licenças Creative Commons de alguma "
+"forma significativa -- o que chamamos de ser Feito com Creative Commons. Com "
+"a ajuda de nossos patrocinadores do Kickstarter, escolhemos vinte e quatro "
+"empreendimentos em todo o mundo que são Feitos com Creative Commons. A "
+"mistura é diversa, de um músico individual a uma editora universitária de "
+"livros didáticos a um fabricante de eletrônicos. Alguns fazem seu próprio "
+"conteúdo e compartilham sob licença Creative Commons. Outros são plataformas "
+"para obras criativas com licença CC feitos por terceiros. Muitos ficam em "
+"algum ponto intermediário, usando e contribuindo com a obra criativa que é "
+"compartilhada com o público. Como todos os que usam as licenças, esses "
+"empreendimentos compartilham sua obra -- sejam dados abertos ou designs de "
+"móveis -- de uma forma que permite ao público não apenas acessá-la, mas "
+"também utilizá-la."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1550
+msgid ""
+"We analyzed the revenue models, customer segments, and value propositions of "
+"each endeavor. We searched for ways that putting their content under "
+"Creative Commons licenses helped boost sales or increase reach. Using "
+"traditional measures of economic success, we tried to map these business "
+"models in a way that meaningfully incorporated the impact of Creative "
+"Commons. In our interviews, we dug into the motivations, the role of CC "
+"licenses, modes of revenue generation, definitions of success."
+msgstr ""
+"Analisamos os modelos de receita, segmentos de clientes e propostas de valor "
+"de cada empreendimento. Procuramos maneiras de colocar seu conteúdo sob "
+"licenças Creative Commons para ajudar a impulsionar as vendas ou aumentar o "
+"alcance. Usando medidas tradicionais de sucesso econômico, tentamos mapear "
+"esses modelos de negócios de uma forma que incorporasse significativamente o "
+"impacto do Creative Commons. Em nossas entrevistas, investigamos as "
+"motivações, o papel das licenças CC, os modos de geração de receita e as "
+"definições de sucesso."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1560
+msgid ""
+"In fairly short order, we realized the book we set out to write was quite "
+"different from the one that was revealing itself in our interviews and "
+"research."
+msgstr ""
+"Em pouco tempo, percebemos que o livro que começamos a escrever era bem "
+"diferente daquele que estava se revelando em nossas entrevistas e pesquisas."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1565
+msgid ""
+"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 "
+"write a book about being Made with Creative Commons using only a business "
+"lens."
+msgstr ""
+"Não é que estivéssemos errados ao pensar que você pode ganhar dinheiro "
+"usando licenças Creative Commons. Em muitos casos, o CC pode ajudar você a "
+"ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de "
+"negócios que outras pessoas que desejam usar o licenciamento CC como parte "
+"de seu sustento ou negócio poderiam replicar. O que não percebemos foi o "
+"quão equivocado seria escrever um livro sobre ser Feito com Creative Commons "
+"usando apenas lentes de negócios."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1578
+msgid ""
+"Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ: "
+"John Wiley and Sons, 2010), 14. A preview of the book is available at <ulink "
+"url=\"http://strategyzer.com/books/business-model-generation\"/>."
+msgstr ""
+"Alex Osterwalder e Yves Pigneur, <emphasis>Business Model Generation</"
+"emphasis> (Hoboken, NJ: John Wiley e Sons, 2010), 14. Uma prévia do livro "
+"está disponível em <ulink url=\"http://strategyzer.com/books/business-model-"
+"generation\"/>."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1574
+msgid ""
+"According to the seminal handbook Business Model Generation, a business "
+"model <quote>describes the rationale of how an organization creates, "
+"delivers, and captures value.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> 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, <quote>Business model can mean anything you want it "
+"to mean.</quote>"
+msgstr ""
+"De acordo com o manual seminal Business Model Generation, um modelo de "
+"negócios <quote>descreve a lógica de como uma organização cria, entrega e "
+"captura valor.</quote><placeholder type=\"footnote\" id=\"0\"/> Pensar em "
+"compartilhar em termos de criação e captura de valor sempre pareceu "
+"inadequadamente transacional e deslocado, algo que ouvimos repetidamente em "
+"nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com "
+"ele, <quote>Modelo de negócios pode significar qualquer coisa que você "
+"quiser</quote>."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1590
+msgid ""
+"Eventually, we got it. Being Made with Creative Commons is more than a "
+"business model. While we will talk about specific revenue models as one "
+"piece of our analysis (and in more detail in the case studies), we scrapped "
+"that as our guiding rubric for the book."
+msgstr ""
+"Eventualmente, nós conseguimos. Ser Feito com Creative Commons é mais do que "
+"um modelo de negócios. Embora falemos sobre modelos de receita específicos "
+"como uma parte de nossa análise (e com mais detalhes nos estudos de caso), "
+"descartamos isso como nossa rubrica orientadora para o livro."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1597
+msgid ""
+"Admittedly, it took me a long time to get there. When Paul and I divided up "
+"our writing after finishing the research, my charge was to distill "
+"everything we learned from the case studies and write up the practical "
+"lessons and takeaways. I spent months trying to jam what we learned into the "
+"business-model box, convinced there must be some formula for the way things "
+"interacted. But there is no formula. You’ll probably have to discard that "
+"way of thinking before you read any further."
+msgstr ""
+"Reconheço que demorei muito para chegar lá. Quando Paul e eu dividimos nossa "
+"redação depois de terminar a pesquisa, minha incumbência era destilar tudo o "
+"que aprendemos com os estudos de caso e escrever as lições práticas e "
+"resultados. Passei meses tentando colocar o que aprendemos na caixa do "
+"modelo de negócios, convencido de que deve haver alguma fórmula para a forma "
+"como as coisas interagem. Mas não existe fórmula. Você provavelmente terá "
+"que descartar essa maneira de pensar antes de continuar a ler."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1607
+msgid ""
+"In every interview, we started from the same simple questions. Amid all the "
+"diversity among the creators, organizations, and businesses we profiled, "
+"there was one constant. Being Made with Creative Commons may be good for "
+"business, but that is not why they do it. Sharing work with Creative Commons "
+"is, at its core, a moral decision. The commercial and other self-interested "
+"benefits are secondary. Most decided to use CC licenses first and found a "
+"revenue model later. This was our first hint that writing a book solely "
+"about the impact of sharing on business might be a little off track."
+msgstr ""
+"Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a "
+"toda a diversidade entre os criadores, organizações e empresas que traçamos "
+"o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom "
+"para os negócios, mas não é por isso que o fazem. Compartilhar a obra com o "
+"Creative Commons é, em sua essência, uma decisão moral. Os benefícios "
+"comerciais e outros benefícios de interesse próprio são secundários. A "
+"maioria decidiu usar licenças CC primeiro e encontrou um modelo de receita "
+"depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente "
+"sobre o impacto do compartilhamento nos negócios pode estar um pouco fora do "
+"caminho."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1619
+msgid ""
+"But we also started to realize something about what it means to be Made with "
+"Creative Commons. When people talked to us about how and why they used CC, "
+"it was clear that it meant something more than using a copyright license. It "
+"also represented a set of values. There is symbolism behind using CC, and "
+"that symbolism has many layers."
+msgstr ""
+"Mas também começamos a perceber algo sobre o que significa ser Feito com "
+"Creative Commons. Quando as pessoas nos falaram sobre como e por que usaram "
+"CC, ficou claro que significava algo mais do que usar uma licença de "
+"copyright. Também representou um conjunto de valores. Existe um simbolismo "
+"por trás do uso de CC, e esse simbolismo tem muitas camadas."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1627
+msgid ""
+"At one level, being Made with Creative Commons expresses an affinity for the "
+"value of Creative Commons. While there are many different flavors of CC "
+"licenses and nearly infinite ways to be Made with Creative Commons, the "
+"basic value system is rooted in a fundamental belief that knowledge and "
+"creativity are building blocks of our culture rather than just commodities "
+"from which to extract market value. These values reflect a belief that the "
+"common good should always be part of the equation when we determine how to "
+"regulate our cultural outputs. They reflect a belief that everyone has "
+"something to contribute, and that no one can own our shared culture. They "
+"reflect a belief in the promise of sharing."
+msgstr ""
+"Em um nível, ser Feito com Creative Commons expressa uma afinidade com o "
+"valor do Creative Commons. Embora existam muitos sabores diferentes de "
+"licenças CC e maneiras quase infinitas de ser Feito com Creative Commons, o "
+"sistema de valores básico está enraizado em uma crença fundamental de que o "
+"conhecimento e a criatividade são blocos de construção de nossa cultura, e "
+"não apenas mercadorias das quais extrair valor de mercado. Esses valores "
+"refletem a crença de que o bem comum deve sempre fazer parte da equação "
+"quando determinamos como regular nossos resultados culturais. Eles refletem "
+"a crença de que todos têm algo a contribuir e que ninguém pode ser dono de "
+"nossa cultura compartilhada. Eles refletem a crença na promessa de "
+"compartilhar."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1641
+msgid ""
+"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, <quote>all rights reserved</quote> 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 impersonal market transaction. It leaves open the possibility of "
+"connection."
+msgstr ""
+"Quer o público aproveite a oportunidade para copiar e adaptar sua obra, "
+"compartilhar com uma licença Creative Commons é um símbolo de como você "
+"deseja interagir com as pessoas que consomem sua oba. Sempre que você cria "
+"algo, <quote>todos os direitos reservados</quote> sob direitos autorais são "
+"automáticos, portanto, o símbolo de copyright (©) na obra não "
+"necessariamente aparece como um marcador de desconfiança ou protecionismo "
+"excessivo. Mas usar uma licença CC pode ser um símbolo do oposto -- de "
+"querer um relacionamento humano real, ao invés de uma transação de mercado "
+"impessoal. Deixa aberta a possibilidade de conexão."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1653
+msgid ""
+"Being Made with Creative Commons not only demonstrates values connected to "
+"CC and sharing. It also demonstrates that something other than profit drives "
+"what you do. In our interviews, we always asked what success looked like for "
+"them. It was stunning how rarely money was mentioned. Most have a deeper "
+"purpose and a different vision of success."
+msgstr ""
+"Sendo Feito com Creative Commons não apenas demonstra valores ligados a CC e "
+"compartilhamento. Também demonstra que algo diferente do lucro impulsiona o "
+"que você faz. Em nossas entrevistas, sempre perguntamos como era o sucesso "
+"para eles(as). Era impressionante como raramente se mencionava dinheiro. A "
+"maioria tem um propósito mais profundo e uma visão diferente de sucesso."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1666
+msgid ""
+"Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet "
+"Age (San Francisco, CA: McSweeney’s, 2014) 68."
+msgstr ""
+"Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet Age*"
+" (São Francisco, CA: McSweeney’s, 2014) 68."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1661
+msgid ""
+"The driving motivation varies depending on the type of endeavor. For "
+"individual creators, it is most often about personal inspiration. In some "
+"ways, this is nothing new. As Doctorow has written, <quote>Creators usually "
+"start doing what they do for love.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> 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 <quote>Do you as "
+"the creator want to use it? It has to have personal use and meaning.</quote>"
+msgstr ""
+"A motivação motriz varia dependendo do tipo de empreendimento. Para "
+"criadores individuais, geralmente é uma questão de inspiração pessoal. De "
+"certa forma, isso não é novidade. Como Doctorow escreveu, <quote>Os "
+"criadores geralmente começam a fazer o que fazem por amor.</"
+"quote><placeholder type=\"footnote\" id=\"0\"/> Mas quando você compartilha "
+"sua obra criativa sob uma licença CC, essa dinâmica é ainda mais "
+"pronunciada. Da mesma forma, para os inovadores tecnológicos, geralmente se "
+"trata menos de criar algo novo específico que o tornará rico e mais de "
+"resolver um problema específico que você tem. Os criadores do Arduino nos "
+"disseram que a questão chave ao criar algo é <quote>Você, como criador, "
+"deseja usá-lo? Deve ter uso e significado pessoal.</quote>"
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1678
+msgid ""
+"Many that are Made with Creative Commons have an express social mission that "
+"underpins everything they do. In many cases, sharing with Creative Commons "
+"expressly advances that social mission, and using the licenses can be the "
+"difference between legitimacy and hypocrisy. Noun Project co-founder Edward "
+"Boatman told us they could not have stated their social mission of sharing "
+"with a straight face if they weren’t willing to show the world that it was "
+"OK to share their content using a Creative Commons license."
+msgstr ""
+"Muitos dos que são Feitos com Creative Commons têm uma missão social "
+"expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar "
+"com Creative Commons avança expressamente essa missão social, e usar as "
+"licenças pode ser a diferença entre legitimidade e hipocrisia. O cofundador "
+"do Noun Project, Edward Boatman, nos disse que eles não poderiam ter "
+"declarado sua missão social de compartilhar com uma cara séria se não "
+"estivessem dispostos a mostrar ao mundo que não havia problema em "
+"compartilhar seu conteúdo usando uma licença Creative Commons."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1688
+msgid ""
+"This dynamic is probably one reason why there are so many nonprofit examples "
+"of being Made with Creative Commons. The content is the result of a labor of "
+"love or a tool to drive social change, and money is like gas in the car, "
+"something that you need to keep going but not an end in itself. Being Made "
+"with Creative Commons is a different vision of a business or livelihood, "
+"where profit is not paramount, and producing social good and human "
+"connection are integral to success."
+msgstr ""
+"Essa dinâmica é provavelmente um dos motivos pelos quais existem tantos "
+"exemplos de organizações sem fins lucrativos feitos com Creative Commons. O "
+"conteúdo é o resultado de uma obra de amor ou de uma ferramenta para "
+"impulsionar a mudança social, e o dinheiro é como a gasolina no carro, algo "
+"que você precisa para continuar, mas não é um fim em si mesmo. Sendo Feito "
+"com Creative Commons é uma visão diferente de um negócio ou meio de vida, "
+"onde o lucro não é primordial e a produção de bem social e conexão humana "
+"são essenciais para o sucesso."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1698
+msgid ""
+"Even if profit isn’t the end goal, you have to bring in money to be "
+"successfully Made with Creative Commons. At a bare minimum, you have to make "
+"enough money to keep the lights on."
+msgstr ""
+"Mesmo que o lucro não seja o objetivo final, você tem que trazer dinheiro "
+"para ser Feito com Creative Commons com sucesso. No mínimo, você tem que "
+"ganhar dinheiro suficiente para manter as luzes acesas."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1703
+msgid ""
+"The costs of doing business vary widely for those made with CC, but there is "
+"generally a much lower threshold for sustainability than there used to be "
+"for any creative endeavor. Digital technology has made it easier than ever "
+"to create, and easier than ever to distribute. As Doctorow put it in his "
+"book Information Doesn’t Want to Be Free, <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.</quote>"
+msgstr ""
+"Os custos de fazer negócios variam amplamente para aqueles feitos com CC, "
+"mas geralmente há um limite muito mais baixo para a sustentabilidade do que "
+"costumava haver para qualquer empreendimento criativo. A tecnologia digital "
+"tornou mais fácil do que nunca criar e distribuir. Como Doctorow colocou em "
+"seu livro <emphasis>Information Doesn't Want to Be Free</emphasis>, "
+"<quote>Se os dólares analógicos se transformaram em moedas digitais (como "
+"dizem os críticos da mídia financiada por anúncios), há o fato de que é "
+"possível fazer funcionar uma empresa que obtém a mesma quantidade de "
+"publicidade que seus ancestrais por uma fração do preço.</quote>"
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1720
+msgid "Ibid., 55."
+msgstr "Ibid., 55."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1715
+msgid ""
+"Some creation costs are the same as they always were. It takes the same "
+"amount of time and money to write a peer-reviewed journal article or paint a "
+"painting. Technology can’t change that. But other costs are dramatically "
+"reduced by technology, particularly in production-heavy domains like "
+"filmmaking.<placeholder type=\"footnote\" id=\"0\"/> CC-licensed content and "
+"content in the public domain, as well as the work of volunteer "
+"collaborators, can also dramatically reduce costs if they’re being used as "
+"resources to create something new. And, of course, there is the reality that "
+"some content would be created whether or not the creator is paid because it "
+"is a labor of love."
+msgstr ""
+"Alguns custos de criação são os mesmos de sempre. Leva a mesma quantidade de "
+"tempo e dinheiro para escrever um artigo de jornal revisado por pares ou "
+"pintar um quadro. A tecnologia não pode mudar isso. Mas outros custos são "
+"reduzidos drasticamente pela tecnologia, particularmente em domínios de "
+"produção pesada como cinema.<placeholder type=\"footnote\" id=\"0\"/> "
+"Conteúdo licenciado por CC e conteúdo de domínio público, bem como a oba de "
+"colaboradores voluntários, também podem reduzir drasticamente os custos se "
+"forem sendo usados como recursos para criar algo novo. E, claro, existe a "
+"realidade de que algum conteúdo seria criado, independentemente de o criador "
+"ser pago ou não, porque é um trabalho de amor."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1732
+msgid ""
+"Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving "
+"Something for Nothing, reprint with new preface (New York: Hyperion, 2010), "
+"224."
+msgstr ""
+"Chris Anderson, <emphasis>Free: How Today’s Smartest Businesses Profit by "
+"Giving Something for Nothing</emphasis>, reimpressão com novo prefácio (Nova "
+"York: Hyperion, 2010), 224."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1729
+msgid ""
+"Distributing content is almost universally cheaper than ever. Once content "
+"is created, the costs to distribute copies digitally are essentially "
+"zero.<placeholder type=\"footnote\" id=\"0\"/> The costs to distribute "
+"physical copies are still significant, but lower than they have been "
+"historically. And it is now much easier to print and distribute physical "
+"copies on-demand, which also reduces costs. Depending on the endeavor, there "
+"can be a whole host of other possible expenses like marketing and promotion, "
+"and even expenses associated with the various ways money is being made, like "
+"touring or custom training."
+msgstr ""
+"Distribuir conteúdo é quase universalmente mais barato do que nunca. Uma vez "
+"que o conteúdo é criado, os custos para distribuir cópias digitalmente são "
+"essencialmente zero.<placeholder type=\"footnote\" id=\"0\"/> Os custos para "
+"distribuir cópias físicas ainda são significativos, mas menores do que eram "
+"historicamente. E agora é muito mais fácil imprimir e distribuir cópias "
+"físicas sob demanda, o que também reduz custos. Dependendo do esforço, pode "
+"haver uma série de outras despesas possíveis, como marketing e promoção, e "
+"até despesas associadas às várias maneiras como o dinheiro está sendo ganho, "
+"como viagens ou treinamento personalizado."
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1754
+msgid "Doctorow, Information Doesn’t Want to Be Free, 44."
+msgstr "Doctorow, <emphasis>Information Doesn’t Want to Be Free</emphasis>, 44."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1744
+msgid ""
+"It’s important to recognize that the biggest impact of technology on "
+"creative endeavors is that creators can now foot the costs of creation and "
+"distribution themselves. People now often have a direct route to their "
+"potential public without necessarily needing intermediaries like record "
+"labels and book publishers. Doctorow wrote, <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.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> Previously, distribution of creative work involved the costs "
+"associated with sustaining a monolithic entity, now creators can do the work "
+"themselves. That means the financial needs of creative endeavors can be a "
+"lot more modest."
+msgstr ""
+"É importante reconhecer que o maior impacto da tecnologia nos "
+"empreendimentos criativos é que os criadores agora podem arcar com os custos "
+"de criação e distribuição sozinhos. As pessoas agora costumam ter um caminho "
+"direto para seu público potencial, sem necessariamente precisar de "
+"intermediários como gravadoras e editoras de livros. Doctorow escreveu: "
+"<quote>Se você é um criador que nunca obteve a hora de uma das grandes "
+"potências imperiais, esta é a sua hora. Onde antes você não tinha meios de "
+"alcançar um público sem a ajuda das megaempresas dominantes do setor, agora "
+"você tem centenas de maneiras de fazer isso sem eles.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> Anteriormente, a distribuição de obra criativa "
+"envolvia os custos associados à manutenção uma entidade monolítica, agora os "
+"criadores podem fazer a obra sozinhos. Isso significa que as necessidades "
+"financeiras de empreendimentos criativos podem ser muito mais modestas."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1761
+msgid ""
+"Whether for an individual creator or a larger endeavor, it usually isn’t "
+"enough to break even if you want to make what you’re doing a livelihood. You "
+"need to build in some support for the general operation. This extra bit "
+"looks different for everyone, but importantly, in nearly all cases for those "
+"Made with Creative Commons, the definition of <quote>enough money</quote> "
+"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, <quote>Business model is a "
+"really grandiose word for it. It is really just about keeping the operation "
+"going day to day.</quote>"
+msgstr ""
+"Seja para um criador individual ou um empreendimento maior, geralmente não é "
+"suficiente para quebrar, mesmo se você quiser fazer do que está fazendo um "
+"meio de vida. Você precisa construir algum suporte para a operação geral. "
+"Este bit extra parece diferente para todos, mas o mais importante, em quase "
+"todos os casos para aqueles Feitos com Creative Commons, a definição de "
+"<quote>dinheiro suficiente</quote> parece muito diferente do que no mundo de "
+"capital de risco e opções de ações. É mais sobre sustentabilidade e menos "
+"sobre crescimento e lucro ilimitados. O fundador do SparkFun, Nathan Seidle, "
+"nos disse, <quote>Modelo de negócios é uma palavra realmente grandiosa para "
+"isso. Na verdade, trata-se apenas de manter a operação funcionando no dia a "
+"dia.</quote>"
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1774
+msgid ""
+"This book is a testament to the notion that it is possible to make money "
+"while using CC licenses and CC-licensed content, but we are still very much "
+"at an experimental stage. The creators, organizations, and businesses we "
+"profile in this book are blazing the trail and adapting in real time as they "
+"pursue this new way of operating."
+msgstr ""
+"Este livro é uma prova da noção de que é possível ganhar dinheiro usando "
+"licenças CC e conteúdo licenciado CC, mas ainda estamos em um estágio muito "
+"experimental. Os criadores, organizações e empresas que apresentamos neste "
+"livro estão abrindo caminho e se adaptando em tempo real à medida que buscam "
+"essa nova forma de operar."
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1782
+msgid ""
+"There are, however, plenty of ways in which CC licensing can be good for "
+"business in fairly predictable ways. The first is how it helps solve "
+"<quote>problem zero.</quote>"
+msgstr ""
+"Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser "
+"bom para os negócios de maneiras bastante previsíveis. A primeira é como ele "
+"ajuda a resolver <quote>o problema zero</quote>."
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1787
+msgid "Problem Zero: Getting Discovered"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1794
+msgid ""
+"Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let "
+"People Help (New York: Grand Central, 2014), 121."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1809
+msgid ""
+"Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, "
+"2012), 64."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1789
+msgid ""
+"Once you create or collect your content, the next step is finding users, "
+"customers, fans—in other words, your people. As Amanda Palmer wrote, "
+"<quote>It has to start with the art. The songs had to touch people "
+"initially, and mean something, for anything to work at "
+"all.</quote><placeholder type=\"footnote\" id=\"0\"/> 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 <quote>hits</quote> and more "
+"about micromarkets for every particular niche. As Anderson wrote, <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.</quote><placeholder type=\"footnote\" id=\"1\"/> We are no longer "
+"limited to what appeals to the masses."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1823
+msgid ""
+"David Bollier, Think Like a Commoner: A Short Introduction to the Life of "
+"the Commons (Gabriola Island, BC: New Society, 2014), 70."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1830
+msgid "Anderson, Makers, 66."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1835
+msgid ""
+"Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New "
+"York: Morgan James, 2016), 10."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1815
+msgid ""
+"While finding <quote>your people</quote> 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.<placeholder type=\"footnote\" id=\"0\"/> Anderson wrote, <quote>The "
+"greatest change of the past decade has been the shift in time people spend "
+"consuming amateur content instead of professional "
+"content.</quote><placeholder type=\"footnote\" id=\"1\"/> To top it all off, "
+"you have to compete against the rest of their lives, too—<quote>friends, "
+"family, music playlists, soccer games, and nights on the "
+"town.</quote><placeholder type=\"footnote\" id=\"2\"/> Somehow, some way, "
+"you have to get noticed by the right people."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1849
+msgid "Anderson, Free, 62."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1841
+msgid ""
+"When you come to the Internet armed with an all-rights-reserved mentality "
+"from the start, you are often restricting access to your work before there "
+"is even any demand for it. In many cases, requiring payment for your work is "
+"part of the traditional copyright system. Even a tiny cost has a big effect "
+"on demand. It’s called the penny gap—the large difference in demand between "
+"something that is available at the price of one cent versus the price of "
+"zero.<placeholder type=\"footnote\" id=\"0\"/> 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 <quote>your people,</quote> prohibiting people from "
+"copying your work and sharing it with others is counterproductive."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1863
+msgid "Doctorow, Information Doesn’t Want to Be Free, 38."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1859
+msgid ""
+"Of course, it’s not that being discovered by people who like your work will "
+"make you rich—far from it. But as Cory Doctorow says, <quote>Recognition is "
+"one of many necessary preconditions for artistic "
+"success.</quote><placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1867
+msgid ""
+"Choosing not to spend time and energy restricting access to your work and "
+"policing infringement also builds goodwill. Lumen Learning, a for-profit "
+"company that publishes online educational materials, made an early decision "
+"not to prevent students from accessing their content, even in the form of a "
+"tiny paywall, because it would negatively impact student success in a way "
+"that would undermine the social mission behind what they do. They believe "
+"this decision has generated an immense amount of goodwill within the "
+"community."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1885
+msgid "Bollier, Think Like a Commoner, 68."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1878
+msgid ""
+"It is not just that restricting access to your work may undermine your "
+"social mission. It also may alienate the people who most value your creative "
+"work. If people like your work, their natural instinct will be to share it "
+"with others. But as David Bollier wrote, <quote>Our natural human impulses "
+"to imitate and share—the essence of culture—have been "
+"criminalized.</quote><placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1889
+msgid ""
+"The fact that copying can carry criminal penalties undoubtedly deters "
+"copying it, but copying with the click of a button is too easy and "
+"convenient to ever fully stop it. Try as the copyright industry might to "
+"persuade us otherwise, copying a copyrighted work just doesn’t feel like "
+"stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a "
+"creative work has no impact on anyone else’s ability to make use of it."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1898
+msgid ""
+"If you take some amount of copying and sharing your work as a given, you can "
+"invest your time and resources elsewhere, rather than wasting them on "
+"playing a cat and mouse game with people who want to copy and share your "
+"work. Lizzy Jongma from the Rijksmuseum said, <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.</quote> Instead, they started releasing "
+"high-resolution digital copies of their collection into the public domain "
+"and making them available for free on their website. For them, sharing was a "
+"form of quality control over the copies that were inevitably being shared "
+"online. Doing this meant forgoing the revenue they previously got from "
+"selling digital images. But Lizzy says that was a small price to pay for all "
+"of the opportunities that sharing unlocked for them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1918
+msgid "Anderson, Free, 86."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1914
+msgid ""
+"Being Made with Creative Commons means you stop thinking about ways to "
+"artificially make your content scarce, and instead leverage it as the "
+"potentially abundant resource it is.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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, "
+"<quote>Using CC licenses shows you get the Internet.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1929
+msgid "Doctorow, Information Doesn’t Want to Be Free, 144."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1926
+msgid ""
+"Cory Doctorow says it costs him nothing when other people make copies of his "
+"work, and it opens the possibility that he might get something in "
+"return.<placeholder type=\"footnote\" id=\"0\"/> Similarly, the makers of "
+"the Arduino boards knew it was impossible to stop people from copying their "
+"hardware, so they decided not to even try and instead look for the benefits "
+"of being open. For them, the result is one of the most ubiquitous pieces of "
+"hardware in the world, with a thriving online community of tinkerers and "
+"innovators that have done things with their work they never could have done "
+"otherwise."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1939
+msgid ""
+"There are all kinds of way to leverage the power of sharing and remix to "
+"your benefit. Here are a few."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1943
+msgid "Use CC to grow a larger audience"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1945
+msgid ""
+"Putting a Creative Commons license on your content won’t make it "
+"automatically go viral, but eliminating legal barriers to copying the work "
+"certainly can’t hurt the chances that your work will be shared. The CC "
+"license symbolizes that sharing is welcome. It can act as a little tap on "
+"the shoulder to those who come across the work—a nudge to copy the work if "
+"they have any inkling of doing so. All things being equal, if one piece of "
+"content has a sign that says Share and the other says Don’t Share (which is "
+"what <quote>©</quote> means), which do you think people are more likely to "
+"share?"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1957
+msgid ""
+"The Conversation is an online news site with in-depth articles written by "
+"academics who are experts on particular topics. All of the articles are "
+"CC-licensed, and they are copied and reshared on other sites by design. This "
+"proliferating effect, which they track, is a central part of the value to "
+"their academic authors who want to reach as many readers as possible."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1974
+msgid "Anderson, Free, 123."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1966
+msgid ""
+"The idea that more eyeballs equates with more success is a form of the max "
+"strategy, adopted by Google and other technology companies. According to "
+"Google’s Eric Schmidt, the idea is simple: <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.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> This strategy is what often motivates companies to make their "
+"products and services free (i.e., no cost), but the same logic applies to "
+"making content freely shareable. Because CC-licensed content is free (as in "
+"cost) and can be freely copied, CC licensing makes it even more accessible "
+"and likely to spread."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1988
+msgid "Ibid., 132."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1993
+msgid "Ibid., 70."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1983
+msgid ""
+"If you are successful in reaching more users, readers, listeners, or other "
+"consumers of your work, you can start to benefit from the bandwagon "
+"effect. The simple fact that there are other people consuming or following "
+"your work spurs others to want to do the same.<placeholder type=\"footnote\" "
+"id=\"0\"/> This is, in part, because we simply have a tendency to engage in "
+"herd behavior, but it is also because a large following is at least a "
+"partial indicator of quality or usefulness.<placeholder type=\"footnote\" "
+"id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:1998
+msgid "Use CC to get attribution and name recognition"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2012
+msgid ""
+"James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), "
+"124. Surowiecki says, <quote>The measure of success of laws and contracts is "
+"how rarely they are invoked.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2000
+msgid ""
+"Every Creative Commons license requires that credit be given to the author, "
+"and that reusers supply a link back to the original source of the "
+"material. CC0, not a license but a tool used to put work in the public "
+"domain, does not make attribution a legal requirement, but many communities "
+"still give credit as a matter of best practices and social norms. In fact, "
+"it is social norms, rather than the threat of legal enforcement, that most "
+"often motivate people to provide attribution and otherwise comply with the "
+"CC license terms anyway. This is the mark of any well-functioning community, "
+"within both the marketplace and the society at large.<placeholder "
+"type=\"footnote\" id=\"0\"/> CC licenses reflect a set of wishes on the part "
+"of creators, and in the vast majority of circumstances, people are naturally "
+"inclined to follow those wishes. This is particularly the case for something "
+"as straightforward and consistent with basic notions of fairness as "
+"providing credit."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2023
+msgid ""
+"The fact that the name of the creator follows a CC-licensed work makes the "
+"licenses an important means to develop a reputation or, in corporate speak, "
+"a brand. The drive to associate your name with your work is not just based "
+"on commercial motivations, it is fundamental to authorship. Knowledge "
+"Unlatched is a nonprofit that helps to subsidize the print production of "
+"CC-licensed academic texts by pooling contributions from libraries around "
+"the United States. The CEO, Frances Pinter, says that the Creative Commons "
+"license on the works has a huge value to authors because reputation is the "
+"most important currency for academics. Sharing with CC is a way of having "
+"the most people see and cite your work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2037
+msgid ""
+"Attribution can be about more than just receiving credit. It can also be "
+"about establishing provenance. People naturally want to know where content "
+"came from—the source of a work is sometimes just as interesting as the work "
+"itself. Opendesk is a platform for furniture designers to share their "
+"designs. Consumers who like those designs can then get matched with local "
+"makers who turn the designs into real-life furniture. The fact that I, "
+"sitting in the middle of the United States, can pick out a design created by "
+"a designer in Tokyo and then use a maker within my own community to "
+"transform the design into something tangible is part of the power of their "
+"platform. The provenance of the design is a special part of the product."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2052
+msgid ""
+"Knowing the source of a work is also critical to ensuring its "
+"credibility. Just as a trademark is designed to give consumers a way to "
+"identify the source and quality of a particular good and service, knowing "
+"the author of a work gives the public a way to assess its credibility. In a "
+"time when online discourse is plagued with misinformation, being a trusted "
+"information source is more valuable than ever."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2062
+msgid "Use CC-licensed content as a marketing tool"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2064
+msgid ""
+"As we will cover in more detail later, many endeavors that are Made with "
+"Creative Commons make money by providing a product or service other than the "
+"CC-licensed work. Sometimes that other product or service is completely "
+"unrelated to the CC content. Other times it’s a physical copy or live "
+"performance of the CC content. In all cases, the CC content can attract "
+"people to your other product or service."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2086
+msgid "Anderson, Free, 44."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2073
+msgid ""
+"Knowledge Unlatched’s Pinter told us she has seen time and again how "
+"offering CC-licensed content—that is, digitally for free—actually increases "
+"sales of the printed goods because it functions as a marketing tool. We see "
+"this phenomenon regularly with famous artwork. The Mona Lisa is likely the "
+"most recognizable painting on the planet. Its ubiquity has the effect of "
+"catalyzing interest in seeing the painting in person, and in owning physical "
+"goods with the image. Abundant copies of the content often entice more "
+"demand, not blunt it. Another example came with the advent of the "
+"radio. Although the music industry did not see it coming (and fought it!), "
+"free music on the radio functioned as advertising for the paid version "
+"people bought in music stores.<placeholder type=\"footnote\" id=\"0\"/> Free "
+"can be a form of promotion."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2090
+msgid ""
+"In some cases, endeavors that are Made with Creative Commons do not even "
+"need dedicated marketing teams or marketing budgets. Cards Against Humanity "
+"is a CC-licensed card game available as a free download. And because of this "
+"(thanks to the CC license on the game), the creators say it is one of the "
+"best-marketed games in the world, and they have never spent a dime on "
+"marketing. The textbook publisher OpenStax has also avoided hiring a "
+"marketing team. Their products are free, or cheaper to buy in the case of "
+"physical copies, which makes them much more attractive to students who then "
+"demand them from their universities. They also partner with service "
+"providers who build atop the CC-licensed content and, in turn, spend money "
+"and resources marketing those services (and by extension, the OpenStax "
+"textbooks)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2107
+msgid "Use CC to enable hands-on engagement with your work"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2110
+msgid ""
+"The great promise of Creative Commons licensing is that it signifies an "
+"embrace of remix culture. Indeed, this is the great promise of digital "
+"technology. The Internet opened up a whole new world of possibilities for "
+"public participation in creative work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2124
+msgid "Osterwalder and Pigneur, Business Model Generation, 23."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2117
+msgid ""
+"Four of the six CC licenses enable reusers to take apart, build upon, or "
+"otherwise adapt the work. Depending on the context, adaptation can mean "
+"wildly different things—translating, updating, localizing, improving, "
+"transforming. It enables a work to be customized for particular needs, uses, "
+"people, and communities, which is another distinct value to offer the "
+"public.<placeholder type=\"footnote\" id=\"0\"/> Adaptation is more game "
+"changing in some contexts than others. With educational materials, the "
+"ability to customize and update the content is critically important for its "
+"usefulness. For photography, the ability to adapt a photo is less important."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2137
+msgid "Anderson, Free, 67."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2142
+msgid "Ibid., 58."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2145
+msgid "Anderson, Makers, 71."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2150
+msgid ""
+"Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into "
+"Collaborators (London: Penguin Books, 2010), 78."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2132
+msgid ""
+"This is a way to counteract a potential downside of the abundance of free "
+"and open content described above. As Anderson wrote in Free, <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.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> 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.<placeholder "
+"type=\"footnote\" id=\"1\"/> We know that people will pay more for products "
+"they had a part in creating.<placeholder type=\"footnote\" id=\"2\"/> And we "
+"know that creating something, no matter what quality, brings with it a type "
+"of creative satisfaction that can never be replaced by consuming something "
+"created by someone else.<placeholder type=\"footnote\" id=\"3\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2163
+msgid "Ibid., 21."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2156
+msgid ""
+"Actively engaging with the content helps us avoid the type of aimless "
+"consumption that anyone who has absentmindedly scrolled through their "
+"social-media feeds for an hour knows all too well. In his book, Cognitive "
+"Surplus, Clay Shirky says, <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.</quote><placeholder type=\"footnote\" "
+"id=\"0\"/> Opening the door to your content can get people more deeply tied "
+"to your work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2169
+msgid "Use CC to differentiate yourself"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2178
+msgid "Doctorow, Information Doesn’t Want to Be Free, 43."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2171
+msgid ""
+"Operating under a traditional copyright regime usually means operating under "
+"the rules of establishment players in the media. Business strategies that "
+"are embedded in the traditional copyright system, like using digital rights "
+"management (DRM) and signing exclusivity contracts, can tie the hands of "
+"creators, often at the expense of the creator’s best interest.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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. <quote>Don’t go into a market and play by the incumbent "
+"rules,</quote> David said. <quote>Change the rules of engagement.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2190
+msgid "Making Money"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2200
+msgid ""
+"William Landes Foster, Peter Kim, and Barbara Christiansen, <quote>Ten "
+"Nonprofit Funding Models,</quote> Stanford Social Innovation Review, Spring "
+"2009, <ulink "
+"url=\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2192
+msgid ""
+"Like any moneymaking endeavor, those that are Made with Creative Commons "
+"have to generate some type of value for their audience or "
+"customers. Sometimes that value is subsidized by funders who are not "
+"actually beneficiaries of that value. Funders, whether philanthropic "
+"institutions, governments, or concerned individuals, provide money to the "
+"organization out of a sense of pure altruism. This is the way traditional "
+"nonprofit funding operates.<placeholder type=\"footnote\" id=\"0\"/> But in "
+"many cases, the revenue streams used by endeavors that are Made with "
+"Creative Commons are directly tied to the value they generate, where the "
+"recipient is paying for the value they receive like any standard market "
+"transaction. In still other cases, rather than the quid pro quo exchange of "
+"money for value that typically drives market transactions, the recipient "
+"gives money out of a sense of reciprocity."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2221
+msgid "Shirky, Cognitive Surplus, 111."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2213
+msgid ""
+"Most who are Made with Creative Commons use a variety of methods to bring in "
+"revenue, some market-based and some not. One common strategy is using grant "
+"funding for content creation when research-and-development costs are "
+"particularly high, and then finding a different revenue stream (or streams) "
+"for ongoing expenses. As Shirky wrote, <quote>The trick is in knowing when "
+"markets are an optimal way of organizing interactions and when they are "
+"not.</quote><placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2225
+msgid ""
+"Our case studies explore in more detail the various revenue-generating "
+"mechanisms used by the creators, organizations, and businesses we "
+"interviewed. There is nuance hidden within the specific ways each of them "
+"makes money, so it is a bit dangerous to generalize too much about what we "
+"learned. Nonetheless, zooming out and viewing things from a higher level of "
+"abstraction can be instructive."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2234
+msgid "Market-based revenue streams"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2239
+msgid "Osterwalder and Pigneur, Business Model Generation, 30."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2246
+msgid ""
+"Jim Whitehurst, The Open Organization: Igniting Passion and Performance "
+"(Boston: Harvard Business Review Press, 2015), 202."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2236
+msgid ""
+"In the market, the central question when determining how to bring in revenue "
+"is what value people are willing to pay for.<placeholder type=\"footnote\" "
+"id=\"0\"/> By definition, if you are Made with Creative Commons, the content "
+"you provide is available for free and not a market commodity. Like the "
+"ubiquitous freemium business model, any possible market transaction with a "
+"consumer of your content has to be based on some added value you "
+"provide.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2262
+msgid "Anderson, Free, 71."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2252
+msgid ""
+"In many ways, this is the way of the future for all content-driven "
+"endeavors. In the market, value lives in things that are scarce. Because the "
+"Internet makes a universe of content available to all of us for free, it is "
+"difficult to get people to pay for content online. The struggling newspaper "
+"industry is a testament to this fact. This is compounded by the fact that at "
+"least some amount of copying is probably inevitable. That means you may end "
+"up competing with free versions of your own content, whether you condone it "
+"or not.<placeholder type=\"footnote\" id=\"0\"/> 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, <quote>Copyright protection schemes, "
+"whether coded into either law or software, are simply holding up a price "
+"against the force of gravity.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2281
+msgid "Ibid., 231."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2271
+msgid ""
+"Of course, this doesn’t mean that content-driven endeavors have no future in "
+"the traditional marketplace. In Free, Anderson explains how when one product "
+"or service becomes free, as information and content largely have in the "
+"digital age, other things become more valuable. <quote>Every abundance "
+"creates a new scarcity,</quote> he wrote. You just have to find some way "
+"other than the content to provide value to your audience or customers. As "
+"Anderson says, <quote>It’s easy to compete with Free: simply offer something "
+"better or at least different from the free version.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2285
+msgid ""
+"In light of this reality, in some ways endeavors that are Made with Creative "
+"Commons are at a level playing field with all content-based endeavors in the "
+"digital age. In fact, they may even have an advantage because they can use "
+"the abundance of content to derive revenue from something scarce. They can "
+"also benefit from the goodwill that stems from the values behind being Made "
+"with Creative Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2294
+msgid ""
+"For content creators and distributors, there are nearly infinite ways to "
+"provide value to the consumers of your work, above and beyond the value that "
+"lives within your free digital content. Often, the CC-licensed content "
+"functions as a marketing tool for the paid product or service."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2301
+msgid "Here are the most common high-level categories."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2305
+msgid ""
+"Providing a custom service to consumers of your work "
+"<emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2315
+msgid "Ibid., 97."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2308
+msgid ""
+"In this age of information abundance, we don’t lack for content. The trick "
+"is finding content that matches our needs and wants, so customized services "
+"are particularly valuable. As Anderson wrote, <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.</quote><placeholder type=\"footnote\" id=\"0\"/> This can be "
+"anything from the artistic and cultural consulting services provided by "
+"Ártica to the custom-song business of Jonathan <quote>Song-A-Day</quote> "
+"Mann."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2323
+msgid "Charging for the physical copy <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2330
+msgid "Anderson, Makers, 107."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2326
+msgid ""
+"In his book about maker culture, Anderson characterizes this model as giving "
+"away the bits and selling the atoms (where bits refers to digital content "
+"and atoms refer to a physical object).<placeholder type=\"footnote\" "
+"id=\"0\"/> This is particularly successful in domains where the digital "
+"version of the content isn’t as valuable as the analog version, like book "
+"publishing where a significant subset of people still prefer reading "
+"something they can hold in their hands. Or in domains where the content "
+"isn’t useful until it is in physical form, like furniture designs. In those "
+"situations, a significant portion of consumers will pay for the convenience "
+"of having someone else put the physical version together for them. Some "
+"endeavors squeeze even more out of this revenue stream by using a Creative "
+"Commons license that only allows noncommercial uses, which means no one else "
+"can sell physical copies of their work in competition with them. This "
+"strategy of reserving commercial rights can be particularly important for "
+"items like books, where every printed copy of the same work is likely to be "
+"the same quality, so it is harder to differentiate one publishing service "
+"from another. On the other hand, for items like furniture or electronics, "
+"the provider of the physical goods can compete with other providers of the "
+"same works based on quality, service, or other traditional business "
+"principles."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2354
+msgid "Charging for the in-person version <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2357
+msgid ""
+"As anyone who has ever gone to a concert will tell you, experiencing "
+"creativity in person is a completely different experience from consuming a "
+"digital copy on your own. Far from acting as a substitute for face-to-face "
+"interaction, CC-licensed content can actually create demand for the "
+"in-person version of experience. You can see this effect when people go view "
+"original art in person or pay to attend a talk or training course."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2368
+msgid "Selling merchandise <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2371
+msgid ""
+"In many cases, people who like your work will pay for products demonstrating "
+"a connection to your work. As a child of the 1980s, I can personally attest "
+"to the power of a good concert T-shirt. This can also be an important "
+"revenue stream for museums and galleries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2388
+msgid "Osterwalder and Pigneur, Business Model Generation, 89."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2378
+msgid ""
+"Sometimes the way to find a market-based revenue stream is by providing "
+"value to people other than those who consume your CC-licensed content. In "
+"these revenue streams, the free content is being subsidized by an entirely "
+"different category of people or businesses. Often, those people or "
+"businesses are paying to access your main audience. The fact that the "
+"content is free increases the size of the audience, which in turn makes the "
+"offer more valuable to the paying customers. This is a variation of a "
+"traditional business model built on free called multi-sided "
+"platforms.<placeholder type=\"footnote\" id=\"0\"/> Access to your audience "
+"isn’t the only thing people are willing to pay for—there are other services "
+"you can provide as well."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2395
+msgid "Charging advertisers or sponsors <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2403
+msgid "Ibid., 92."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2407
+msgid "Anderson, Free, 142."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2398
+msgid ""
+"The traditional model of subsidizing free content is advertising. In this "
+"version of multi-sided platforms, advertisers pay for the opportunity to "
+"reach the set of eyeballs the content creators provide in the form of their "
+"audience.<placeholder type=\"footnote\" id=\"0\"/> The Internet has made "
+"this model more difficult because the number of potential channels available "
+"to reach those eyeballs has become essentially infinite.<placeholder "
+"type=\"footnote\" id=\"1\"/> Nonetheless, it remains a viable revenue stream "
+"for many content creators, including those who are Made with Creative "
+"Commons. Often, instead of paying to display advertising, the advertiser "
+"pays to be an official sponsor of particular content or projects, or of the "
+"overall endeavor."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2416
+msgid "Charging your content creators <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2419
+msgid ""
+"Another type of multisided platform is where the content creators themselves "
+"pay to be featured on the platform. Obviously, this revenue stream is only "
+"available to those who rely on work created, at least in part, by "
+"others. The most well-known version of this model is the "
+"<quote>author-processing charge</quote> of open-access journals like those "
+"published by the Public Library of Science, but there are other "
+"variations. The Conversation is primarily funded by a university-membership "
+"model, where universities pay to have their faculties participate as writers "
+"of the content on the Conversation website."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2433
+msgid "Charging a transaction fee <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2438
+msgid "Osterwalder and Pigneur, Business Model Generation, 32."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2436
+msgid ""
+"This is a version of a traditional business model based on brokering "
+"transactions between parties.<placeholder type=\"footnote\" id=\"0\"/> "
+"Curation is an important element of this model. Platforms like the Noun "
+"Project add value by wading through CC-licensed content to curate a "
+"high-quality set and then derive revenue when creators of that content make "
+"transactions with customers. Other platforms make money when service "
+"providers transact with their customers; for example, Opendesk makes money "
+"every time someone on their site pays a maker to make furniture based on one "
+"of the designs on the platform."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2450
+msgid "Providing a service to your creators <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2453
+msgid ""
+"As mentioned above, endeavors can make money by providing customized "
+"services to their users. Platforms can undertake a variation of this service "
+"model directed at the creators that provide the content they feature. The "
+"data platforms Figure.NZ and Figshare both capitalize on this model by "
+"providing paid tools to help their users make the data they contribute to "
+"the platform more discoverable and reusable."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2463
+msgid "Licensing a trademark <emphasis>[MARKET-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2466
+msgid ""
+"Finally, some that are Made with Creative Commons make money by selling use "
+"of their trademarks. Well known brands that consumers associate with "
+"quality, credibility, or even an ethos can license that trademark to "
+"companies that want to take advantage of that goodwill. By definition, "
+"trademarks are scarce because they represent a particular source of a good "
+"or service. Charging for the ability to use that trademark is a way of "
+"deriving revenue from something scarce while taking advantage of the "
+"abundance of CC content."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2478
+msgid "Reciprocity-based revenue streams"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2480
+msgid ""
+"Even if we set aside grant funding, we found that the traditional economic "
+"framework of understanding the market failed to fully capture the ways the "
+"endeavors we analyzed were making money. It was not simply about monetizing "
+"scarcity."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2487
+msgid ""
+"Rather than devising a scheme to get people to pay money in exchange for "
+"some direct value provided to them, many of the revenue streams were more "
+"about providing value, building a relationship, and then eventually finding "
+"some money that flows back out of a sense of reciprocity. While some look "
+"like traditional nonprofit funding models, they aren’t charity. The endeavor "
+"exchange value with people, just not necessarily synchronously or in a way "
+"that requires that those values be equal. As David Bollier wrote in Think "
+"Like a Commoner, <quote>There is no self-serving calculation of whether the "
+"value given and received is strictly equal.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2500
+msgid ""
+"This should be a familiar dynamic—it is the way you deal with your friends "
+"and family. We give without regard for what and when we will get back. David "
+"Bollier wrote, <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2510
+msgid "Bollier, Think Like a Commoner, 150."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2514
+msgid "Ibid., 134."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2508
+msgid ""
+"What is rare is to incorporate this sort of relationship into an endeavor "
+"that also engages with the market.<placeholder type=\"footnote\" id=\"0\"/> "
+"We almost can’t help but think of relationships in the market as being "
+"centered on an even-steven exchange of value.<placeholder type=\"footnote\" "
+"id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2519
+msgid ""
+"Memberships and individual donations "
+"<emphasis>[RECIPROCITY-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2522
+msgid ""
+"While memberships and donations are traditional nonprofit funding models, in "
+"the Made with Creative Commons context, they are directly tied to the "
+"reciprocal relationship that is cultivated with the beneficiaries of their "
+"work. The bigger the pool of those receiving value from the content, the "
+"more likely this strategy will work, given that only a small percentage of "
+"people are likely to contribute. Since using CC licenses can grease the "
+"wheels for content to reach more people, this strategy can be more effective "
+"for endeavors that are Made with Creative Commons. The greater the argument "
+"that the content is a public good or that the entire endeavor is furthering "
+"a social mission, the more likely this strategy is to succeed."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2538
+msgid "The pay-what-you-want model <emphasis>[RECIPROCITY-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2541
+msgid ""
+"In the pay-what-you-want model, the beneficiary of Creative Commons content "
+"is invited to give—at any amount they can and feel is appropriate, based on "
+"the public and personal value they feel is generated by the open "
+"content. Critically, these models are not touted as <quote>buying</quote> "
+"something free. They are similar to a tip jar. People make financial "
+"contributions as an act of gratitude. These models capitalize on the fact "
+"that we are naturally inclined to give money for things we value in the "
+"marketplace, even in situations where we could find a way to get it for "
+"free."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2554
+msgid "Crowdfunding <emphasis>[RECIPROCITY-BASED]</emphasis>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2557
+msgid ""
+"Crowdfunding models are based on recouping the costs of creating and "
+"distributing content before the content is created. If the endeavor is Made "
+"with Creative Commons, anyone who wants the work in question could simply "
+"wait until it’s created and then access it for free. That means, for this "
+"model to work, people have to care about more than just receiving the "
+"work. They have to want you to succeed. Amanda Palmer credits the success of "
+"her crowdfunding on Kickstarter and Patreon to the years she spent building "
+"her community and creating a connection with her fans. She wrote in The Art "
+"of Asking, <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2575
+msgid ""
+"Other types of crowdfunding rely on a sense of responsibility that a "
+"particular community may feel. Knowledge Unlatched pools funds from major "
+"U.S. libraries to subsidize CC-licensed academic work that will be, by "
+"definition, available to everyone for free. Libraries with bigger budgets "
+"tend to give more out of a sense of commitment to the library community and "
+"to the idea of open access generally."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2586
+msgid "Making Human Connections"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2588
+msgid ""
+"Regardless of how they made money, in our interviews, we repeatedly heard "
+"language like <quote>persuading people to buy</quote> and <quote>inviting "
+"people to pay.</quote> We heard it even in connection with revenue streams "
+"that sit squarely within the market. Cory Doctorow told us, <quote>I have to "
+"convince my readers that the right thing to do is to pay me.</quote> The "
+"founders of the for-profit company Lumen Learning showed us the letter they "
+"send to those who opt not to pay for the services they provide in connection "
+"with their CC-licensed educational content. It isn’t a cease-and-desist "
+"letter; it’s an invitation to pay because it’s the right thing to do. This "
+"sort of behavior toward what could be considered nonpaying customers is "
+"largely unheard of in the traditional marketplace. But it seems to be part "
+"of the fabric of being Made with Creative Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2605
+msgid ""
+"Nearly every endeavor we profiled relied, at least in part, on people being "
+"invested in what they do. The closer the Creative Commons content is to "
+"being <quote>the product,</quote> the more pronounced this dynamic has to "
+"be. Rather than simply selling a product or service, they are making "
+"ideological, personal, and creative connections with the people who value "
+"what they do."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2613
+msgid ""
+"It took me a very long time to see how this avoidance of thinking about what "
+"they do in pure market terms was deeply tied to being Made with Creative "
+"Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2618
+msgid ""
+"I came to the research with preconceived notions about what Creative Commons "
+"is and what it means to be Made with Creative Commons. It turned out I was "
+"wrong on so many counts."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2623
+msgid ""
+"Obviously, being Made with Creative Commons means using Creative Commons "
+"licenses. That much I knew. But in our interviews, people spoke of so much "
+"more than copyright permissions when they explained how sharing fit into "
+"what they do. I was thinking about sharing too narrowly, and as a result, I "
+"was missing vast swaths of the meaning packed within Creative "
+"Commons. Rather than parsing the specific and narrow role of the copyright "
+"license in the equation, it is important not to disaggregate the rest of "
+"what comes with sharing. You have to widen the lens."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2634
+msgid ""
+"Being Made with Creative Commons is not just about the simple act of "
+"licensing a copyrighted work under a set of standardized terms, but also "
+"about community, social good, contributing ideas, expressing a value system, "
+"working together. These components of sharing are hard to cultivate if you "
+"think about what you do in purely market terms. Decent social behavior isn’t "
+"as intuitive when we are doing something that involves monetary exchange. It "
+"takes a conscious effort to foster the context for real sharing, based not "
+"strictly on impersonal market exchange, but on connections with the people "
+"with whom you share—connections with you, with your work, with your values, "
+"with each other."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2648
+msgid ""
+"The rest of this section will explore some of the common strategies that "
+"creators, companies, and organizations use to remind us that there are "
+"humans behind every creative endeavor. To remind us we have obligations to "
+"each other. To remind us what sharing really looks like."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2655
+msgid "Be human"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2659
+msgid ""
+"Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our "
+"Decisions, rev. ed. (New York: Harper Perennial, 2010), 109."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2657
+msgid ""
+"Humans are social animals, which means we are naturally inclined to treat "
+"each other well.<placeholder type=\"footnote\" id=\"0\"/> But the further "
+"removed we are from the person with whom we are interacting, the less caring "
+"our behavior will be. While the Internet has democratized cultural "
+"production, increased access to knowledge, and connected us in extraordinary "
+"ways, it can also make it easy forget we are dealing with another human."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2683
+msgid ""
+"Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get "
+"Discovered (New York: Workman, 2014), 93."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2670
+msgid ""
+"To counteract the anonymous and impersonal tendencies of how we operate "
+"online, individual creators and corporations who use Creative Commons "
+"licenses work to demonstrate their humanity. For some, this means pouring "
+"their lives out on the page. For others, it means showing their creative "
+"process, giving a glimpse into how they do what they do. As writer Austin "
+"Kleon wrote, <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.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2689
+msgid ""
+"A critical component to doing this effectively is not worrying about being a "
+"<quote>brand.</quote> That means not being afraid to be vulnerable. Amanda "
+"Palmer says, <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.</quote> Not everyone is suited to live life as an open book like "
+"Palmer, and that’s OK. There are a lot of ways to be human. The trick is "
+"just avoiding pretense and the temptation to artificially craft an "
+"image. People don’t just want the glossy version of you. They can’t relate "
+"to it, at least not in a meaningful way."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2710
+msgid "Kramer, Shareology, 76."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2702
+msgid ""
+"This advice is probably even more important for businesses and organizations "
+"because we instinctively conceive of them as nonhuman (though in the United "
+"States, corporations are people!). When corporations and organizations make "
+"the people behind them more apparent, it reminds people that they are "
+"dealing with something other than an anonymous corporate entity. In "
+"business-speak, this is about <quote>humanizing your interactions</quote> "
+"with the public.<placeholder type=\"footnote\" id=\"0\"/> But it can’t be a "
+"gimmick. You can’t fake being human."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2716
+msgid "Be open and accountable"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2725
+msgid "Palmer, Art of Asking, 252."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2730
+msgid "Whitehurst, Open Organization, 145."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2718
+msgid ""
+"Transparency helps people understand who you are and why you do what you do, "
+"but it also inspires trust. Max Temkin of Cards Against Humanity told us, "
+"<quote>One of the most surprising things you can do in capitalism is just be "
+"honest with people.</quote> That means sharing the good and the bad. As "
+"Amanda Palmer wrote, <quote>You can fix almost anything by authentically "
+"communicating.</quote><placeholder type=\"footnote\" id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2739
+msgid "Surowiecki, Wisdom of Crowds, 203."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2746
+msgid "Whitehurst, Open Organization, 80."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2734
+msgid ""
+"Being accountable does not mean operating on consensus. According to James "
+"Surowiecki, consensus-driven groups tend to resort to "
+"lowest-common-denominator solutions and avoid the sort of candid exchange of "
+"ideas that cultivates healthy collaboration.<placeholder type=\"footnote\" "
+"id=\"0\"/> Instead, it can be as simple as asking for input and then giving "
+"context and explanation about decisions you make, even if soliciting "
+"feedback and inviting discourse is time-consuming. If you don’t go through "
+"the effort to actually respond to the input you receive, it can be worse "
+"than not inviting input in the first place.<placeholder type=\"footnote\" "
+"id=\"1\"/> But when you get it right, it can guarantee the type of diversity "
+"of thought that helps endeavors excel. And it is another way to get people "
+"involved and invested in what you do."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2754
+msgid "Design for the good actors"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2758
+msgid "Bollier, Think Like a Commoner, 25."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2763
+msgid "Ibid., 31."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2756
+msgid ""
+"Traditional economics assumes people make decisions based solely on their "
+"own economic self-interest.<placeholder type=\"footnote\" id=\"0\"/> Any "
+"relatively introspective human knows this is a fiction—we are much more "
+"complicated beings with a whole range of needs, emotions, and "
+"motivations. In fact, we are hardwired to work together and ensure "
+"fairness.<placeholder type=\"footnote\" id=\"1\"/> Being Made with Creative "
+"Commons requires an assumption that people will largely act on those social "
+"motivations, motivations that would be considered <quote>irrational</quote> "
+"in an economic sense. As Knowledge Unlatched’s Pinter told us, <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.</quote> There "
+"will always be people who will act in purely selfish ways, but endeavors "
+"that are Made with Creative Commons design for the good actors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2782
+msgid "Shirky, Cognitive Surplus, 112."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2776
+msgid ""
+"The assumption that people will largely do the right thing can be a "
+"self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <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.</quote><placeholder "
+"type=\"footnote\" id=\"0\"/> When we acknowledge that people are often "
+"motivated by something other than financial self-interest, we design our "
+"endeavors in ways that encourage and accentuate our social instincts."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2800
+msgid "Surowiecki, Wisdom of Crowds, 124."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2789
+msgid ""
+"Rather than trying to exert control over people’s behavior, this mode of "
+"operating requires a certain level of trust. We might not realize it, but "
+"our daily lives are already built on trust. As Surowiecki wrote in The "
+"Wisdom of Crowds, <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.</quote> Instead, we largely trust "
+"that people—mostly strangers—will do what they are supposed to "
+"do.<placeholder type=\"footnote\" id=\"0\"/> And most often, they do."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2805
+msgid "Treat humans like, well, humans"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2810
+msgid "Kleon, Show Your Work, 127."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2818
+msgid "Palmer, Art of Asking, 121."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2807
+msgid ""
+"For creators, treating people as humans means not treating them like "
+"fans. As Kleon says, <quote>If you want fans, you have to be a fan "
+"first.</quote><placeholder type=\"footnote\" id=\"0\"/> Even if you happen "
+"to be one of the few to reach celebrity levels of fame, you are better off "
+"remembering that the people who follow your work are human, too. Cory "
+"Doctorow makes a point to answer every single email someone sends him. "
+"Amanda Palmer spends vast quantities of time going online to communicate "
+"with her public, making a point to listen just as much as she "
+"talks.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2822
+msgid ""
+"The same idea goes for businesses and organizations. Rather than automating "
+"its customer service, the music platform Tribe of Noise makes a point to "
+"ensure its employees have personal, one-on-one interaction with users."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2833
+msgid "Ariely, Predictably Irrational, 87."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2843
+msgid "Ibid., 105."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2828
+msgid ""
+"When we treat people like humans, they typically return the gift in "
+"kind. It’s called karma. But social relationships are fragile. It is all too "
+"easy to destroy them if you make the mistake of treating people as anonymous "
+"customers or free labor.<placeholder type=\"footnote\" id=\"0\"/> Platforms "
+"that rely on content from contributors are especially at risk of creating an "
+"exploitative dynamic. It is important to find ways to acknowledge and pay "
+"back the value that contributors generate. That does not mean you can solve "
+"this problem by simply paying contributors for their time or "
+"contributions. As soon as we introduce money into a relationship—at least "
+"when it takes a form of paying monetary value in exchange for other value—it "
+"can dramatically change the dynamic.<placeholder type=\"footnote\" "
+"id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2848
+msgid "State your principles and stick to them"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2850
+msgid ""
+"Being Made with Creative Commons makes a statement about who you are and "
+"what you do. The symbolism is powerful. Using Creative Commons licenses "
+"demonstrates adherence to a particular belief system, which generates "
+"goodwill and connects like-minded people to your work. Sometimes people will "
+"be drawn to endeavors that are Made with Creative Commons as a way of "
+"demonstrating their own commitment to the Creative Commons value system, "
+"akin to a political statement. Other times people will identify and feel "
+"connected with an endeavor’s separate social mission. Often both."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2862
+msgid ""
+"The expression of your values doesn’t have to be implicit. In fact, many of "
+"the people we interviewed talked about how important it is to state your "
+"guiding principles up front. Lumen Learning attributes a lot of their "
+"success to having been outspoken about the fundamental values that guide "
+"what they do. As a for-profit company, they think their expressed commitment "
+"to low-income students and open licensing has been critical to their "
+"credibility in the OER (open educational resources) community in which they "
+"operate."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2877
+msgid "Ibid., 36."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2873
+msgid ""
+"When your end goal is not about making a profit, people trust that you "
+"aren’t just trying to extract value for your own gain. People notice when "
+"you have a sense of purpose that transcends your own "
+"self-interest.<placeholder type=\"footnote\" id=\"0\"/> It attracts "
+"committed employees, motivates contributors, and builds trust."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2883
+msgid "Build a community"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2891
+msgid ""
+"Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media, "
+"2012), 36."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2885
+msgid ""
+"Endeavors that are Made with Creative Commons thrive when community is built "
+"around what they do. This may mean a community collaborating together to "
+"create something new, or it may simply be a collection of like-minded people "
+"who get to know each other and rally around common interests or "
+"beliefs.<placeholder type=\"footnote\" id=\"0\"/> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2907
+msgid "Palmer, Art of Asking, 98."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2914
+msgid "Whitehurst, Open Organization, 34."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2899
+msgid ""
+"To be sustainable, though, you have to work to nurture community. People "
+"have to care—about you and each other. One critical piece to this is "
+"fostering a sense of belonging. As Jono Bacon writes in The Art of "
+"Community, <quote>If there is no belonging, there is no community.</quote> "
+"For Amanda Palmer and her band, that meant creating an accepting and "
+"inclusive environment where people felt a part of their <quote>weird little "
+"family.</quote><placeholder type=\"footnote\" id=\"0\"/> For organizations "
+"like Red Hat, that means connecting around common beliefs or goals. As the "
+"CEO Jim Whitehurst wrote in The Open Organization, <quote>Tapping into "
+"passion is especially important in building the kinds of participative "
+"communities that drive open organizations.</quote><placeholder "
+"type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2926
+msgid "Surowiecki, Wisdom of Crowds, 200."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2930
+msgid "Bollier, Think Like a Commoner, 29."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2918
+msgid ""
+"Communities that collaborate together take deliberate planning. Surowiecki "
+"wrote, <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.</quote><placeholder type=\"footnote\" id=\"0\"/> Building true "
+"community requires giving people within the community the power to create or "
+"influence the rules that govern the community.<placeholder type=\"footnote\" "
+"id=\"1\"/> If the rules are created and imposed in a top-down manner, people "
+"feel like they don’t have a voice, which in turn leads to disengagement."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2936
+msgid ""
+"Community takes work, but working together, or even simply being connected "
+"around common interests or values, is in many ways what sharing is about."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2942
+msgid "Give more to the commons than you take"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2953
+msgid ""
+"Giana Eckhardt and Fleura Bardhi, <quote>The Sharing Economy Isn’t about "
+"Sharing at All,</quote> Harvard Business Review (website), January 28, 2015, "
+"<ulink "
+"url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2961
+msgid ""
+"Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with "
+"new epilogue (New York: Portfolio, 2012)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2944
+msgid ""
+"Conventional wisdom in the marketplace dictates that people should try to "
+"extract as much money as possible from resources. This is essentially what "
+"defines so much of the so-called sharing economy. In an article on the "
+"Harvard Business Review website called <quote>The Sharing Economy Isn’t "
+"about Sharing at All,</quote> authors Giana Eckhardt and Fleura Bardhi "
+"explained how the anonymous market-driven trans-actions in most "
+"sharing-economy businesses are purely about monetizing access.<placeholder "
+"type=\"footnote\" id=\"0\"/> 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.<placeholder "
+"type=\"footnote\" id=\"1\"/> That is not sharing."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2977
+msgid ""
+"David Lee, <quote>Inside Medium: An Attempt to Bring Civility to the "
+"Internet,</quote> BBC News, March 3, 2016, <ulink "
+"url=\"http://www.bbc.com/news/technology-35709680\"/>."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2967
+msgid ""
+"Sharing requires adding as much or more value to the ecosystem than you "
+"take. You can’t simply treat open content as a free pool of resources from "
+"which to extract value. Part of giving back to the ecosystem is contributing "
+"content back to the public under CC licenses. But it doesn’t have to just be "
+"about creating content; it can be about adding value in other ways. The "
+"social blogging platform Medium provides value to its community by "
+"incentivizing good behavior, and the result is an online space with "
+"remarkably high-quality user-generated content and limited "
+"trolling.<placeholder type=\"footnote\" id=\"0\"/> Opendesk contributes to "
+"its community by committing to help its designers make money, in part by "
+"actively curating and displaying their work on its platform effectively."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2986
+msgid ""
+"In all cases, it is important to openly acknowledge the amount of value you "
+"add versus that which you draw on that was created by others. Being "
+"transparent about this builds credibility and shows you are a contributing "
+"player in the commons. When your endeavor is making money, that also means "
+"apportioning financial compensation in a way that reflects the value "
+"contributed by others, providing more to contributors when the value they "
+"add outweighs the value provided by you."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2997
+msgid "Involve people in what you do"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3002
+msgid "Anderson, Makers, 148."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3006
+msgid "Shirky, Cognitive Surplus, 164."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3013 MadewithCreativeCommonsmostup-to-dateversion.xml:3077
+msgid "Whitehurst, foreword to Open Organization."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:2999
+msgid ""
+"Thanks to the Internet, we can tap into the talents and expertise of people "
+"around the globe. Chris Anderson calls it the Long Tail of "
+"talent.<placeholder type=\"footnote\" id=\"0\"/> But to make collaboration "
+"work, the group has to be effective at what it is doing, and the people "
+"within the group have to find satisfaction from being involved.<placeholder "
+"type=\"footnote\" id=\"1\"/> This is easier to facilitate for some types of "
+"creative work than it is for others. Groups tied together online collaborate "
+"best when people can work independently and asynchronously, and particularly "
+"for larger groups with loose ties, when contributors can make simple "
+"improvements without a particularly heavy time commitment.<placeholder "
+"type=\"footnote\" id=\"2\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3026
+msgid "Shirky, Cognitive Surplus, 144."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3017
+msgid ""
+"As the success of Wikipedia demonstrates, editing an online encyclopedia is "
+"exactly the sort of activity that is perfect for massive co-creation because "
+"small, incremental edits made by a diverse range of people acting on their "
+"own are immensely valuable in the aggregate. Those same sorts of small "
+"contributions would be less useful for many other types of creative work, "
+"and people are inherently less motivated to contribute when it doesn’t "
+"appear that their efforts will make much of a difference.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><quote><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3038
+msgid "Ibid., 154."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3050
+msgid "Palmer, Art of Asking, 163."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3030
+msgid ""
+"It is easy to romanticize the opportunities for global cocreation made "
+"possible by the Internet, and, indeed, the successful examples of it are "
+"truly incredible and inspiring. But in a wide range of "
+"circumstances—perhaps more often than not—community cocreation is not part "
+"of the equation, even within endeavors built on CC content. Shirky wrote, "
+"<quote>Sometimes the value of professional work trumps the value of amateur "
+"sharing or a feeling of belonging.<placeholder type=\"footnote\" id=\"0\"/> "
+"The textbook publisher OpenStax, which distributes all of its material for "
+"free under CC licensing, is an example of this dynamic. Rather than tapping "
+"the community to help cocreate their college textbooks, they invest a "
+"significant amount of time and money to develop professional content. For "
+"individual creators, where the creative work is the basis for what they do, "
+"community cocreation is only rarely a part of the picture. Even musician "
+"Amanda Palmer, who is famous for her openness and involvement with her fans, "
+"said,</quote>The only department where I wasn’t open to input was the "
+"writing, the music itself.\"<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3061
+msgid "Anderson, Makers, 173."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3068
+msgid ""
+"Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential "
+"within Us All (New York: Crown, 2013), 82."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3054
+msgid ""
+"While we tend to immediately think of cocreation and remixing when we hear "
+"the word collaboration, you can also involve others in your creative process "
+"in more informal ways, by sharing half-baked ideas and early drafts, and "
+"interacting with the public to incubate ideas and get feedback. So-called "
+"<quote>making in public</quote> opens the door to letting people feel more "
+"invested in your creative work.<placeholder type=\"footnote\" id=\"0\"/> And "
+"it shows a nonterritorial approach to ideas and information. Stephen Covey "
+"(of The 7 Habits of Highly Effective People fame) calls this the abundance "
+"mentality—treating ideas like something plentiful—and it can create an "
+"environment where collaboration flourishes.<placeholder type=\"footnote\" "
+"id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3085
+msgid ""
+"Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of "
+"Collaborative Consumption (New York: Harper Business, 2010), 188."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><sect1><sect2><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3074
+msgid ""
+"There is no one way to involve people in what you do. They key is finding a "
+"way for people to contribute on their terms, compelled by their own "
+"motivations.<placeholder type=\"footnote\" id=\"0\"/> What that looks like "
+"varies wildly depending on the project. Not every endeavor that is Made with "
+"Creative Commons can be Wikipedia, but every endeavor can find ways to "
+"invite the public into what they do. The goal for any form of collaboration "
+"is to move away from thinking of consumers as passive recipients of your "
+"content and transition them into active participants.<placeholder "
+"type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3094
+msgid "The Creative Commons Licenses"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3096
+msgid ""
+"All of the Creative Commons licenses grant a basic set of permissions. At a "
+"minimum, a CC- licensed work can be copied and shared in its original form "
+"for noncommercial purposes so long as attribution is given to the "
+"creator. There are six licenses in the CC license suite that build on that "
+"basic set of permissions, ranging from the most restrictive (allowing only "
+"those basic permissions to share unmodified copies for noncommercial "
+"purposes) to the most permissive (reusers can do anything they want with "
+"the work, even for commercial purposes, as long as they give the creator "
+"credit). The licenses are built on copyright and do not cover other types of "
+"rights that creators might have in their works, like patents or trademarks."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3110
+msgid "Here are the six licenses:"
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3115
+msgid "Pictures/10000201000001930000008D83BF99FC0821C489.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3113 MadewithCreativeCommonsmostup-to-dateversion.xml:3127 MadewithCreativeCommonsmostup-to-dateversion.xml:3143 MadewithCreativeCommonsmostup-to-dateversion.xml:3155 MadewithCreativeCommonsmostup-to-dateversion.xml:3168 MadewithCreativeCommonsmostup-to-dateversion.xml:3181 MadewithCreativeCommonsmostup-to-dateversion.xml:3201 MadewithCreativeCommonsmostup-to-dateversion.xml:3213
+msgid "<placeholder type=\"inlinemediaobject\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3120
+msgid ""
+"The Attribution license (CC BY) lets others distribute, remix, tweak, and "
+"build upon your work, even commercially, as long as they credit you for the "
+"original creation. This is the most accommodating of licenses "
+"offered. Recommended for maximum dissemination and use of licensed "
+"materials."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3129
+msgid "Pictures/10000201000001930000008DFD3592CB17C4EC38.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3134
+msgid ""
+"The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and "
+"build upon your work, even for commercial purposes, as long as they credit "
+"you and license their new creations under identical terms. This license is "
+"often compared to <quote>copyleft</quote> free and open source software "
+"licenses. All new works based on yours will carry the same license, so any "
+"derivatives will also allow commercial use."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3145
+msgid "Pictures/10000201000001930000008D254882DE24793FEA.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3150
+msgid ""
+"The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, "
+"commercial and noncommercial, as long as it is passed along unchanged with "
+"credit to you."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3157
+msgid "Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3162
+msgid ""
+"The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, "
+"and build upon your work noncommercially. Although their new works must also "
+"acknowledge you, they don’t have to license their derivative works on the "
+"same terms."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3170
+msgid "Pictures/10000201000001930000008D16DA603376395620.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3175
+msgid ""
+"The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others "
+"remix, tweak, and build upon your work noncommercially, as long as they "
+"credit you and license their new creations under the same terms."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3183
+msgid "Pictures/10000201000001930000008DC3FEF92B21310965.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3188
+msgid ""
+"The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most "
+"restrictive of our six main licenses, only allowing others to download your "
+"works and share them with others as long as they credit you, but they can’t "
+"change them or use them commercially."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3195
+msgid ""
+"In addition to these six licenses, Creative Commons has two public-domain "
+"tools—one for creators and the other for those who manage collections of "
+"existing works by authors whose terms of copyright have expired:"
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3203
+msgid "Pictures/10000201000001900000008DBE3414994CD27786.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3208
+msgid ""
+"CC0 enables authors and copyright owners to dedicate their works to the "
+"worldwide public domain (<quote>no rights reserved</quote>)."
+msgstr ""
+
+#. type: Attribute 'fileref' of: <book><part><chapter><para><inlinemediaobject><imageobject><imagedata>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3215
+msgid "Pictures/10000201000001900000008D36DCD649C5B1411F.png"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3220
+msgid ""
+"The Creative Commons Public Domain Mark facilitates the labeling and "
+"discovery of works that are already free of known copyright restrictions."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3225
+msgid ""
+"In our case studies, some use just one Creative Commons license, others use "
+"several. Attribution (found in thirteen case studies) and "
+"Attribution-ShareAlike (found in eight studies) were the most common, with "
+"the other licenses coming up in four or so case studies, including the "
+"public-domain tool CC0. Some of the organizations we profiled offer both "
+"digital content and software: by using open-source-software licenses for the "
+"software code and Creative Commons licenses for digital content, they "
+"amplify their involvement with and commitment to sharing."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3236
+msgid ""
+"There is a popular misconception that the three NonCommercial licenses "
+"offered by CC are the only options for those who want to make money off "
+"their work. As we hope this book makes clear, there are many ways to make "
+"endeavors that are Made with Creative Commons sustainable. Reserving "
+"commercial rights is only one of those ways. It is certainly true that a "
+"license that allows others to make commercial use of your work (CC BY, CC "
+"BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you "
+"apply an Attribution (CC BY) license to your book, you can’t force a film "
+"company to pay you royalties if they turn your book into a feature-length "
+"film, or prevent another company from selling physical copies of your work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3250
+msgid ""
+"The decision to choose a NonCommercial and/or NoDerivs license comes down to "
+"how much you need to retain control over the creative work. The "
+"NonCommercial and NoDerivs licenses are ways of reserving some significant "
+"portion of the exclusive bundle of rights that copyright grants to "
+"creators. In some cases, reserving those rights is important to how you "
+"bring in revenue. In other cases, creators use a NonCommercial or NoDerivs "
+"license because they can’t give up on the dream of hitting the creative "
+"jackpot. The music platform Tribe of Noise told us the NonCommercial "
+"licenses were popular among their users because people still held out the "
+"dream of having a major record label discover their work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3263
+msgid ""
+"Other times the decision to use a more restrictive license is due to a "
+"concern about the integrity of the work. For example, the nonprofit "
+"TeachAIDS uses a NoDerivs license for its educational materials because the "
+"medical subject matter is particularly important to get right."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3270
+msgid ""
+"There is no one right way. The NonCommercial and NoDerivs restrictions "
+"reflect the values and preferences of creators about how their creative work "
+"should be reused, just as the ShareAlike license reflects a different set of "
+"values, one that is less about controlling access to their own work and more "
+"about ensuring that whatever gets created with their work is available to "
+"all on the same terms. Since the beginning of the commons, people have been "
+"setting up structures that helped regulate the way in which shared resources "
+"were used. The CC licenses are an attempt to standardize norms across all "
+"domains."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3282
+msgid "Note"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3285
+msgid ""
+"For more about the licenses including examples and tips on sharing your work "
+"in the digital commons, start with the Creative Commons page called "
+"<quote>Share Your Work</quote> at <ulink "
+"url=\"http://creativecommons.org/share-your-work/\"/>."
+msgstr ""
+
+#. type: Content of: <book><part><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3293
+msgid "The Case Studies"
+msgstr ""
+
+#. type: Content of: <book><part><partintro><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3296
+msgid ""
+"The twenty-four case studies in this section were chosen from hundreds of "
+"nominations received from Kickstarter backers, Creative Commons staff, and "
+"the global Creative Commons community. We selected eighty potential "
+"candidates that represented a mix of industries, content types, revenue "
+"streams, and parts of the world. Twelve of the case studies were selected "
+"from that group based on votes cast by Kickstarter backers, and the other "
+"twelve were selected by us."
+msgstr ""
+
+#. type: Content of: <book><part><partintro><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3306
+msgid ""
+"We did background research and conducted interviews for each case study, "
+"based on the same set of basic questions about the endeavor. The idea for "
+"each case study is to tell the story about the endeavor and the role sharing "
+"plays within it, largely the way in which it was told to us by those we "
+"interviewed."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3314
+msgid "Arduino"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3317 MadewithCreativeCommonsmostup-to-dateversion.xml:4169 MadewithCreativeCommonsmostup-to-dateversion.xml:4605 MadewithCreativeCommonsmostup-to-dateversion.xml:4849 MadewithCreativeCommonsmostup-to-dateversion.xml:5131 MadewithCreativeCommonsmostup-to-dateversion.xml:5441 MadewithCreativeCommonsmostup-to-dateversion.xml:5954 MadewithCreativeCommonsmostup-to-dateversion.xml:6208 MadewithCreativeCommonsmostup-to-dateversion.xml:6529 MadewithCreativeCommonsmostup-to-dateversion.xml:6881 MadewithCreativeCommonsmostup-to-dateversion.xml:7426 MadewithCreativeCommonsmostup-to-dateversion.xml:7710 MadewithCreativeCommonsmostup-to-dateversion.xml:8182 MadewithCreativeCommonsmostup-to-dateversion.xml:8961
+msgid "Profile written by Paul Stacey"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3320
+msgid ""
+"Arduino is a for-profit open-source electronics platform and computer "
+"hardware and software company. Founded in 2005 in Italy."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3325
+msgid "<ulink url=\"http://www.arduino.cc\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3327
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
+"copies (sales of boards, modules, shields, and kits), licensing a trademark "
+"(fees paid by those who want to sell Arduino products using their name)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3332 MadewithCreativeCommonsmostup-to-dateversion.xml:4183
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 4, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3335
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: David Cuartielles and Tom "
+"Igoe, cofounders"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3340
+msgid ""
+"In 2005, at the Interaction Design Institute Ivrea in northern Italy, "
+"teachers and students needed an easy way to use electronics and programming "
+"to quickly prototype design ideas. As musicians, artists, and designers, "
+"they needed a platform that didn’t require engineering expertise. A group of "
+"teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe, "
+"Gianluca Martino, and David Mellis, built a platform that combined different "
+"open technologies. They called it Arduino. The platform integrated software, "
+"hardware, microcontrollers, and electronics. All aspects of the platform "
+"were openly licensed: hardware designs and documentation with the "
+"Attribution-Share-Alike license (CC BY-SA), and software with the GNU "
+"General Public License."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3354
+msgid ""
+"Arduino boards are able to read inputs—light on a sensor, a finger on a "
+"button, or a Twitter message—and turn it into outputs—activating a motor, "
+"turning on an LED, publishing something online. You send a set of "
+"instructions to the microcontroller on the board by using the Arduino "
+"programming language and Arduino software (based on a piece of open-source "
+"software called Processing, a programming tool used to make visual art)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3363
+msgid ""
+"<quote>The reasons for making Arduino open source are complicated,</quote> "
+"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 "
+"<quote>ended up strengthening the platform far beyond what we had even "
+"thought of building.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3372
+msgid ""
+"For Tom another factor was the impending closure of the Ivrea design "
+"school. He’d seen other organizations close their doors and all their work "
+"and research just disappear. Open-sourcing ensured that Arduino would "
+"outlive the Ivrea closure. Persistence is one thing Tom really likes about "
+"open source. If key people leave, or a company shuts down, an open-source "
+"product lives on. In Tom’s view, <quote>Open sourcing makes it easier to "
+"trust a product.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3382
+msgid ""
+"With the school closing, David and some of the other Arduino founders "
+"started a consulting firm and multidisciplinary design studio they called "
+"Tinker, in London. Tinker designed products and services that bridged the "
+"digital and the physical, and they taught people how to use new technologies "
+"in creative ways. Revenue from Tinker was invested in sustaining and "
+"enhancing Arduino."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3391
+msgid ""
+"For Tom, part of Arduino’s success is because the founders made themselves "
+"the first customer of their product. They made products they themselves "
+"personally wanted. It was a matter of <quote>I need this thing,</quote> not "
+"<quote>If we make this, we’ll make a lot of money.</quote> Tom notes that "
+"being your own first customer makes you more confident and convincing at "
+"selling your product."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3399
+msgid ""
+"Arduino’s business model has evolved over time—and Tom says model is a "
+"grandiose term for it. Originally, they just wanted to make a few boards and "
+"get them out into the world. They started out with two hundred boards, sold "
+"them, and made a little profit. They used that to make another thousand, "
+"which generated enough revenue to make five thousand. In the early days, "
+"they simply tried to generate enough funding to keep the venture going day "
+"to day. When they hit the ten thousand mark, they started to think about "
+"Arduino as a company. By then it was clear you can open-source the design "
+"but still manufacture the physical product. As long as it’s a quality "
+"product and sold at a reasonable price, people will buy it."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3413
+msgid ""
+"Arduino now has a worldwide community of makers—students, hobbyists, "
+"artists, programmers, and professionals. Arduino provides a wiki called "
+"Playground (a wiki is where all users can edit and add pages, contributing "
+"to and benefiting from collective research). People share code, circuit "
+"diagrams, tutorials, DIY instructions, and tips and tricks, and show off "
+"their projects. In addition, there’s a multilanguage discussion forum where "
+"users can get help using Arduino, discuss topics like robotics, and make "
+"suggestions for new Arduino product designs. As of January 2017, 324,928 "
+"members had made 2,989,489 posts on 379,044 topics. The worldwide community "
+"of makers has contributed an incredible amount of accessible knowledge "
+"helpful to novices and experts alike."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3427
+msgid ""
+"Transitioning Arduino from a project to a company was a big step. Other "
+"businesses who made boards were charging a lot of money for them. Arduino "
+"wanted to make theirs available at a low price to people across a wide range "
+"of industries. As with any business, pricing was key. They wanted prices "
+"that would get lots of customers but were also high enough to sustain the "
+"business."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3435
+msgid ""
+"For a business, getting to the end of the year and not being in the red is a "
+"success. Arduino may have an open-licensing strategy, but they are still a "
+"business, and all the things needed to successfully run one still "
+"apply. David says, <quote>If you do those other things well, sharing things "
+"in an open-source way can only help you.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3443
+msgid ""
+"While openly licensing the designs, documentation, and software ensures "
+"longevity, it does have risks. There’s a possibility that others will create "
+"knockoffs, clones, and copies. The CC BY-SA license means anyone can produce "
+"copies of their boards, redesign them, and even sell boards that copy the "
+"design. They don’t have to pay a license fee to Arduino or even ask "
+"permission. However, if they republish the design of the board, they have to "
+"give attribution to Arduino. If they change the design, they must release "
+"the new design using the same Creative Commons license to ensure that the "
+"new version is equally free and open."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3455
+msgid ""
+"Tom and David say that a lot of people have built companies off of Arduino, "
+"with dozens of Arduino derivatives out there. But in contrast to closed "
+"business models that can wring money out of the system over many years "
+"because there is no competition, Arduino founders saw competition as keeping "
+"them honest, and aimed for an environment of collaboration. A benefit of "
+"open over closed is the many new ideas and designs others have contributed "
+"back to the Arduino ecosystem, ideas and designs that Arduino and the "
+"Arduino community use and incorporate into new products."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3475
+msgid "<ulink url=\"http://www.arduino.cc/en/Main/Products\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3466
+msgid ""
+"Over time, the range of Arduino products has diversified, changing and "
+"adapting to new needs and challenges. In addition to simple entry level "
+"boards, new products have been added ranging from enhanced boards that "
+"provide advanced functionality and faster performance, to boards for "
+"creating Internet of Things applications, wearables, and 3-D printing. The "
+"full range of official Arduino products includes boards, modules (a smaller "
+"form-factor of classic boards), shields (elements that can be plugged onto a "
+"board to give it extra features), and kits.<placeholder type=\"footnote\" "
+"id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3478
+msgid ""
+"Arduino’s focus is on high-quality boards, well-designed support materials, "
+"and the building of community; this focus is one of the keys to their "
+"success. And being open lets you build a real community. David says "
+"Arduino’s community is a big strength and something that really does "
+"matter—in his words, <quote>It’s good business.</quote> When they started, "
+"the Arduino team had almost entirely no idea how to build a community. They "
+"started by conducting numerous workshops, working directly with people using "
+"the platform to make sure the hardware and software worked the way it was "
+"meant to work and solved people’s problems. The community grew organically "
+"from there."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3491
+msgid ""
+"A key decision for Arduino was trademarking the name. The founders needed a "
+"way to guarantee to people that they were buying a quality product from a "
+"company committed to open-source values and knowledge sharing. Trademarking "
+"the Arduino name and logo expresses that guarantee and helps customers "
+"easily identify their products, and the products sanctioned by them. If "
+"others want to sell boards using the Arduino name and logo, they have to pay "
+"a small fee to Arduino. This allows Arduino to scale up manufacturing and "
+"distribution while at the same time ensuring the Arduino brand isn’t hurt by "
+"low-quality copies."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3503
+msgid ""
+"Current official manufacturers are Smart Projects in Italy, SparkFun in the "
+"United States, and Dog Hunter in Taiwan/China. These are the only "
+"manufacturers that are allowed to use the Arduino logo on their "
+"boards. Trademarking their brand provided the founders with a way to protect "
+"Arduino, build it out further, and fund software and tutorial "
+"development. The trademark-licensing fee for the brand became Arduino’s "
+"revenue-generating model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3513
+msgid ""
+"How far to open things up wasn’t always something the founders perfectly "
+"agreed on. David, who was always one to advocate for opening things up more, "
+"had some fears about protecting the Arduino name, thinking people would be "
+"mad if they policed their brand. There was some early backlash with a "
+"project called Freeduino, but overall, trademarking and branding has been a "
+"critical tool for Arduino."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3534
+msgid "<ulink url=\"http://blog.arduino.cc/2013/07/10/send-in-the-clones/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3522
+msgid ""
+"David encourages people and businesses to start by sharing everything as a "
+"default strategy, and then think about whether there is anything that really "
+"needs to be protected and why. There are lots of good reasons to not open up "
+"certain elements. This strategy of sharing everything is certainly the "
+"complete opposite of how today’s world operates, where nothing is "
+"shared. Tom suggests a business formalize which elements are based on open "
+"sharing and which are closed. An Arduino blog post from 2013 entitled "
+"<quote>Send In the Clones,</quote> 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.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3537
+msgid ""
+"For David, an exciting aspect of Arduino is the way lots of people can use "
+"it to adapt technology in many different ways. Technology is always making "
+"more things possible but doesn’t always focus on making it easy to use and "
+"adapt. This is where Arduino steps in. Arduino’s goal is <quote>making "
+"things that help other people make things.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3545
+msgid ""
+"Arduino has been hugely successful in making technology and electronics "
+"reach a larger audience. For Tom, Arduino has been about <quote>the "
+"democratization of technology.</quote> Tom sees Arduino’s open-source "
+"strategy as helping the world get over the idea that technology has to be "
+"protected. Tom says, <quote>Technology is a literacy everyone should "
+"learn.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3553
+msgid ""
+"Ultimately, for Arduino, going open has been good business—good for product "
+"development, good for distribution, good for pricing, and good for "
+"manufacturing."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3559
+msgid "Ártica"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><attribution>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3562 MadewithCreativeCommonsmostup-to-dateversion.xml:3752 MadewithCreativeCommonsmostup-to-dateversion.xml:3948 MadewithCreativeCommonsmostup-to-dateversion.xml:4372 MadewithCreativeCommonsmostup-to-dateversion.xml:5745 MadewithCreativeCommonsmostup-to-dateversion.xml:7196 MadewithCreativeCommonsmostup-to-dateversion.xml:7979 MadewithCreativeCommonsmostup-to-dateversion.xml:8507 MadewithCreativeCommonsmostup-to-dateversion.xml:8729 MadewithCreativeCommonsmostup-to-dateversion.xml:9199
+msgid "Profile written by Sarah Hinchliff Pearson"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3565
+msgid ""
+"Ártica provides online courses and consulting services focused on how to use "
+"digital technology to share knowledge and enable collaboration in arts and "
+"culture. Founded in 2011 in Uruguay."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3570
+msgid "<ulink url=\"http://www.articaonline.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3572
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
+"services"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3575
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 9, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3577
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: Mariana Fossatti and "
+"Jorge Gemetto, cofounders"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3582
+msgid ""
+"The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the "
+"ultimate example of DIY. Not only are they successful entrepreneurs, the "
+"niche in which their small business operates is essentially one they built "
+"themselves."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3588
+msgid "Their dream jobs didn’t exist, so they created them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3591
+msgid ""
+"In 2011, Mariana was a sociologist working for an international organization "
+"to develop research and online education about rural-development "
+"issues. Jorge was a psychologist, also working in online education. Both "
+"were bloggers and heavy users of social media, and both had a passion for "
+"arts and culture. They decided to take their skills in digital technology "
+"and online learning and apply them to a topic area they loved. They launched "
+"Ártica, an online business that provides education and consulting for people "
+"and institutions creating artistic and cultural projects on the Internet."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3603
+msgid ""
+"Ártica feels like a uniquely twenty-first century business. The small "
+"company has a global online presence with no physical offices. Jorge and "
+"Mariana live in Uruguay, and the other two full-time employees, who Jorge "
+"and Mariana have never actually met in person, live in Spain. They started "
+"by creating a MOOC (massive open online course) about remix culture and "
+"collaboration in the arts, which gave them a direct way to reach an "
+"international audience, attracting students from across Latin America and "
+"Spain. In other words, it is the classic Internet story of being able to "
+"directly tap into an audience without relying upon gatekeepers or "
+"intermediaries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3616
+msgid ""
+"Ártica offers personalized education and consulting services, and helps "
+"clients implement projects. All of these services are customized. They call "
+"it an <quote>artisan</quote> process because of the time and effort it takes "
+"to adapt their work for the particular needs of students and "
+"clients. <quote>Each student or client is paying for a specific solution to "
+"his or her problems and questions,</quote> Mariana said. Rather than sell "
+"access to their content, they provide it for free and charge for the "
+"personalized services."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3627
+msgid ""
+"When they started, they offered a smaller number of courses designed to "
+"attract large audiences. <quote>Over the years, we realized that online "
+"communities are more specific than we thought,</quote> Mariana said. Ártica "
+"now provides more options for classes and has lower enrollment in each "
+"course. This means they can provide more attention to individual students "
+"and offer classes on more specialized topics."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3636
+msgid ""
+"Online courses are their biggest revenue stream, but they also do more than "
+"a dozen consulting projects each year, ranging from digitization to event "
+"planning to marketing campaigns. Some are significant in scope, particularly "
+"when they work with cultural institutions, and some are smaller projects "
+"commissioned by individual artists."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3644
+msgid ""
+"Ártica also seeks out public and private funding for specific "
+"projects. Sometimes, even if they are unsuccessful in subsidizing a project "
+"like a new course or e-book, they will go ahead because they believe in "
+"it. They take the stance that every new project leads them to something new, "
+"every new resource they create opens new doors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3652
+msgid ""
+"Ártica relies heavily on their free Creative Commons–licensed content to "
+"attract new students and clients. Everything they create—online education, "
+"blog posts, videos—is published under an Attribution-ShareAlike license (CC "
+"BY-SA). <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,</quote> Jorge said. For them, giving others the right to reuse "
+"and remix their content is a fundamental value. <quote>How can you offer an "
+"online educational service without giving permission to download, make and "
+"keep copies, or print the educational resources?</quote> Jorge "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3668
+msgid ""
+"They also believe sharing their ideas and expertise openly helps them build "
+"their reputation and visibility. People often share and cite their work. A "
+"few years ago, a publisher even picked up one of their e-books and "
+"distributed printed copies. Ártica views reuse of their work as a way to "
+"open up new opportunities for their business."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3676
+msgid ""
+"This belief that openness creates new opportunities reflects another "
+"belief—in serendipity. When describing their process for creating content, "
+"they spoke of all of the spontaneous and organic ways they find "
+"inspiration. <quote>Sometimes, the collaborative process starts with a "
+"conversation between us, or with friends from other projects,</quote> Jorge "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3687
+msgid ""
+"Rather than planning their work in advance, they let their creative process "
+"be dynamic. <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,</quote> Jorge said. They share early and often, and they adjust "
+"based on what they learn, always exploring and testing new ideas and ways of "
+"operating. In many ways, for them, the process is just as important as the "
+"final product."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3697
+msgid ""
+"People and relationships are also just as important, sometimes "
+"more. <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,</quote> Mariana said. <quote>Materials and content "
+"are fluid. The important thing is the relationships.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3705
+msgid ""
+"Ártica believes in the power of the network. They seek to make connections "
+"with people and institutions across the globe so they can learn from them "
+"and share their knowledge."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3710
+msgid ""
+"At the core of everything Ártica does is a set of values. <quote>Good "
+"content is not enough,</quote> Jorge said. <quote>We also think that it is "
+"very important to take a stand for some things in the cultural "
+"sector.</quote> Mariana and Jorge are activists. They defend free culture "
+"(the movement promoting the freedom to modify and distribute creative work) "
+"and work to demonstrate the intersection between free culture and other "
+"social-justice movements. Their efforts to involve people in their work and "
+"enable artists and cultural institutions to better use technology are all "
+"tied closely to their belief system. Ultimately, what drives their work is "
+"a mission to democratize art and culture."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3724
+msgid ""
+"Of course, Ártica also has to make enough money to cover its expenses. Human "
+"resources are, by far, their biggest expense. They tap a network of "
+"collaborators on a case-by-case basis and hire contractors for specific "
+"projects. Whenever possible, they draw from artistic and cultural resources "
+"in the commons, and they rely on free software. Their operation is small, "
+"efficient, and sustainable, and because of that, it is a success."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3732
+msgid ""
+"<quote>There are lots of people offering online courses,</quote> Jorge "
+"said. <quote>But it is easy to differentiate us. We have an approach that is "
+"very specific and personal.</quote> Ártica’s model is rooted in the personal "
+"at every level. For Mariana and Jorge, success means doing what brings them "
+"personal meaning and purpose, and doing it sustainably and collaboratively."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3740
+msgid ""
+"In their work with younger artists, Mariana and Jorge try to emphasize that "
+"this model of success is just as valuable as the picture of success we get "
+"from the media. <quote>If they seek only the traditional type of success, "
+"they will get frustrated,</quote> Mariana said. <quote>We try to show them "
+"another image of what it looks like.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3749
+msgid "Blender Institute"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3755
+msgid ""
+"The Blender Institute is an animation studio that creates 3-D films using "
+"Blender software. Founded in 2006 in the Netherlands."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3760
+msgid "<ulink url=\"http://www.blender.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3762
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
+"(subscription-based), charging for physical copies, selling merchandise"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3766
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 8, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3768
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: Francesco Siddi, "
+"production coordinator"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3773
+msgid ""
+"For Ton Roosendaal, the creator of Blender software and its related "
+"entities, sharing is practical. Making their 3-D content creation software "
+"available under a free software license has been integral to its development "
+"and popularity. Using that software to make movies that were licensed with "
+"Creative Commons pushed that development even further. Sharing enables "
+"people to participate and to interact with and build upon the technology and "
+"content they create in a way that benefits Blender and its community in "
+"concrete ways."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3784
+msgid ""
+"Each open-movie project Blender runs produces a host of openly licensed "
+"outputs, not just the final film itself but all of the source material as "
+"well. The creative process also enhances the development of the Blender "
+"software because the technical team responds directly to the needs of the "
+"film production team, creating tools and features that make their lives "
+"easier. And, of course, each project involves a long, rewarding process for "
+"the creative and technical community working together."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3794
+msgid ""
+"Rather than just talking about the theoretical benefits of sharing and free "
+"culture, Ton is very much about doing and making free culture. Blender’s "
+"production coordinator Francesco Siddi told us, <quote>Ton believes if you "
+"don’t make content using your tools, then you’re not doing anything.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3801
+msgid ""
+"Blender’s history begins in the late 1990s, when Ton created the Blender "
+"software. Originally, the software was an in-house resource for his "
+"animation studio based in the Netherlands. Investors became interested in "
+"the software, so he began marketing the software to the public, offering a "
+"free version in addition to a paid version. Sales were disappointing, and "
+"his investors gave up on the endeavor in the early 2000s. He made a deal "
+"with investors—if he could raise enough money, he could then make the "
+"Blender software available under the GNU General Public License."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3812
+msgid ""
+"This was long before Kickstarter and other online crowdfunding sites "
+"existed, but Ton ran his own version of a crowdfunding campaign and quickly "
+"raised the money he needed. The Blender software became freely available for "
+"anyone to use. Simply applying the General Public License to the software, "
+"however, was not enough to create a thriving community around it. Francesco "
+"told us, <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3825
+msgid ""
+"Like any successful free and open-source software project, Blender developed "
+"quickly because the community could make fixes and "
+"improvements. <quote>Software should be free and open to hack,</quote> "
+"Francesco said. <quote>Otherwise, everyone is doing the same thing in the "
+"dark for ten years.</quote> Ton set up the Blender Foundation to oversee and "
+"steward the software development and maintenance."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3834
+msgid ""
+"After a few years, Ton began looking for new ways to push development of the "
+"software. He came up with the idea of creating CC-licensed films using the "
+"Blender software. Ton put a call online for all interested and skilled "
+"artists. Francesco said the idea was to get the best artists available, put "
+"them in a building together with the best developers, and have them work "
+"together. They would not only produce high-quality openly licensed content, "
+"they would improve the Blender software in the process."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3844
+msgid ""
+"They turned to crowdfunding to subsidize the costs of the project. They had "
+"about twenty people working full-time for six to ten months, so the costs "
+"were significant. Francesco said that when their crowdfunding campaign "
+"succeeded, people were astounded. <quote>The idea that making money was "
+"possible by producing CC-licensed material was mind-blowing to "
+"people,</quote> he said. <quote>They were like, <quote>I have to see it to "
+"believe it.</quote></quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3854
+msgid ""
+"The first film, which was released in 2006, was an experiment. It was so "
+"successful that Ton decided to set up the Blender Institute, an entity "
+"dedicated to hosting open-movie projects. The Blender Institute’s next "
+"project was an even bigger success. The film, Big Buck Bunny, went viral, "
+"and its animated characters were picked up by marketers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3862
+msgid ""
+"Francesco said that, over time, the Blender Institute projects have gotten "
+"bigger and more prominent. That means the filmmaking process has become more "
+"complex, combining technical experts and artists who focus on "
+"storytelling. Francesco says the process is almost on an industrial scale "
+"because of the number of moving parts. This requires a lot of specialized "
+"assistance, but the Blender Institute has no problem finding the talent it "
+"needs to help on projects. <quote>Blender hardly does any recruiting for "
+"film projects because the talent emerges naturally,</quote> Francesco "
+"said. <quote>So many people want to work with us, and we can’t always hire "
+"them because of budget constraints.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3875
+msgid ""
+"Blender has had a lot of success raising money from its community over the "
+"years. In many ways, the pitch has gotten easier to make. Not only is "
+"crowdfunding simply more familiar to the public, but people know and trust "
+"Blender to deliver, and Ton has developed a reputation as an effective "
+"community leader and visionary for their work. <quote>There is a whole "
+"community who sees and understands the benefit of these projects,</quote> "
+"Francesco said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3884
+msgid ""
+"While these benefits of each open-movie project make a compelling pitch for "
+"crowdfunding campaigns, Francesco told us the Blender Institute has found "
+"some limitations in the standard crowdfunding model where you propose a "
+"specific project and ask for funding. <quote>Once a project is over, "
+"everyone goes home,</quote> he said. <quote>It is great fun, but then it "
+"ends. That is a problem.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3893
+msgid ""
+"To make their work more sustainable, they needed a way to receive ongoing "
+"support rather than on a project-by-project basis. Their solution is Blender "
+"Cloud, a subscription-style crowdfunding model akin to the online "
+"crowdfunding platform, Patreon. For about ten euros each month, subscribers "
+"get access to download everything the Blender Institute produces—software, "
+"art, training, and more. All of the assets are available under an "
+"Attribution license (CC BY) or placed in the public domain (CC0), but they "
+"are initially made available only to subscribers. Blender Cloud enables "
+"subscribers to follow Blender’s movie projects as they develop, sharing "
+"detailed information and content used in the creative process. Blender Cloud "
+"also has extensive training materials and libraries of characters and other "
+"assets used in various projects."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3908
+msgid ""
+"The continuous financial support provided by Blender Cloud subsidizes five "
+"to six full-time employees at the Blender Institute. Francesco says their "
+"goal is to grow their subscriber base. <quote>This is our freedom,</quote> "
+"he told us, <quote>and for artists, freedom is everything.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3915
+msgid ""
+"Blender Cloud is the primary revenue stream of the Blender Institute. The "
+"Blender Foundation is funded primarily by donations, and that money goes "
+"toward software development and maintenance. The revenue streams of the "
+"Institute and Foundation are deliberately kept separate. Blender also has "
+"other revenue streams, such as the Blender Store, where people can purchase "
+"DVDs, T-shirts, and other Blender products."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3924
+msgid ""
+"Ton has worked on projects relating to his Blender software for nearly "
+"twenty years. Throughout most of that time, he has been committed to making "
+"the software and the content produced with the software free and "
+"open. Selling a license has never been part of the business model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3931
+msgid ""
+"Since 2006, he has been making films available along with all of their "
+"source material. He says he has hardly ever seen people stepping into "
+"Blender’s shoes and trying to make money off of their content. Ton believes "
+"this is because the true value of what they do is in the creative and "
+"production process. <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,</quote> Ton said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3941
+msgid "For Ton and Blender, it all comes back to doing."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3945
+msgid "Cards Against Humanity"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3951
+msgid ""
+"Cards Against Humanity is a private, for-profit company that makes a popular "
+"party game by the same name. Founded in 2011 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3956
+msgid "<ulink url=\"http://www.cardsagainsthumanity.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3958
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
+"copies"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3961
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 3, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3964
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Max Temkin, cofounder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3969
+msgid ""
+"If you ask cofounder Max Temkin, there is nothing particularly interesting "
+"about the Cards Against Humanity business model. <quote>We make a "
+"product. We sell it for money. Then we spend less money than we "
+"make,</quote> Max said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3975
+msgid ""
+"He is right. Cards Against Humanity is a simple party game, modeled after "
+"the game Apples to Apples. To play, one player asks a question or "
+"fill-in-the-blank statement from a black card, and the other players submit "
+"their funniest white card in response. The catch is that all of the cards "
+"are filled with crude, gruesome, and otherwise awful things. For the right "
+"kind of people (<quote>horrible people,</quote> according to Cards Against "
+"Humanity advertising), this makes for a hilarious and fun game."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3985
+msgid ""
+"The revenue model is simple. Physical copies of the game are sold for a "
+"profit. And it works. At the time of this writing, Cards Against Humanity is "
+"the number-one best-selling item out of all toys and games on Amazon. There "
+"are official expansion packs available, and several official themed packs "
+"and international editions as well."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3993
+msgid ""
+"But Cards Against Humanity is also available for free. Anyone can download a "
+"digital version of the game on the Cards Against Humanity website. More than "
+"one million people have downloaded the game since the company began tracking "
+"the numbers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:3999
+msgid ""
+"The game is available under an Attribution-NonCommercial-ShareAlike license "
+"(CC BY-NC-SA). That means, in addition to copying the game, anyone can "
+"create new versions of the game as long as they make it available under the "
+"same noncommercial terms. The ability to adapt the game is like an entire "
+"new game unto itself."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4007
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4012
+msgid ""
+"Their success is not the result of a grand plan. Instead, Cards Against "
+"Humanity was the last in a long line of games and comedy projects that Max "
+"Temkin and his friends put together for their own amusement. As Max tells "
+"the story, they made the game so they could play it themselves on New Year’s "
+"Eve because they were too nerdy to be invited to other parties. The game was "
+"a hit, so they decided to put it up online as a free PDF. People started "
+"asking if they could pay to have the game printed for them, and eventually "
+"they decided to run a Kickstarter to fund the printing. They set their "
+"Kickstarter goal at $4,000—and raised $15,000. The game was officially "
+"released in May 2011."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4025
+msgid ""
+"The game caught on quickly, and it has only grown more popular over "
+"time. Max says the eight founders never had a meeting where they decided to "
+"make it an ongoing business. <quote>It kind of just happened,</quote> he "
+"said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4031
+msgid ""
+"But this tale of a <quote>happy accident</quote> 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 <quote>Your dumb questions.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4037
+msgid ""
+"Like most quality satire, however, there is more to the joke than vulgarity "
+"and shock value. The company’s marketing efforts around Black Friday "
+"illustrate this particularly well. For those outside the United States, "
+"Black Friday is the term for the day after the Thanksgiving holiday, the "
+"biggest shopping day of the year. It is an incredibly important day for "
+"Cards Against Humanity, like it is for all U.S. retailers. Max said they "
+"struggled with what to do on Black Friday because they didn’t want to "
+"support what he called the <quote>orgy of consumerism</quote> the day has "
+"become, particularly since it follows a day that is about being grateful for "
+"what you have. In 2013, after deliberating, they decided to have an "
+"Everything Costs $5 More sale."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4050
+msgid ""
+"<quote>We sweated it out the night before Black Friday, wondering if our "
+"fans were going to hate us for it,</quote> he said. <quote>But it made us "
+"laugh so we went with it. People totally caught the joke.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4056
+msgid ""
+"This sort of bold transparency delights the media, but more importantly, it "
+"engages their fans. <quote>One of the most surprising things you can do in "
+"capitalism is just be honest with people,</quote> Max said. <quote>It shocks "
+"people that there is transparency about what you are doing.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4063
+msgid ""
+"Max also likened it to a grand improv scene. <quote>If we do something a "
+"little subversive and unexpected, the public wants to be a part of the "
+"joke.</quote> One year they did a Give Cards Against Humanity $5 event, "
+"where people literally paid them five dollars for no reason. Their fans "
+"wanted to make the joke funnier by making it successful. They made $70,000 "
+"in a single day."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4071
+msgid ""
+"This remarkable trust they have in their customers is what inspired their "
+"decision to apply a Creative Commons license to the game. Trusting your "
+"customers to reuse and remix your work requires a leap of faith. Cards "
+"Against Humanity obviously isn’t afraid of doing the unexpected, but there "
+"are lines even they do not want to cross. Before applying the license, Max "
+"said they worried that some fans would adapt the game to include all of the "
+"jokes they intentionally never made because they crossed that "
+"line. <quote>It happened, and the world didn’t end,</quote> Max "
+"said. <quote>If that is the worst cost of using CC, I’d pay that a hundred "
+"times over because there are so many benefits.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4084
+msgid ""
+"Any successful product inspires its biggest fans to create remixes of it, "
+"but unsanctioned adaptations are more likely to fly under the radar. The "
+"Creative Commons license gives fans of Cards Against Humanity the freedom to "
+"run with the game and copy, adapt, and promote their creations openly. Today "
+"there are thousands of fan expansions of the game."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4092
+msgid ""
+"Max said, <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4099
+msgid ""
+"Of course, there are limits to what the company allows its customers to do "
+"with the game. They chose the Attribution-NonCommercial-ShareAlike license "
+"because it restricts people from using the game to make money. It also "
+"requires that adaptations of the game be made available under the same "
+"licensing terms if they are shared publicly. Cards Against Humanity also "
+"polices its brand. <quote>We feel like we’re the only ones who can use our "
+"brand and our game and make money off of it,</quote> Max said. About 99.9 "
+"percent of the time, they just send an email to those making commercial use "
+"of the game, and that is the end of it. There have only been a handful of "
+"instances where they had to get a lawyer involved."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4113
+msgid ""
+"Just as there is more than meets the eye to the Cards Against Humanity "
+"business model, the same can be said of the game itself. To be playable, "
+"every white card has to work syntactically with enough black cards. The "
+"eight creators invest an incredible amount of work into creating new cards "
+"for the game. <quote>We have daylong arguments about commas,</quote> Max "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4124
+msgid ""
+"That means cocreation with their fans really doesn’t work. The company has a "
+"submission mechanism on their website, and they get thousands of "
+"suggestions, but it is very rare that a submitted card is adopted. Instead, "
+"the eight initial creators remain the primary authors of expansion decks and "
+"other new products released by the company. Interestingly, the creativity of "
+"their customer base is really only an asset to the company once their "
+"original work is created and published when people make their own "
+"adaptations of the game."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4135
+msgid ""
+"For all of their success, the creators of Cards Against Humanity are only "
+"partially motivated by money. Max says they have always been interested in "
+"the Walt Disney philosophy of financial success. <quote>We don’t make jokes "
+"and games to make money—we make money so we can make more jokes and "
+"games,</quote> he said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4142
+msgid ""
+"In fact, the company has given more than $4 million to various charities and "
+"causes. <quote>Cards is not our life plan,</quote> Max said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4151
+msgid ""
+"Seeing money as fuel rather than the ultimate goal is what has enabled them "
+"to embrace Creative Commons licensing without reservation. CC licensing "
+"ended up being a savvy marketing move for the company, but nonetheless, "
+"giving up exclusive control of your work necessarily means giving up some "
+"opportunities to extract more money from customers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4158
+msgid ""
+"<quote>It’s not right for everyone to release everything under CC "
+"licensing,</quote> Max said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4166
+msgid "The Conversation"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4172
+msgid ""
+"The Conversation is an independent source of news, sourced from the academic "
+"and research community and delivered direct to the public over the "
+"Internet. Founded in 2011 in Australia."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4177
+msgid "<ulink url=\"http://theconversation.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4179
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
+"creators (universities pay membership fees to have their faculties serve as "
+"writers), grant funding"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4186
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Andrew Jaspan, founder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4191
+msgid ""
+"Andrew Jaspan spent years as an editor of major newspapers including the "
+"Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne, "
+"Australia. He experienced firsthand the decline of newspapers, including the "
+"collapse of revenues, layoffs, and the constant pressure to reduce "
+"costs. After he left the Age in 2005, his concern for the future journalism "
+"didn’t go away. Andrew made a commitment to come up with an alternative "
+"model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4201
+msgid ""
+"Around the time he left his job as editor of the Melbourne Age, Andrew "
+"wondered where citizens would get news grounded in fact and evidence rather "
+"than opinion or ideology. He believed there was still an appetite for "
+"journalism with depth and substance but was concerned about the increasing "
+"focus on the sensational and sexy."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4208
+msgid ""
+"While at the Age, he’d become friends with a vice-chancellor of a university "
+"in Melbourne who encouraged him to talk to smart people across campus—an "
+"astrophysicist, a Nobel laureate, earth scientists, economists . . . These "
+"were the kind of smart people he wished were more involved in informing the "
+"world about what is going on and correcting the errors that appear in "
+"media. However, they were reluctant to engage with mass media. Often, "
+"journalists didn’t understand what they said, or unilaterally chose what "
+"aspect of a story to tell, putting out a version that these people felt was "
+"wrong or mischaracterized. Newspapers want to attract a mass "
+"audience. Scholars want to communicate serious news, findings, and "
+"insights. It’s not a perfect match. Universities are massive repositories of "
+"knowledge, research, wisdom, and expertise. But a lot of that stays behind a "
+"wall of their own making—there are the walled garden and ivory tower "
+"metaphors, and in more literal terms, the paywall. Broadly speaking, "
+"universities are part of society but disconnected from it. They are an "
+"enormous public resource but not that good at presenting their expertise to "
+"the wider public."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4229
+msgid ""
+"Andrew believed he could to help connect academics back into the public "
+"arena, and maybe help society find solutions to big problems. He thought "
+"about pairing professional editors with university and research experts, "
+"working one-on-one to refine everything from story structure to headline, "
+"captions, and quotes. The editors could help turn something that is "
+"academic into something understandable and readable. And this would be a key "
+"difference from traditional journalism—the subject matter expert would get a "
+"chance to check the article and give final approval before it is "
+"published. Compare this with reporters just picking and choosing the quotes "
+"and writing whatever they want."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4242
+msgid ""
+"The people he spoke to liked this idea, and Andrew embarked on raising money "
+"and support with the help of the Commonwealth Scientific and Industrial "
+"Research Organisation (CSIRO), the University of Melbourne, Monash "
+"University, the University of Technology Sydney, and the University of "
+"Western Australia. These founding partners saw the value of an independent "
+"information channel that would also showcase the talent and knowledge of the "
+"university and research sector. With their help, in 2011, the Conversation, "
+"was launched as an independent news site in Australia. Everything published "
+"in the Conversation is openly licensed with Creative Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4255
+msgid ""
+"The Conversation is founded on the belief that underpinning a functioning "
+"democracy is access to independent, high-quality, informative "
+"journalism. The Conversation’s aim is for people to have a better "
+"understanding of current affairs and complex issues—and hopefully a better "
+"quality of public discourse. The Conversation sees itself as a source of "
+"trusted information dedicated to the public good. Their core mission is "
+"simple: to provide readers with a reliable source of evidence-based "
+"information."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4268
+msgid "<ulink url=\"http://theconversation.com/us/charter\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4266
+msgid ""
+"Andrew worked hard to reinvent a methodology for creating reliable, credible "
+"content. He introduced strict new working practices, a charter, and codes of "
+"conduct.<placeholder type=\"footnote\" id=\"0\"/> These include fully "
+"disclosing who every author is (with their relevant expertise); who is "
+"funding their research; and if there are any potential or real conflicts of "
+"interest. Also important is where the content originates, and even though it "
+"comes from the university and research community, it still needs to be fully "
+"disclosed. The Conversation does not sit behind a paywall. Andrew believes "
+"access to information is an issue of equality—everyone should have access, "
+"like access to clean water. The Conversation is committed to an open and "
+"free Internet. Everyone should have free access to their content, and be "
+"able to share it or republish it."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4281
+msgid ""
+"Creative Commons help with these goals; articles are published with the "
+"Attribution- NoDerivs license (CC BY-ND). They’re freely available for "
+"others to republish elsewhere as long as attribution is given and the "
+"content is not edited. Over five years, more than twenty-two thousand sites "
+"have republished their content. The Conversation website gets about 2.9 "
+"million unique views per month, but through republication they have "
+"thirty-five million readers. This couldn’t have been done without the "
+"Creative Commons license, and in Andrew’s view, Creative Commons is central "
+"to everything the Conversation does."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4293
+msgid ""
+"When readers come across the Conversation, they seem to like what they find "
+"and recommend it to their friends, peers, and networks. Readership has "
+"grown primarily through word of mouth. While they don’t have sales and "
+"marketing, they do promote their work through social media (including "
+"Twitter and Facebook), and by being an accredited supplier to Google News."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4301
+msgid ""
+"It’s usual for the founders of any company to ask themselves what kind of "
+"company it should be. It quickly became clear to the founders of the "
+"Conversation that they wanted to create a public good rather than make money "
+"off of information. Most media companies are working to aggregate as many "
+"eyeballs as possible and sell ads. The Conversation founders didn’t want "
+"this model. It takes no advertising and is a not-for-profit venture."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4310
+msgid ""
+"There are now different editions of the Conversation for Africa, the United "
+"Kingdom, France, and the United States, in addition to the one for "
+"Australia. All five editions have their own editorial mastheads, advisory "
+"boards, and content. The Conversation’s global virtual newsroom has roughly "
+"ninety staff working with thirty-five thousand academics from over sixteen "
+"hundred universities around the world. The Conversation would like to be "
+"working with university scholars from even more parts of the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4320
+msgid ""
+"Additionally, each edition has its own set of founding partners, strategic "
+"partners, and funders. They’ve received funding from foundations, "
+"corporates, institutions, and individual donations, but the Conversation is "
+"shifting toward paid memberships by universities and research institutions "
+"to sustain operations. This would safeguard the current service and help "
+"improve coverage and features."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4329
+msgid ""
+"When professors from member universities write an article, there is some "
+"branding of the university associated with the article. On the Conversation "
+"website, paying university members are listed as <quote>members and "
+"funders.</quote> Early participants may be designated as <quote>founding "
+"members,</quote> with seats on the editorial advisory board."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4337
+msgid ""
+"Academics are not paid for their contributions, but they get free editing "
+"from a professional (four to five hours per piece, on average). They also "
+"get access to a large audience. Every author and member university has "
+"access to a special analytics dashboard where they can check the reach of an "
+"article. The metrics include what people are tweeting, the comments, "
+"countries the readership represents, where the article is being republished, "
+"and the number of readers per article."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4347
+msgid ""
+"The Conversation plans to expand the dashboard to show not just reach but "
+"impact. This tracks activities, behaviors, and events that occurred as a "
+"result of publication, including things like a scholar being asked to go on "
+"a show to discuss their piece, give a talk at a conference, collaborate, "
+"submit a journal paper, and consult a company on a topic."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4355
+msgid ""
+"These reach and impact metrics show the benefits of membership. With the "
+"Conversation, universities can engage with the public and show why they’re "
+"of value."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4360
+msgid ""
+"With its tagline, <quote>Academic Rigor, Journalistic Flair,</quote> the "
+"Conversation represents a new form of journalism that contributes to a more "
+"informed citizenry and improved democracy around the world. Its open "
+"business model and use of Creative Commons show how it’s possible to "
+"generate both a public good and operational revenue at the same time."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4369
+msgid "Cory Doctorow"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4375
+msgid ""
+"Cory Doctorow is a science fiction writer, activist, blogger, and "
+"journalist. Based in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4378
+msgid ""
+"<ulink url=\"http://craphound.com\"/> and <ulink "
+"url=\"http://boingboing.net\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4381
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
+"copies (book sales), pay-what-you-want, selling translation rights to books"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4385
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 12, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4390
+msgid ""
+"Cory Doctorow hates the term <quote>business model,</quote> and he is "
+"adamant that he is not a brand. <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,</quote> he said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4399
+msgid ""
+"Cory calls himself an entrepreneur. He likes to say his success came from "
+"making stuff people happened to like and then getting out of the way of them "
+"sharing it."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4404
+msgid ""
+"He is a science fiction writer, activist, blogger, and journalist. "
+"Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003, "
+"his work has been published under a Creative Commons license. Cory is "
+"coeditor of the popular CC-licensed site Boing Boing, where he writes about "
+"technology, politics, and intellectual property. He has also written several "
+"nonfiction books, including the most recent Information Doesn’t Want to Be "
+"Free, about the ways in which creators can make a living in the Internet "
+"age."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4415
+msgid ""
+"Cory primarily makes money by selling physical books, but he also takes on "
+"paid speaking gigs and is experimenting with pay-what-you-want models for "
+"his work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4420
+msgid ""
+"While Cory’s extensive body of fiction work has a large following, he is "
+"just as well known for his activism. He is an outspoken opponent of "
+"restrictive copyright and digital-rights-management (DRM) technology used to "
+"lock up content because he thinks both undermine creators and the public "
+"interest. He is currently a special adviser at the Electronic Frontier "
+"Foundation, where he is involved in a lawsuit challenging the U.S. law that "
+"protects DRM. Cory says his political work doesn’t directly make him money, "
+"but if he gave it up, he thinks he would lose credibility and, more "
+"importantly, lose the drive that propels him to create. <quote>My political "
+"work is a different expression of the same artistic-political urge,</quote> "
+"he said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4437
+msgid ""
+"Cory has been financially successful, but money is not his primary "
+"motivation. At the start of his book Information Doesn’t Want to Be Free, he "
+"stresses how important it is not to become an artist if your goal is to get "
+"rich. <quote>Entering the arts because you want to get rich is like buying "
+"lottery tickets because you want to get rich,</quote> he wrote. <quote>It "
+"might work, but it almost certainly won’t. Though, of course, someone always "
+"wins the lottery.</quote> He acknowledges that he is one of the lucky few to "
+"<quote>make it,</quote> but he says he would be writing no matter "
+"what. <quote>I am compelled to write,</quote> he wrote. <quote>Long before "
+"I wrote to keep myself fed and sheltered, I was writing to keep myself "
+"sane.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4451
+msgid ""
+"Just as money is not his primary motivation to create, money is not his "
+"primary motivation to share. For Cory, sharing his work with Creative "
+"Commons is a moral imperative. <quote>It felt morally right,</quote> he said "
+"of his decision to adopt Creative Commons licenses. <quote>I felt like I "
+"wasn’t contributing to the culture of surveillance and censorship that has "
+"been created to try to stop copying.</quote> In other words, using CC "
+"licenses symbolizes his worldview."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4461
+msgid ""
+"He also feels like there is a solid commercial basis for licensing his work "
+"with Creative Commons. While he acknowledges he hasn’t been able to do a "
+"controlled experiment to compare the commercial benefits of licensing with "
+"CC against reserving all rights, he thinks he has sold more books using a CC "
+"license than he would have without it. Cory says his goal is to convince "
+"people they should pay him for his work. <quote>I started by not calling "
+"them thieves,</quote> he said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4471
+msgid ""
+"Cory started using CC licenses soon after they were first created. At the "
+"time his first novel came out, he says the science fiction genre was overrun "
+"with people scanning and downloading books without permission. When he and "
+"his publisher took a closer look at who was doing that sort of thing online, "
+"they realized it looked a lot like book promotion. <quote>I knew there was a "
+"relationship between having enthusiastic readers and having a successful "
+"career as a writer,</quote> he said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4484
+msgid ""
+"Cory admits the stakes were pretty low for him when he first adopted "
+"Creative Commons licenses. He only had to sell two thousand copies of his "
+"book to break even. People often said he was only able to use CC licenses "
+"successfully at that time because he was just starting out. Now they say he "
+"can only do it because he is an established author."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4492
+msgid ""
+"The bottom line, Cory says, is that no one has found a way to prevent people "
+"from copying the stuff they like. Rather than fighting the tide, Cory makes "
+"his work intrinsically shareable. <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,</quote> he said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4500
+msgid ""
+"Making his work available under Creative Commons licenses enables him to "
+"view his biggest fans as his ambassadors. <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,</quote> 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. <quote>Engaging with your audience can’t guarantee you "
+"success,</quote> he said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4515
+msgid ""
+"His first book was published under the most restrictive Creative Commons "
+"license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only "
+"verbatim copying for noncommercial purposes. His later work is published "
+"under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which "
+"gives people the right to adapt his work for noncommercial purposes but only "
+"if they share it back under the same license terms. Before releasing his "
+"work under a CC license that allows adaptations, he always sells the right "
+"to translate the book to other languages to a commercial publisher first. He "
+"wants to reach new potential buyers in other parts of the world, and he "
+"thinks it is more difficult to get people to pay for translations if there "
+"are fan translations already available for free."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4530
+msgid ""
+"In his book Information Doesn’t Want to Be Free, Cory likens his philosophy "
+"to thinking like a dandelion. Dandelions produce thousands of seeds each "
+"spring, and they are blown into the air going in every direction. The "
+"strategy is to maximize the number of blind chances the dandelion has for "
+"continuing its genetic line. Similarly, he says there are lots of people out "
+"there who may want to buy creative work or compensate authors for it in some "
+"other way. <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,</quote> he wrote. <quote>The "
+"copies that others make of my work cost me nothing, and present the "
+"possibility that I’ll get something.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4545
+msgid ""
+"Applying a CC license to his work increases the chances it will be shared "
+"more widely around the Web. He avoids DRM—and openly opposes the "
+"practice—for similar reasons. DRM has the effect of tying a work to a "
+"particular platform. This digital lock, in turn, strips the authors of "
+"control over their own work and hands that control over to the platform. He "
+"calls it Cory’s First Law: <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4556
+msgid ""
+"Cory operates under the premise that artists benefit when there are more, "
+"rather than fewer, places where people can access their work. The Internet "
+"has opened up those avenues, but DRM is designed to limit them. <quote>On "
+"the one hand, we can credibly make our work available to a widely dispersed "
+"audience,</quote> he said. <quote>On the other hand, the intermediaries we "
+"historically sold to are making it harder to go around them.</quote> Cory "
+"continually looks for ways to reach his audience without relying upon major "
+"platforms that will try to take control over his work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4567
+msgid ""
+"Cory says his e-book sales have been lower than those of his competitors, "
+"and he attributes some of that to the CC license making the work available "
+"for free. But he believes people are willing to pay for content they like, "
+"even when it is available for free, as long as it is easy to do. He was "
+"extremely successful using Humble Bundle, a platform that allows people to "
+"pay what they want for DRM-free versions of a bundle of a particular "
+"creator’s work. He is planning to try his own pay-what-you-want experiment "
+"soon."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4578
+msgid ""
+"Fans are particularly willing to pay when they feel personally connected to "
+"the artist. Cory works hard to create that personal connection. One way he "
+"does this is by personally answering every single email he gets. <quote>If "
+"you look at the history of artists, most die in penury,</quote> he "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4590
+msgid ""
+"Cory’s realism about the difficulty of making a living in the arts does not "
+"reflect pessimism about the Internet age. Instead, he says the fact that it "
+"is hard to make a living as an artist is nothing new. What is new, he writes "
+"in his book, <quote>is how many ways there are to make things, and to get "
+"them into other people’s hands and minds.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4598
+msgid "It has never been easier to think like a dandelion."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4602
+msgid "Figshare"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4608
+msgid ""
+"Figshare is a for-profit company offering an online repository where "
+"researchers can preserve and share the output of their research, including "
+"figures, data sets, images, and videos. Founded in 2011 in the UK."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4614
+msgid "<ulink url=\"http://figshare.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4616
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
+"services to creators"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4619
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 28, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4622
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Hahnel, founder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4627
+msgid ""
+"Figshare’s mission is to change the face of academic publishing through "
+"improved dissemination, discoverability, and reusability of scholarly "
+"research. Figshare is a repository where users can make all the output of "
+"their research available—from posters and presentations to data sets and "
+"code—in a way that’s easy to discover, cite, and share. Users can upload any "
+"file format, which can then be previewed in a Web browser. Research output "
+"is disseminated in a way that the current scholarly-publishing model does "
+"not allow."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4638
+msgid ""
+"Figshare founder Mark Hahnel often gets asked: How do you make money? How do "
+"we know you’ll be here in five years? Can you, as a for-profit venture, be "
+"trusted? Answers have evolved over time."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4643
+msgid ""
+"Mark traces the origins of Figshare back to when he was a graduate student "
+"getting his PhD in stem cell biology. His research involved working with "
+"videos of stem cells in motion. However, when he went to publish his "
+"research, there was no way for him to also publish the videos, figures, "
+"graphs, and data sets. This was frustrating. Mark believed publishing his "
+"complete research would lead to more citations and be better for his career."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4652
+msgid ""
+"Mark does not consider himself an advanced software programmer. "
+"Fortunately, things like cloud-based computing and wikis had become "
+"mainstream, and he believed it ought to be possible to put all his research "
+"online and share it with anyone. So he began working on a solution."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4659
+msgid ""
+"There were two key needs: licenses to make the data citable, and persistent "
+"identifiers— URL links that always point back to the original object "
+"ensuring the research is citable for the long term."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4665
+msgid ""
+"Mark chose Digital Object Identifiers (DOIs) to meet the need for a "
+"persistent identifier. In the DOI system, an object’s metadata is stored as "
+"a series of numbers in the DOI name. Referring to an object by its DOI is "
+"more stable than referring to it by its URL, because the location of an "
+"object (the web page or URL) can often change. Mark partnered with DataCite "
+"for the provision of DOIs for research data."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4674
+msgid ""
+"As for licenses, Mark chose Creative Commons. The open-access and "
+"open-science communities were already using and recommending Creative "
+"Commons. Based on what was happening in those communities and Mark’s "
+"dialogue with peers, he went with CC0 (in the public domain) for data sets "
+"and CC BY (Attribution) for figures, videos, and data sets."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4682
+msgid ""
+"So Mark began using DOIs and Creative Commons for his own research work. He "
+"had a science blog where he wrote about it and made all his data "
+"open. People started commenting on his blog that they wanted to do the "
+"same. So he opened it up for them to use, too."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4688
+msgid ""
+"People liked the interface and simple upload process. People started asking "
+"if they could also share theses, grant proposals, and code. Inclusion of "
+"code raised new licensing issues, as Creative Commons licenses are not used "
+"for software. To allow the sharing of software code, Mark chose the MIT "
+"license, but GNU and Apache licenses can also be used."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4696
+msgid ""
+"Mark sought investment to make this into a scalable product. After a few "
+"unsuccessful funding pitches, UK-based Digital Science expressed interest "
+"but insisted on a more viable business model. They made an initial "
+"investment, and together they came up with a freemium-like business model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4703
+msgid ""
+"Under the freemium model, academics upload their research to Figshare for "
+"storage and sharing for free. Each research object is licensed with Creative "
+"Commons and receives a DOI link. The premium option charges researchers a "
+"fee for gigabytes of private storage space, and for private online space "
+"designed for a set number of research collaborators, which is ideal for "
+"larger teams and geographically dispersed research groups. Figshare sums up "
+"its value proposition to researchers as <quote>You retain ownership. You "
+"license it. You get credit. We just make sure it persists.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4715
+msgid ""
+"In January 2012, Figshare was launched. (The fig in Figshare stands for "
+"figures.) Using investment funds, Mark made significant improvements to "
+"Figshare. For example, researchers could quickly preview their research "
+"files within a browser without having to download them first or require "
+"third-party software. Journals who were still largely publishing articles as "
+"static noninteractive PDFs became interested in having Figshare provide that "
+"functionality for them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4725
+msgid ""
+"Figshare diversified its business model to include services for "
+"journals. Figshare began hosting large amounts of data for the journals’ "
+"online articles. This additional data improved the quality of the "
+"articles. Outsourcing this service to Figshare freed publishers from having "
+"to develop this functionality as part of their own "
+"infrastructure. Figshare-hosted data also provides a link back to the "
+"article, generating additional click-through and readership—a benefit to "
+"both journal publishers and researchers. Figshare now provides "
+"research-data infrastructure for a wide variety of publishers including "
+"Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has "
+"convinced them to use Creative Commons licenses for the data."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4739
+msgid ""
+"Governments allocate significant public funds to research. In parallel with "
+"the launch of Figshare, governments around the world began requesting the "
+"research they fund be open and accessible. They mandated that researchers "
+"and academic institutions better manage and disseminate their research "
+"outputs. Institutions looking to comply with this new mandate became "
+"interested in Figshare. Figshare once again diversified its business model, "
+"adding services for institutions."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4749
+msgid ""
+"Figshare now offers a range of fee-based services to institutions, including "
+"their own minibranded Figshare space (called Figshare for Institutions) that "
+"securely hosts research data of institutions in the cloud. Services include "
+"not just hosting but data metrics, data dissemination, and user-group "
+"administration. Figshare’s workflow, and the services they offer for "
+"institutions, take into account the needs of librarians and administrators, "
+"as well as of the researchers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4759
+msgid ""
+"As with researchers and publishers, Fig-share encouraged institutions to "
+"share their research with CC BY (Attribution) and their data with CC0 (into "
+"the public domain). Funders who require researchers and institutions to use "
+"open licensing believe in the social responsibilities and benefits of making "
+"research accessible to all. Publishing research in this open way has come to "
+"be called open access. But not all funders specify CC BY; some institutions "
+"want to offer their researchers a choice, including less permissive licenses "
+"like CC BY-NC (Attribution-NonCommercial), CC BY-SA "
+"(Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4772
+msgid ""
+"For Mark this created a conflict. On the one hand, the principles and "
+"benefits of open science are at the heart of Figshare, and Mark believes CC "
+"BY is the best license for this. On the other hand, institutions were saying "
+"they wouldn’t use Figshare unless it offered a choice in licenses. He "
+"initially refused to offer anything beyond CC0 and CC BY, but after seeing "
+"an open-source CERN project offer all Creative Commons licenses without any "
+"negative repercussions, he decided to follow suit."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4782
+msgid ""
+"Mark is thinking of doing a Figshare study that tracks research "
+"dissemination according to Creative Commons license, and gathering metrics "
+"on views, citations, and downloads. You could see which license generates "
+"the biggest impact. If the data showed that CC BY is more impactful, Mark "
+"believes more and more researchers and institutions will make it their "
+"license of choice."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4795
+msgid ""
+"<ulink "
+"url=\"http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4798
+msgid ""
+"<ulink "
+"url=\"http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4790
+msgid ""
+"Figshare has an Application Programming Interface (API) that makes it "
+"possible for data to be pulled from Figshare and used in other "
+"applications. As an example, Mark shared a Figshare data set showing the "
+"journal subscriptions that higher-education institutions in the United "
+"Kingdom paid to ten major publishers.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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.<placeholder type=\"footnote\" id=\"1\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4801
+msgid ""
+"The free version of Figshare has built a community of academics, who through "
+"word of mouth and presentations have promoted and spread awareness of "
+"Figshare. To amplify and reward the community, Figshare established an "
+"Advisor program, providing those who promoted Figshare with hoodies and "
+"T-shirts, early access to new features, and travel expenses when they gave "
+"presentations outside of their area. These Advisors also helped Mark on what "
+"license to use for software code and whether to offer universities an option "
+"of using Creative Commons licenses."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4816
+msgid "<ulink url=\"http://figshare.com/features\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4812
+msgid ""
+"Mark says his success is partly about being in the right place at the right "
+"time. He also believes that the diversification of Figshare’s model over "
+"time has been key to success. Figshare now offers a comprehensive set of "
+"services to researchers, publishers, and institutions.<placeholder "
+"type=\"footnote\" id=\"0\"/> If he had relied solely on revenue from premium "
+"subscriptions, he believes Figshare would have struggled. In Figshare’s "
+"early days, their primary users were early-career and late-career "
+"academics. It has only been because funders mandated open licensing that "
+"Figshare is now being used by the mainstream."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4823
+msgid ""
+"Today Figshare has 26 million–plus page views, 7.5 million–plus downloads, "
+"800,000–plus user uploads, 2 million–plus articles, 500,000-plus "
+"collections, and 5,000–plus projects. Sixty percent of their traffic comes "
+"from Google. A sister company called Altmetric tracks the use of Figshare by "
+"others, including Wikipedia and news sources."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4831
+msgid ""
+"Figshare uses the revenue it generates from the premium subscribers, journal "
+"publishers, and institutions to fund and expand what it can offer to "
+"researchers for free. Figshare has publicly stuck to its principles—keeping "
+"the free service free and requiring the use of CC BY and CC0 from the "
+"start—and from Mark’s perspective, this is why people trust Figshare. Mark "
+"sees new competitors coming forward who are just in it for money. If "
+"Figshare was only in it for the money, they wouldn’t care about offering a "
+"free version. Figshare’s principles and advocacy for openness are a key "
+"differentiator. Going forward, Mark sees Figshare not only as supporting "
+"open access to research but also enabling people to collaborate and make new "
+"discoveries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4846
+msgid "Figure.NZ"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4852
+msgid ""
+"Figure.NZ is a nonprofit charity that makes an online data platform designed "
+"to make data reusable and easy to understand. Founded in 2012 in New "
+"Zealand."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4857
+msgid "<ulink url=\"http://figure.nz\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4859
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: platform providing paid "
+"services to creators, donations, sponsorships"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4862
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: May 3, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4864
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Lillian Grace, founder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4870
+msgid ""
+"<ulink "
+"url=\"http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4869
+msgid ""
+"In the paper Harnessing the Economic and Social Power of Data presented at "
+"the New Zealand Data Futures Forum in 2014,<placeholder type=\"footnote\" "
+"id=\"0\"/> Figure.NZ founder Lillian Grace said there are thousands of "
+"valuable and relevant data sets freely available to us right now, but most "
+"people don’t use them. She used to think this meant people didn’t care about "
+"being informed, but she’s come to see that she was wrong. Almost everyone "
+"wants to be informed about issues that matter—not only to them, but also to "
+"their families, their communities, their businesses, and their country. But "
+"there’s a big difference between availability and accessibility of "
+"information. Data is spread across thousands of sites and is held within "
+"databases and spreadsheets that require both time and skill to engage "
+"with. To use data when making a decision, you have to know what specific "
+"question to ask, identify a source that has collected the data, and "
+"manipulate complex tools to extract and visualize the information within the "
+"data set. Lillian established Figure.NZ to make data truly accessible to "
+"all, with a specific focus on New Zealand."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4888
+msgid ""
+"Lillian had the idea for Figure.NZ in February 2012 while working for the "
+"New Zealand Institute, a think tank concerned with improving economic "
+"prosperity, social well-being, environmental quality, and environmental "
+"productivity for New Zealand and New Zealanders. While giving talks to "
+"community and business groups, Lillian realized <quote>every single issue we "
+"addressed would have been easier to deal with if more people understood the "
+"basic facts.</quote> But understanding the basic facts sometimes requires "
+"data and research that you often have to pay for."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4899
+msgid ""
+"Lillian began to imagine a website that lifted data up to a visual form that "
+"could be easily understood and freely accessed. Initially launched as Wiki "
+"New Zealand, the original idea was that people could contribute their data "
+"and visuals via a wiki. However, few people had graphs that could be used "
+"and shared, and there were no standards or consistency around the data and "
+"the visuals. Realizing the wiki model wasn’t working, Lillian brought the "
+"process of data aggregation, curation, and visual presentation in-house, and "
+"invested in the technology to help automate some of it. Wiki New Zealand "
+"became Figure.NZ, and efforts were reoriented toward providing services to "
+"those wanting to open their data and present it visually."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4913
+msgid ""
+"Here’s how it works. Figure.NZ sources data from other organizations, "
+"including corporations, public repositories, government departments, and "
+"academics. Figure.NZ imports and extracts that data, and then validates and "
+"standardizes it—all with a strong eye on what will be best for users. They "
+"then make the data available in a series of standardized forms, both human- "
+"and machine-readable, with rich metadata about the sources, the licenses, "
+"and data types. Figure.NZ has a chart-designing tool that makes simple bar, "
+"line, and area graphs from any data source. The graphs are posted to the "
+"Figure.NZ website, and they can also be exported in a variety of formats for "
+"print or online use. Figure.NZ makes its data and graphs available using "
+"the Attribution (CC BY) license. This allows others to reuse, revise, remix, "
+"and redistribute Figure.NZ data and graphs as long as they give attribution "
+"to the original source and to Figure.NZ."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4939
+msgid ""
+"<ulink "
+"url=\"http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4930
+msgid ""
+"Lillian characterizes the initial decision to use Creative Commons as "
+"naively fortunate. It was first recommended to her by a colleague. Lillian "
+"spent time looking at what Creative Commons offered and thought it looked "
+"good, was clear, and made common sense. It was easy to use and easy for "
+"others to understand. Over time, she’s come to realize just how fortunate "
+"and important that decision turned out to be. New Zealand’s government has "
+"an open-access and licensing framework called NZGOAL, which provides "
+"guidance for agencies when they release copyrighted and noncopyrighted work "
+"and material.<placeholder type=\"footnote\" id=\"0\"/> It aims to "
+"standardize the licensing of works with government copyright and how they "
+"can be reused, and it does this with Creative Commons licenses. As a result, "
+"98 percent of all government-agency data is Creative Commons licensed, "
+"fitting in nicely with Figure.NZ’s decision."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4946
+msgid ""
+"Lillian thinks current ideas of what a business is are relatively new, only "
+"a hundred years old or so. She’s convinced that twenty years from now, we "
+"will see new and different models for business. Figure.NZ is set up as a "
+"nonprofit charity. It is purpose-driven but also strives to pay people well "
+"and thinks like a business. Lillian sees the charity-nonprofit status as an "
+"essential element for the mission and purpose of Figure.NZ. She believes "
+"Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s "
+"nonprofit status assures people who have data and people who want to use it "
+"that they can rely on Figure.NZ’s motives. People see them as a trusted "
+"wrangler and source."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4959
+msgid ""
+"Although Figure.NZ is a social enterprise that openly licenses their data "
+"and graphs for everyone to use for free, they have taken care not to be "
+"perceived as a free service all around the table. Lillian believes hundreds "
+"of millions of dollars are spent by the government and organizations to "
+"collect data. However, very little money is spent on taking that data and "
+"making it accessible, understandable, and useful for decision making. "
+"Government uses some of the data for policy, but Lillian believes that it is "
+"underutilized and the potential value is much larger. Figure.NZ is focused "
+"on solving that problem. They believe a portion of money allocated to "
+"collecting data should go into making sure that data is useful and generates "
+"value. If the government wants citizens to understand why certain decisions "
+"are being made and to be more aware about what the government is doing, why "
+"not transform the data it collects into easily understood visuals? It could "
+"even become a way for a government or any organization to differentiate, "
+"market, and brand itself."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4978
+msgid ""
+"Figure.NZ spends a lot of time seeking to understand the motivations of data "
+"collectors and to identify the channels where it can provide value. Every "
+"part of their business model has been focused on who is going to get value "
+"from the data and visuals."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:4984
+msgid ""
+"Figure.NZ has multiple lines of business. They provide commercial services "
+"to organizations that want their data publicly available and want to use "
+"Figure.NZ as their publishing platform. People who want to publish open data "
+"appreciate Figure.NZ’s ability to do it faster, more easily, and better than "
+"they can. Customers are encouraged to help their users find, use, and make "
+"things from the data they make available on Figure.NZ’s website. Customers "
+"control what is released and the license terms (although Figure.NZ "
+"encourages Creative Commons licensing). Figure.NZ also serves customers who "
+"want a specific collection of charts created—for example, for their website "
+"or annual report. Charging the organizations that want to make their data "
+"available enables Figure.NZ to provide their site free to all users, to "
+"truly democratize data."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5000
+msgid ""
+"Lillian notes that the current state of most data is terrible and often not "
+"well understood by the people who have it. This sometimes makes it difficult "
+"for customers and Figure.NZ to figure out what it would cost to import, "
+"standardize, and display that data in a useful way. To deal with this, "
+"Figure.NZ uses <quote>high-trust contracts,</quote> where customers allocate "
+"a certain budget to the task that Figure.NZ is then free to draw from, as "
+"long as Figure.NZ frequently reports on what they’ve produced so the "
+"customer can determine the value for money. This strategy has helped build "
+"trust and transparency about the level of effort associated with doing work "
+"that has never been done before."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5019
+msgid "<ulink url=\"http://figure.nz/business/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5014
+msgid ""
+"A second line of business is what Figure.NZ calls partners. ASB Bank and "
+"Statistics New Zealand are partners who back Figure.NZ’s efforts. As one "
+"example, with their support Figure.NZ has been able to create Business "
+"Figures, a special way for businesses to find useful data without having to "
+"know what questions to ask.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5022
+msgid "<ulink url=\"http://figure.nz/patrons/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5022
+msgid ""
+"Figure.NZ also has patrons.<placeholder type=\"footnote\" id=\"0\"/> Patrons "
+"donate to topic areas they care about, directly enabling Figure.NZ to get "
+"data together to flesh out those areas. Patrons do not direct what data is "
+"included or excluded."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5028
+msgid ""
+"Figure.NZ also accepts philanthropic donations, which are used to provide "
+"more content, extend technology, and improve services, or are targeted to "
+"fund a specific effort or provide in-kind support. As a charity, donations "
+"are tax deductible."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5034
+msgid ""
+"Figure.NZ has morphed and grown over time. With data aggregation, curation, "
+"and visualizing services all in-house, Figure.NZ has developed a deep "
+"expertise in taking random styles of data, standardizing it, and making it "
+"useful. Lillian realized that Figure.NZ could easily become a warehouse of "
+"seventy people doing data. But for Lillian, growth isn’t always good. In her "
+"view, bigger often means less effective. Lillian set artificial constraints "
+"on growth, forcing the organization to think differently and be more "
+"efficient. Rather than in-house growth, they are growing and building "
+"external relationships."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5046
+msgid ""
+"Figure.NZ’s website displays visuals and data associated with a wide range "
+"of categories including crime, economy, education, employment, energy, "
+"environment, health, information and communications technology, industry, "
+"tourism, and many others. A search function helps users find tables and "
+"graphs. Figure.NZ does not provide analysis or interpretation of the data or "
+"visuals. Their goal is to teach people how to think, not think for them. "
+"Figure.NZ wants to create intuitive experiences, not user manuals."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5056
+msgid ""
+"Figure.NZ believes data and visuals should be useful. They provide their "
+"customers with a data collection template and teach them why it’s important "
+"and how to use it. They’ve begun putting more emphasis on tracking what "
+"users of their website want. They also get requests from social media and "
+"through email for them to share data for a specific topic—for example, can "
+"you share data for water quality? If they have the data, they respond "
+"quickly; if they don’t, they try and identify the organizations that would "
+"have that data and forge a relationship so they can be included on "
+"Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for "
+"people to be curious about, access, and interpret data on topics they are "
+"interested in."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5070
+msgid ""
+"Lillian has a deep and profound vision for Figure.NZ that goes well beyond "
+"simply providing open-data services. She says things are different now. \"We "
+"used to live in a world where it was really hard to share information "
+"widely. And in that world, the best future was created by having a few great "
+"leaders who essentially had access to the information and made decisions on "
+"behalf of others, whether it was on behalf of a country or companies."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5080
+msgid ""
+"\"But now we live in a world where it’s really easy to share information "
+"widely and also to communicate widely. In the world we live in now, the best "
+"future is the one where everyone can make well-informed decisions."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5086
+msgid ""
+"\"The use of numbers and data as a way of making well-informed decisions is "
+"one of the areas where there is the biggest gaps. We don’t really use "
+"numbers as a part of our thinking and part of our understanding yet."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5092
+msgid ""
+"\"Part of the reason is the way data is spread across hundreds of sites. In "
+"addition, for the most part, deep thinking based on data is constrained to "
+"experts because most people don’t have data literacy. There once was a time "
+"when many citizens in society couldn’t read or write. However, as a society, "
+"we’ve now come to believe that reading and writing skills should be "
+"something all citizens have. We haven’t yet adopted a similar belief around "
+"numbers and data literacy. We largely still believe that only a few "
+"specially trained people can analyze and think with numbers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5103
+msgid ""
+"\"Figure.NZ may be the first organization to assert that everyone can use "
+"numbers in their thinking, and it’s built a technological platform along "
+"with trust and a network of relationships to make that possible. What you "
+"can see on Figure.NZ are tens of thousands of graphs, maps, and data."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5110
+msgid ""
+"<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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5119
+msgid ""
+"Lillian sees Figure.NZ’s model as having global potential. But for now, "
+"their focus is completely on making Figure.NZ work in New Zealand and to get "
+"the <quote>network effect</quote>— users dramatically increasing value for "
+"themselves and for others through use of their service. Creative Commons is "
+"core to making the network effect possible."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5128
+msgid "Knowledge Unlatched"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5134
+msgid ""
+"Knowledge Unlatched is a not-for-profit community interest company that "
+"brings libraries together to pool funds to publish open-access "
+"books. Founded in 2012 in the UK."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5139
+msgid "<ulink url=\"http://knowledgeunlatched.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5141
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
+"(specialized)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5144
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 26, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5147
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Frances Pinter, founder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5152
+msgid ""
+"The serial entrepreneur Dr. Frances Pinter has been at the forefront of "
+"innovation in the publishing industry for nearly forty years. She founded "
+"the UK-based Knowledge Unlatched with a mission to enable open access to "
+"scholarly books. For Frances, the current scholarly- book-publishing system "
+"is not working for anyone, and especially not for monographs in the "
+"humanities and social sciences. Knowledge Unlatched is committed to changing "
+"this and has been working with libraries to create a sustainable alternative "
+"model for publishing scholarly books, sharing the cost of making monographs "
+"(released under a Creative Commons license) and savings costs over the long "
+"term. Since its launch, Knowledge Unlatched has received several awards, "
+"including the IFLA/Brill Open Access award in 2014 and a Curtin University "
+"Commercial Innovation Award for Innovation in Education in 2015."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5168
+msgid ""
+"Dr. Pinter has been in academic publishing most of her career. About ten "
+"years ago, she became acquainted with the Creative Commons founder Lawrence "
+"Lessig and got interested in Creative Commons as a tool for both protecting "
+"content online and distributing it free to users."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5175
+msgid ""
+"Not long after, she ran a project in Africa convincing publishers in Uganda "
+"and South Africa to put some of their content online for free using a "
+"Creative Commons license and to see what happened to print sales. Sales went "
+"up, not down."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5181
+msgid ""
+"In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the "
+"United Kingdom, appointed her its founding publisher in London. As part of "
+"the launch, Frances convinced Bloomsbury to differentiate themselves by "
+"putting out monographs for free online under a Creative Commons license "
+"(BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or "
+"Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest "
+"cost for publishers is getting a book to the stage where it can be "
+"printed. If everyone read the online book for free, there would be no "
+"print-book sales at all, and the costs associated with getting the book to "
+"print would be lost. Surprisingly, Bloomsbury found that sales of the print "
+"versions of these books were 10 to 20 percent higher than normal. Frances "
+"found it intriguing that the Creative Commons–licensed free online book acts "
+"as a marketing vehicle for the print format."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5198
+msgid ""
+"Frances began to look at customer interest in the three forms of the book: "
+"1) the Creative Commons–licensed free online book in PDF form, 2) the "
+"printed book, and 3) a digital version of the book on an aggregator platform "
+"with enhanced features. She thought of this as the <quote>ice cream "
+"model</quote>: the free PDF was vanilla ice cream, the printed book was an "
+"ice cream cone, and the enhanced e-book was an ice cream sundae."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5207
+msgid ""
+"After a while, Frances had an epiphany—what if there was a way to get "
+"libraries to underwrite the costs of making these books up until they’re "
+"ready be printed, in other words, cover the fixed costs of getting to the "
+"first digital copy? Then you could either bring down the cost of the printed "
+"book, or do a whole bunch of interesting things with the printed book and "
+"e-book—the ice cream cone or sundae part of the model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5216
+msgid ""
+"This idea is similar to the article-processing charge some open-access "
+"journals charge researchers to cover publishing costs. Frances began to "
+"imagine a coalition of libraries paying for the prepress costs—a "
+"<quote>book-processing charge</quote>—and providing everyone in the world "
+"with an open-access version of the books released under a Creative Commons "
+"license."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5224
+msgid ""
+"This idea really took hold in her mind. She didn’t really have a name for it "
+"but began talking about it and making presentations to see if there was "
+"interest. The more she talked about it, the more people agreed it had "
+"appeal. She offered a bottle of champagne to anyone who could come up with a "
+"good name for the idea. Her husband came up with Knowledge Unlatched, and "
+"after two years of generating interest, she decided to move forward and "
+"launch a community interest company (a UK term for not-for-profit social "
+"enterprises) in 2012."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5235
+msgid ""
+"She describes the business model in a paper called Knowledge Unlatched: "
+"Toward an Open and Networked Future for Academic Publishing:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5242
+msgid ""
+"Publishers offer titles for sale reflecting origination costs only via "
+"Knowledge Unlatched."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5248
+msgid ""
+"Individual libraries select titles either as individual titles or as "
+"collections (as they do from library suppliers now)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5254
+msgid ""
+"Their selections are sent to Knowledge Unlatched specifying the titles to be "
+"purchased at the stated price(s)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5260
+msgid ""
+"The price, called a Title Fee (set by publishers and negotiated by Knowledge "
+"Unlatched), is paid to publishers to cover the fixed costs of publishing "
+"each of the titles that were selected by a minimum number of libraries to "
+"cover the Title Fee."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5269
+msgid ""
+"Publishers make the selected titles available Open Access (on a Creative "
+"Commons or similar open license) and are then paid the Title Fee which is "
+"the total collected from the libraries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5279
+msgid "<ulink url=\"http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><orderedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5276
+msgid ""
+"Publishers make print copies, e-Pub, and other digital versions of selected "
+"titles available to member libraries at a discount that reflects their "
+"contribution to the Title Fee and incentivizes membership.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5284
+msgid ""
+"The first round of this model resulted in a collection of twenty-eight "
+"current titles from thirteen recognized scholarly publishers being "
+"unlatched. The target was to have two hundred libraries participate. The "
+"cost of the package per library was capped at $1,680, which was an average "
+"price of sixty dollars per book, but in the end they had nearly three "
+"hundred libraries sharing the costs, and the price per book came in at just "
+"under forty-three dollars."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5295
+msgid ""
+"<ulink "
+"url=\"http://collections.knowledgeunlatched.org/collection-availability-1/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5294
+msgid ""
+"The open-access, Creative Commons versions of these twenty-eight books are "
+"still available online.<placeholder type=\"footnote\" id=\"0\"/> Most books "
+"have been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright "
+"holder, not the publisher, and negotiate choice of license as part of the "
+"publishing agreement. Frances has found that most authors want to retain "
+"control over the commercial and remix use of their work. Publishers list the "
+"book in their catalogs, and the noncommercial restriction in the Creative "
+"Commons license ensures authors continue to get royalties on sales of "
+"physical copies."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5305
+msgid ""
+"There are three cost variables to consider for each round: the overall cost "
+"incurred by the publishers, total cost for each library to acquire all the "
+"books, and the individual price per book. The fee publishers charge for each "
+"title is a fixed charge, and Knowledge Unlatched calculates the total amount "
+"for all the books being unlatched at a time. The cost of an order for each "
+"library is capped at a maximum based on a minimum number of libraries "
+"participating. If the number of participating libraries exceeds the minimum, "
+"then the cost of the order and the price per book go down for each library."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5317
+msgid ""
+"The second round, recently completed, unlatched seventy-eight books from "
+"twenty-six publishers. For this round, Frances was experimenting with the "
+"size and shape of the offerings. Books were being bundled into eight small "
+"packages separated by subject (including Anthropology, History, Literature, "
+"Media and Communications, and Politics), of around ten books per package. "
+"Three hundred libraries around the world have to commit to at least six of "
+"the eight packages to enable unlatching. The average cost per book was just "
+"under fifty dollars. The unlatching process took roughly ten months. It "
+"started with a call to publishers for titles, followed by having a library "
+"task force select the titles, getting authors’ permissions, getting the "
+"libraries to pledge, billing the libraries, and finally, unlatching."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5332
+msgid ""
+"The longest part of the whole process is getting libraries to pledge and "
+"commit funds. It takes about five months, as library buy-in has to fit "
+"within acquisition cycles, budget cycles, and library-committee meetings."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5338
+msgid ""
+"Knowledge Unlatched informs and recruits libraries through social media, "
+"mailing lists, listservs, and library associations. Of the three hundred "
+"libraries that participated in the first round, 80 percent are also "
+"participating in the second round, and there are an additional eighty new "
+"libraries taking part. Knowledge Unlatched is also working not just with "
+"individual libraries but also library consortia, which has been getting even "
+"more libraries involved."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5348
+msgid ""
+"Knowledge Unlatched is scaling up, offering 150 new titles in the second "
+"half of 2016. It will also offer backlist titles, and in 2017 will start to "
+"make journals open access too."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5353
+msgid ""
+"Knowledge Unlatched deliberately chose monographs as the initial type of "
+"book to unlatch. Monographs are foundational and important, but also "
+"problematic to keep going in the standard closed publishing model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5359
+msgid ""
+"The cost for the publisher to get to a first digital copy of a monograph is "
+"$5,000 to $50,000. A good one costs in the $10,000 to $15,000 "
+"range. Monographs typically don’t sell a lot of copies. A publisher who in "
+"the past sold three thousand copies now typically sells only three "
+"hundred. That makes unlatching monographs a low risk for publishers. For the "
+"first round, it took five months to get thirteen publishers. For the second "
+"round, it took one month to get twenty-six."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5376
+msgid "<ulink url=\"http://www.knowledgeunlatched.org/featured-authors-section/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5369
+msgid ""
+"Authors don’t generally make a lot of royalties from monographs. Royalties "
+"range from zero dollars to 5 to 10 percent of receipts. The value to the "
+"author is the awareness it brings to them; when their book is being read, it "
+"increases their reputation. Open access through unlatching generates many "
+"more downloads and therefore awareness. (On the Knowledge Unlatched website, "
+"you can find interviews with the twenty-eight round-one authors describing "
+"their experience and the benefits of taking part.)<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5379
+msgid ""
+"Library budgets are constantly being squeezed, partly due to the inflation "
+"of journal subscriptions. But even without budget constraints, academic "
+"libraries are moving away from buying physical copies. An academic library "
+"catalog entry is typically a URL to wherever the book is hosted. Or if they "
+"have enough electronic storage space, they may download the digital file "
+"into their digital repository. Only secondarily do they consider getting a "
+"print book, and if they do, they buy it separately from the digital version."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5390
+msgid ""
+"Knowledge Unlatched offers libraries a compelling economic argument. Many of "
+"the participating libraries would have bought a copy of the monograph "
+"anyway, but instead of paying $95 for a print copy or $150 for a digital "
+"multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens "
+"the book to not just the participating libraries, but to the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5398
+msgid ""
+"Not only do the economics make sense, but there is very strong alignment "
+"with library mandates. The participating libraries pay less than they would "
+"have in the closed model, and the open-access book is available to all "
+"libraries. While this means nonparticipating libraries could be seen as free "
+"riders, in the library world, wealthy libraries are used to paying more than "
+"poor libraries and accept that part of their money should be spent to "
+"support open access. <quote>Free ride</quote> is more like community "
+"responsibility. By the end of March 2016, the round-one books had been "
+"downloaded nearly eighty thousand times in 175 countries."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5411
+msgid ""
+"For publishers, authors, and librarians, the Knowledge Unlatched model for "
+"monographs is a win-win-win."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5415
+msgid ""
+"In the first round, Knowledge Unlatched’s overheads were covered by "
+"grants. In the second round, they aim to demonstrate the model is "
+"sustainable. Libraries and publishers will each pay a 7.5 percent service "
+"charge that will go toward Knowledge Unlatched’s running costs. With plans "
+"to scale up in future rounds, Frances figures they can fully recover costs "
+"when they are unlatching two hundred books at a time. Moving forward, "
+"Knowledge Unlatched is making investments in technology and "
+"processes. Future plans include unlatching journals and older books."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5426
+msgid ""
+"Frances believes that Knowledge Unlatched is tapping into new ways of "
+"valuing academic content. It’s about considering how many people can find, "
+"access, and use your content without pay barriers. Knowledge Unlatched taps "
+"into the new possibilities and behaviors of the digital world. In the "
+"Knowledge Unlatched model, the content-creation process is exactly the same "
+"as it always has been, but the economics are different. For Frances, "
+"Knowledge Unlatched is connected to the past but moving into the future, an "
+"evolution rather than a revolution."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5438
+msgid "Lumen Learning"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5444
+msgid ""
+"Lumen Learning is a for-profit company helping educational institutions use "
+"open educational resources (OER). Founded in 2013 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5449
+msgid "<ulink url=\"http://lumenlearning.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5451
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
+"services, grant funding"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5454
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 21, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5457
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: David Wiley and Kim "
+"Thanos, cofounders"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5468
+msgid "<ulink url=\"http://lumenlearning.com/innovative-projects/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5462
+msgid ""
+"Cofounded by open education visionary Dr. David Wiley and "
+"education-technology strategist Kim Thanos, Lumen Learning is dedicated to "
+"improving student success, bringing new ideas to pedagogy, and making "
+"education more affordable by facilitating adoption of open educational "
+"resources. In 2012, David and Kim partnered on a grant-funded project called "
+"the Kaleidoscope Open Course Initiative.<placeholder type=\"footnote\" "
+"id=\"0\"/> It involved a set of fully open general-education courses across "
+"eight colleges predominantly serving at-risk students, with goals to "
+"dramatically reduce textbook costs and collaborate to improve the courses to "
+"help students succeed. David and Kim exceeded those goals: the cost of the "
+"required textbooks, replaced with OER, decreased to zero dollars, and "
+"average student-success rates improved by 5 to 10 percent when compared with "
+"previous years. After a second round of funding, a total of more than "
+"twenty-five institutions participated in and benefited from this project. It "
+"was career changing for David and Kim to see the impact this initiative had "
+"on low-income students. David and Kim sought further funding from the Bill "
+"and Melinda Gates Foundation, who asked them to define a plan to scale their "
+"work in a financially sustainable way. That is when they decided to create "
+"Lumen Learning."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5485
+msgid ""
+"David and Kim went back and forth on whether it should be a nonprofit or "
+"for- profit. A nonprofit would make it a more comfortable fit with the "
+"education sector but meant they’d be constantly fund-raising and seeking "
+"grants from philanthropies. Also, grants usually require money to be used "
+"in certain ways for specific deliverables. If you learn things along the way "
+"that change how you think the grant money should be used, there often isn’t "
+"a lot of flexibility to do so."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5495
+msgid ""
+"But as a for-profit, they’d have to convince educational institutions to pay "
+"for what Lumen had to offer. On the positive side, they’d have more control "
+"over what to do with the revenue and investment money; they could make "
+"decisions to invest the funds or use them differently based on the situation "
+"and shifting opportunities. In the end, they chose the for-profit status, "
+"with its different model for and approach to sustainability."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5504
+msgid ""
+"Right from the start, David and Kim positioned Lumen Learning as a way to "
+"help institutions engage in open educational resources, or OER. OER are "
+"teaching, learning, and research materials, in all different media, that "
+"reside in the public domain or are released under an open license that "
+"permits free use and repurposing by others."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5512
+msgid ""
+"Originally, Lumen did custom contracts for each institution. This was "
+"complicated and challenging to manage. However, through that process "
+"patterns emerged which allowed them to generalize a set of approaches and "
+"offerings. Today they don’t customize as much as they used to, and instead "
+"they tend to work with customers who can use their off-the-shelf "
+"options. Lumen finds that institutions and faculty are generally very good "
+"at seeing the value Lumen brings and are willing to pay for it. Serving "
+"disadvantaged learner populations has led Lumen to be very pragmatic; they "
+"describe what they offer in quantitative terms—with facts and figures—and in "
+"a way that is very student-focused. Lumen Learning helps colleges and "
+"universities—"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5528
+msgid "replace expensive textbooks in high-enrollment courses with OER;"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5534
+msgid ""
+"provide enrolled students day one access to Lumen’s fully customizable OER "
+"course materials through the institution’s learning-management system;"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5541
+msgid ""
+"measure improvements in student success with metrics like passing rates, "
+"persistence, and course completion; and"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5547
+msgid ""
+"collaborate with faculty to make ongoing improvements to OER based on "
+"student success research."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5553
+msgid ""
+"Lumen has developed a suite of open, Creative Commons–licensed courseware in "
+"more than sixty-five subjects. All courses are freely and publicly available "
+"right off their website. They can be copied and used by others as long as "
+"they provide attribution to Lumen Learning following the terms of the "
+"Creative Commons license."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5561
+msgid ""
+"Then there are three types of bundled services that cost money. One option, "
+"which Lumen calls Candela courseware, offers integration with the "
+"institution’s learning-management system, technical and pedagogical support, "
+"and tracking of effectiveness. Candela courseware costs institutions ten "
+"dollars per enrolled student."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5569
+msgid ""
+"A second option is Waymaker, which offers the services of Candela but adds "
+"personalized learning technologies, such as study plans, automated messages, "
+"and assessments, and helps instructors find and support the students who "
+"need it most. Waymaker courses cost twenty-five dollars per enrolled "
+"student."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5576
+msgid ""
+"The third and emerging line of business for Lumen is providing guidance and "
+"support for institutions and state systems that are pursuing the development "
+"of complete OER degrees. Often called Z-Degrees, these programs eliminate "
+"textbook costs for students in all courses that make up the degree (both "
+"required and elective) by replacing commercial textbooks and other "
+"expensive resources with OER."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5585
+msgid ""
+"Lumen generates revenue by charging for their value-added tools and services "
+"on top of their free courses, just as solar-power companies provide the "
+"tools and services that help people use a free resource—sunlight. And "
+"Lumen’s business model focuses on getting the institutions to pay, not the "
+"students. With projects they did prior to Lumen, David and Kim learned that "
+"students who have access to all course materials from day one have greater "
+"success. If students had to pay, Lumen would have to restrict access to "
+"those who paid. Right from the start, their stance was that they would not "
+"put their content behind a paywall. Lumen invests zero dollars in "
+"technologies and processes for restricting access—no digital rights "
+"management, no time bombs. While this has been a challenge from a "
+"business-model perspective, from an open-access perspective, it has "
+"generated immense goodwill in the community."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5602
+msgid ""
+"In most cases, development of their courses is funded by the institution "
+"Lumen has a contract with. When creating new courses, Lumen typically works "
+"with the faculty who are teaching the new course. They’re often part of the "
+"institution paying Lumen, but sometimes Lumen has to expand the team and "
+"contract faculty from other institutions. First, the faculty identifies all "
+"of the course’s learning outcomes. Lumen then searches for, aggregates, and "
+"curates the best OER they can find that addresses those learning needs, "
+"which the faculty reviews."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5613
+msgid ""
+"Sometimes faculty like the existing OER but not the way it is presented. The "
+"open licensing of existing OER allows Lumen to pick and choose from images, "
+"videos, and other media to adapt and customize the course. Lumen creates new "
+"content as they discover gaps in existing OER. Test-bank items and feedback "
+"for students on their progress are areas where new content is frequently "
+"needed. Once a course is created, Lumen puts it on their platform with all "
+"the attributions and links to the original sources intact, and any of "
+"Lumen’s new content is given an Attribution (CC BY) license."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5624
+msgid ""
+"Using only OER made them experience firsthand how complex it could be to mix "
+"differently licensed work together. A common strategy with OER is to place "
+"the Creative Commons license and attribution information in the website’s "
+"footer, which stays the same for all pages. This doesn’t quite work, "
+"however, when mixing different OER together."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5632
+msgid ""
+"Remixing OER often results in multiple attributions on every page of every "
+"course—text from one place, images from another, and videos from yet "
+"another. Some are licensed as Attribution (CC BY), others as "
+"Attribution-ShareAlike (CC BY-SA). If this information is put within the "
+"text of the course, faculty members sometimes try to edit it and students "
+"find it a distraction. Lumen dealt with this challenge by capturing the "
+"license and attribution information as metadata, and getting it to show up "
+"at the end of each page."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5643
+msgid ""
+"Lumen’s commitment to open licensing and helping low-income students has led "
+"to strong relationships with institutions, open-education enthusiasts, and "
+"grant funders. People in their network generously increase the visibility of "
+"Lumen through presentations, word of mouth, and referrals. Sometimes the "
+"number of general inquiries exceed Lumen’s sales capacity."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5651
+msgid ""
+"To manage demand and ensure the success of projects, their strategy is to be "
+"proactive and focus on what’s going on in higher education in different "
+"regions of the United States, watching out for things happening at the "
+"system level in a way that fits with what Lumen offers. A great example is "
+"the Virginia community college system, which is building out "
+"Z-Degrees. David and Kim say there are nine other U.S. states with similar "
+"system-level activity where Lumen is strategically focusing its "
+"efforts. Where there are projects that would require a lot of resources on "
+"Lumen’s part, they prioritize the ones that would impact the largest number "
+"of students."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5664
+msgid ""
+"As a business, Lumen is committed to openness. There are two core "
+"nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative "
+"Commons licenses, for all the materials it creates; and day-one access for "
+"students. Having clear nonnegotiables allows them to then engage with the "
+"education community to solve for other challenges and work with institutions "
+"to identify new business models that achieve institution goals, while "
+"keeping Lumen healthy."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5674
+msgid ""
+"Openness also means that Lumen’s OER must necessarily be nonexclusive and "
+"nonrivalrous. This represents several big challenges for the business model: "
+"Why should you invest in creating something that people will be reluctant to "
+"pay for? How do you ensure that the investment the diverse education "
+"community makes in OER is not exploited? Lumen thinks we all need to be "
+"clear about how we are benefiting from and contributing to the open "
+"community."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5684
+msgid ""
+"In the OER sector, there are examples of corporations, and even "
+"institutions, acting as free riders. Some simply take and use open resources "
+"without paying anything or contributing anything back. Others give back the "
+"minimum amount so they can save face. Sustainability will require those "
+"using open resources to give back an amount that seems fair or even give "
+"back something that is generous."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5693
+msgid ""
+"Lumen does track institutions accessing and using their free content. They "
+"proactively contact those institutions, with an estimate of how much their "
+"students are saving and encouraging them to switch to a paid model. Lumen "
+"explains the advantages of the paid model: a more interactive relationship "
+"with Lumen; integration with the institution’s learning-management system; a "
+"guarantee of support for faculty and students; and future sustainability "
+"with funding supporting the evolution and improvement of the OER they are "
+"using."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5704
+msgid ""
+"Lumen works hard to be a good corporate citizen in the OER community. For "
+"David and Kim, a good corporate citizen gives more than they take, adds "
+"unique value, and is very transparent about what they are taking from "
+"community, what they are giving back, and what they are monetizing. Lumen "
+"believes these are the building blocks of a sustainable model and strives "
+"for a correct balance of all these factors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5713
+msgid ""
+"Licensing all the content they produce with CC BY is a key part of giving "
+"more value than they take. They’ve also worked hard at finding the right "
+"structure for their value-add and how to package it in a way that is "
+"understandable and repeatable."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5719
+msgid ""
+"As of the fall 2016 term, Lumen had eighty-six different open courses, "
+"working relationships with ninety-two institutions, and more than "
+"seventy-five thousand student enrollments. Lumen received early start-up "
+"funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation, "
+"and the Shuttleworth Foundation. Since then, Lumen has also attracted "
+"investment funding. Over the last three years, Lumen has been roughly 60 "
+"percent grant funded, 20 percent revenue earned, and 20 percent funded with "
+"angel capital. Going forward, their strategy is to replace grant funding "
+"with revenue."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5731
+msgid ""
+"In creating Lumen Learning, David and Kim say they’ve landed on solutions "
+"they never imagined, and there is still a lot of learning taking place. For "
+"them, open business models are an emerging field where we are all learning "
+"through sharing. Their biggest recommendations for others wanting to pursue "
+"the open model are to make your commitment to open resources public, let "
+"people know where you stand, and don’t back away from it. It really is about "
+"trust."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5742
+msgid "Jonathan Mann"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5748
+msgid ""
+"Jonathan Mann is a singer and songwriter who is most well known as the "
+"<quote>Song A Day</quote> guy. Based in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5751
+msgid ""
+"<ulink url=\"http://jonathanmann.net\"/> and <ulink "
+"url=\"http://jonathanmann.bandcamp.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5754
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
+"services, pay-what-you-want, crowdfunding (subscription-based), charging for "
+"in-person version (speaking engagements and musical performances)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5759
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 22, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5764
+msgid ""
+"Jonathan Mann thinks of his business model as "
+"<quote>hustling</quote>—seizing nearly every opportunity he sees to make "
+"money. The bulk of his income comes from writing songs under commission for "
+"people and companies, but he has a wide variety of income sources. He has "
+"supporters on the crowdfunding site Patreon. He gets advertising revenue "
+"from YouTube and Bandcamp, where he posts all of his music. He gives paid "
+"speaking engagements about creativity and motivation. He has been hired by "
+"major conferences to write songs summarizing what speakers have said in the "
+"conference sessions."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5776
+msgid ""
+"His entrepreneurial spirit is coupled with a willingness to take action "
+"quickly. A perfect illustration of his ability to act fast happened in 2010, "
+"when he read that Apple was having a conference the following day to address "
+"a snafu related to the iPhone 4. He decided to write and post a song about "
+"the iPhone 4 that day, and the next day he got a call from the public "
+"relations people at Apple wanting to use and promote his video at the Apple "
+"conference. The song then went viral, and the experience landed him in Time "
+"magazine."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5787
+msgid ""
+"Jonathan’s successful <quote>hustling</quote> 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 <quote>song-a-day guy.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5794
+msgid ""
+"He fell into this role by, naturally, seizing a random opportunity a friend "
+"alerted him to seven years ago—an event called Fun-A-Day, where people are "
+"supposed to create a piece of art every day for thirty-one days straight. He "
+"was in need of a new project, so he decided to give it a try by writing and "
+"posting a song each day. He added a video component to the songs because he "
+"knew people were more likely to watch video online than simply listening to "
+"audio files."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5804
+msgid ""
+"He had a really good time doing the thirty-one-day challenge, so he decided "
+"to see if he could continue it for one year. He never stopped. He has "
+"written and posted a new song literally every day, seven days a week, since "
+"he began the project in 2009. When he isn’t writing songs that he is hired "
+"to write by clients, he writes songs about whatever is on his mind that "
+"day. His songs are catchy and mostly lighthearted, but they often contain at "
+"least an undercurrent of a deeper theme or meaning. Occasionally, they are "
+"extremely personal, like the song he cowrote with his exgirlfriend "
+"announcing their breakup. Rain or shine, in sickness or health, Jonathan "
+"posts and writes a song every day. If he is on a flight or otherwise "
+"incapable of getting Internet access in time to meet the deadline, he will "
+"prepare ahead and have someone else post the song for him."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5820
+msgid ""
+"Over time, the song-a-day gig became the basis of his livelihood. In the "
+"beginning, he made money one of two ways. The first was by entering a wide "
+"variety of contests and winning a handful. The second was by having the "
+"occasional song and video go some varying degree of viral, which would bring "
+"more eyeballs and mean that there were more people wanting him to write "
+"songs for them. Today he earns most of his money this way."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5829
+msgid ""
+"His website explains his gig as <quote>taking any message, from the super "
+"simple to the totally complicated, and conveying that message through a "
+"heartfelt, fun and quirky song.</quote> He charges $500 to create a produced "
+"song and $300 for an acoustic song. He has been hired for product launches, "
+"weddings, conferences, and even Kickstarter campaigns like the one that "
+"funded the production of this book."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5838
+msgid ""
+"Jonathan can’t recall when exactly he first learned about Creative Commons, "
+"but he began applying CC licenses to his songs and videos as soon as he "
+"discovered the option. <quote>CC seems like such a no-brainer,</quote> "
+"Jonathan said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5847
+msgid ""
+"His songs are essentially marketing for his services, so obviously the "
+"further his songs spread, the better. Using CC licenses helps grease the "
+"wheels, letting people know that Jonathan allows and encourages them to "
+"copy, interact with, and remix his music. <quote>If you let someone cover "
+"your song or remix it or use parts of it, that’s how music is supposed to "
+"work,</quote> Jonathan said. <quote>That is how music has worked since the "
+"beginning of time. Our me-me, mine-mine culture has undermined that.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5857
+msgid ""
+"There are some people who cover his songs fairly regularly, and he would "
+"never shut that down. But he acknowledges there is a lot more he could do to "
+"build community. <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,</quote> Jonathan said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5864
+msgid ""
+"He does have a fan community he cultivates on Bandcamp, but it isn’t his "
+"major focus. <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,</quote> "
+"he said. <quote>There is also a transitional aspect that drop in and get "
+"what they need and then move on.</quote> Focusing less on community building "
+"than other artists makes sense given Jonathan’s primary income source of "
+"writing custom songs for clients."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5874
+msgid ""
+"Jonathan recognizes what comes naturally to him and leverages those "
+"skills. Through the practice of daily songwriting, he realized he has a gift "
+"for distilling complicated subjects into simple concepts and putting them to "
+"music. In his song <quote>How to Choose a Master Password,</quote> Jonathan "
+"explained the process of creating a secure password in a silly, simple "
+"song. He was hired to write the song by a client who handed him a long "
+"technical blog post from which to draw the information. Like a good (and "
+"rare) journalist, he translated the technical concepts into something "
+"understandable."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5886
+msgid ""
+"When he is hired by a client to write a song, he first asks them to send a "
+"list of talking points and other information they want to include in the "
+"song. He puts all of that into a text file and starts moving things around, "
+"cutting and pasting until the message starts to come together. The first "
+"thing he tries to do is grok the core message and develop the chorus. Then "
+"he looks for connections or parts he can make rhyme. The entire process "
+"really does resemble good journalism, but of course the final product of his "
+"work is a song rather than news. <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,</quote> he "
+"said. <quote>I find that creative challenge really satisfying. I enjoy "
+"getting lost in that process.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5902
+msgid ""
+"Jonathan admits that in an ideal world, he would exclusively write the music "
+"he wanted to write, rather than what clients hire him to write. But his "
+"business model is about capitalizing on his strengths as a songwriter, and "
+"he has found a way to keep it interesting for himself."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5909
+msgid ""
+"Jonathan uses nearly every tool possible to make money from his art, but he "
+"does have lines he won’t cross. He won’t write songs about things he "
+"fundamentally does not believe in, and there are times he has turned down "
+"jobs on principle. He also won’t stray too much from his natural "
+"style. <quote>My style is silly, so I can’t really accommodate people who "
+"want something super serious,</quote> Jonathan said. <quote>I do what I do "
+"very easily, and it’s part of who I am.</quote> Jonathan hasn’t gotten into "
+"writing commercials for the same reasons; he is best at using his own unique "
+"style rather than mimicking others."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5921
+msgid ""
+"Jonathan’s song-a-day commitment exemplifies the power of habit and "
+"grit. Conventional wisdom about creative productivity, including advice in "
+"books like the best-seller The Creative Habit by Twyla Tharp, routinely "
+"emphasizes the importance of ritual and action. No amount of planning can "
+"replace the value of simple practice and just doing. Jonathan Mann’s work is "
+"a living embodiment of these principles."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5930
+msgid ""
+"When he speaks about his work, he talks about how much the song-a-day "
+"process has changed him. Rather than seeing any given piece of work as "
+"precious and getting stuck on trying to make it perfect, he has become "
+"comfortable with just doing. If today’s song is a bust, tomorrow’s song "
+"might be better."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5937
+msgid ""
+"Jonathan seems to have this mentality about his career more generally. He is "
+"constantly experimenting with ways to make a living while sharing his work "
+"as widely as possible, seeing what sticks. While he has major "
+"accomplishments he is proud of, like being in the Guinness World Records or "
+"having his song used by Steve Jobs, he says he never truly feels successful."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5944
+msgid ""
+"<quote>Success feels like it’s over,</quote> he said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5951
+msgid "Noun Project"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5957
+msgid ""
+"The Noun Project is a for-profit company offering an online platform to "
+"display visual icons from a global network of designers. Founded in 2010 in "
+"the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5962
+msgid "<ulink url=\"http://thenounproject.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5964
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
+"fee, charging for custom services"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5967
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: October 6, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5970
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Edward Boatman, cofounder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5975
+msgid ""
+"The Noun Project creates and shares visual language. There are millions who "
+"use Noun Project symbols to simplify communication across borders, "
+"languages, and cultures."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5980
+msgid ""
+"The original idea for the Noun Project came to cofounder Edward Boatman "
+"while he was a student in architecture design school. He’d always done a lot "
+"of sketches and started to draw what used to fascinate him as a child, like "
+"trains, sequoias, and bulldozers. He began thinking how great it would be "
+"if he had a simple image or small icon of every single object or concept on "
+"the planet."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5988
+msgid ""
+"When Edward went on to work at an architecture firm, he had to make a lot of "
+"presentation boards for clients. But finding high-quality sources for "
+"symbols and icons was difficult. He couldn’t find any website that could "
+"provide them. Perhaps his idea for creating a library of icons could "
+"actually help people in similar situations."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:5996
+msgid ""
+"With his partner, Sofya Polyakov, he began collecting symbols for a website "
+"and writing a business plan. Inspiration came from the book Professor and "
+"the Madman, which chronicles the use of crowdsourcing to create the Oxford "
+"English Dictionary in 1870. Edward began to imagine crowdsourcing icons and "
+"symbols from volunteer designers around the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6007
+msgid ""
+"<ulink "
+"url=\"http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6004
+msgid ""
+"Then Edward got laid off during the recession, which turned out to be a huge "
+"catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya "
+"launched the Noun Project with a Kickstarter campaign, back when Kickstarter "
+"was in its infancy.<placeholder type=\"footnote\" id=\"0\"/> They thought "
+"it’d be a good way to introduce the global web community to their "
+"idea. Their goal was to raise $1,500, but in twenty days they got over "
+"$14,000. They realized their idea had the potential to be something much "
+"bigger."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6013
+msgid ""
+"They created a platform where symbols and icons could be uploaded, and "
+"Edward began recruiting talented designers to contribute their designs, a "
+"process he describes as a relatively easy sell. Lots of designers have old "
+"drawings just gathering <quote>digital dust</quote> on their hard "
+"drives. It’s easy to convince them to finally share them with the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6021
+msgid ""
+"The Noun Project currently has about seven thousand designers from around "
+"the world. But not all submissions are accepted. The Noun Project’s "
+"quality-review process means that only the best works become part of its "
+"collection. They make sure to provide encouraging, constructive feedback "
+"whenever they reject a piece of work, which maintains and builds the "
+"relationship they have with their global community of designers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6030
+msgid ""
+"Creative Commons is an integral part of the Noun Project’s business model; "
+"this decision was inspired by Chris Anderson’s book Free: The Future of "
+"Radical Price, which introduced Edward to the idea that you could build a "
+"business model around free content."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6037
+msgid ""
+"Edward knew he wanted to offer a free visual language while still providing "
+"some protection and reward for its contributors. There is a tension between "
+"those two goals, but for Edward, Creative Commons licenses bring this "
+"idealism and business opportunity together elegantly. He chose the "
+"Attribution (CC BY) license, which means people can download the icons for "
+"free and modify them and even use them commercially. The requirement to give "
+"attribution to the original creator ensures that the creator can build a "
+"reputation and get global recognition for their work. And if they simply "
+"want to offer an icon that people can use without having to give credit, "
+"they can use CC0 to put the work into the public domain."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6051
+msgid ""
+"Noun Project’s business model and means of generating revenue have evolved "
+"significantly over time. Their initial plan was to sell T-shirts with the "
+"icons on it, which in retrospect Edward says was a horrible idea. They did "
+"get a lot of email from people saying they loved the icons but asking if "
+"they could pay a fee instead of giving attribution. Ad agencies (among "
+"others) wanted to keep marketing and presentation materials clean and free "
+"of attribution statements. For Edward, <quote>That’s when our lightbulb went "
+"off.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6062
+msgid ""
+"They asked their global network of designers whether they’d be open to "
+"receiving modest remuneration instead of attribution. Designers saw it as a "
+"win-win. The idea that you could offer your designs for free and have a "
+"global audience and maybe even make some money was pretty exciting for most "
+"designers."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6069
+msgid ""
+"The Noun Project first adopted a model whereby using an icon without giving "
+"attribution would cost $1.99 per icon. The model’s second iteration added a "
+"subscription component, where there would be a monthly fee to access a "
+"certain number of icons—ten, fifty, a hundred, or five hundred. However, "
+"users didn’t like these hard-count options. They preferred to try out many "
+"similar icons to see which worked best before eventually choosing the one "
+"they wanted to use. So the Noun Project moved to an unlimited model, whereby "
+"users have unlimited access to the whole library for a flat monthly "
+"fee. This service is called NounPro and costs $9.99 per month. Edward says "
+"this model is working well—good for customers, good for creators, and good "
+"for the platform."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6083
+msgid ""
+"Customers then began asking for an application-programming interface (API), "
+"which would allow Noun Project icons and symbols to be directly accessed "
+"from within other applications. Edward knew that the icons and symbols would "
+"be valuable in a lot of different contexts and that they couldn’t possibly "
+"know all of them in advance, so they built an API with a lot of "
+"flexibility. Knowing that most API applications would want to use the icons "
+"without giving attribution, the API was built with the aim of charging for "
+"its use. You can use what’s called the <quote>Playground API</quote> for "
+"free to test how it integrates with your application, but full "
+"implementation will require you to purchase the API Pro version."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6097
+msgid ""
+"The Noun Project shares revenue with its international designers. For "
+"one-off purchases, the revenue is split 70 percent to the designer and 30 "
+"percent to Noun Project."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6102
+msgid ""
+"The revenue from premium purchases (the subscription and API options) is "
+"split a little differently. At the end of each month, the total revenue from "
+"subscriptions is divided by Noun Project’s total number of downloads, "
+"resulting in a rate per download—for example, it could be $0.13 per download "
+"for that month. For each download, the revenue is split 40 percent to the "
+"designer and 60 percent to the Noun Project. (For API usage, it’s per use "
+"instead of per download.) Noun Project’s share is higher this time as it’s "
+"providing more service to the user."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6114 MadewithCreativeCommonsmostup-to-dateversion.xml:6186
+msgid "<ulink url=\"http://thenounproject.com/handbook/royalties/#getting_paid\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6113
+msgid ""
+"The Noun Project tries to be completely transparent about their royalty "
+"structure.<placeholder type=\"footnote\" id=\"0\"/> They tend to over "
+"communicate with creators about it because building trust is the top "
+"priority."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6118
+msgid ""
+"For most creators, contributing to the Noun Project is not a full-time job "
+"but something they do on the side. Edward categorizes monthly earnings for "
+"creators into three broad categories: enough money to buy beer; enough to "
+"pay the bills; and most successful of all, enough to pay the rent."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6125
+msgid ""
+"Recently the Noun Project launched a new app called Lingo. Designers can "
+"use Lingo to organize not just their Noun Project icons and symbols but also "
+"their photos, illustrations, UX designs, et cetera. You simply drag any "
+"visual item directly into Lingo to save it. Lingo also works for teams so "
+"people can share visuals with each other and search across their combined "
+"collections. Lingo is free for personal use. A pro version for $9.99 per "
+"month lets you add guests. A team version for $49.95 per month allows up to "
+"twenty-five team members to collaborate, and to view, use, edit, and add new "
+"assets to each other’s collections. And if you subscribe to NounPro, you "
+"can access Noun Project from within Lingo."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6139
+msgid ""
+"The Noun Project gives a ton of value away for free. A very large percentage "
+"of their roughly one million members have a free account, but there are "
+"still lots of paid accounts coming from digital designers, advertising and "
+"design agencies, educators, and others who need to communicate ideas "
+"visually."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6146
+msgid ""
+"For Edward, <quote>creating, sharing, and celebrating the world’s visual "
+"language</quote> is the most important aspect of what they do; it’s their "
+"stated mission. It differentiates them from others who offer graphics, "
+"icons, or clip art."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6152
+msgid ""
+"Noun Project creators agree. When surveyed on why they participate in the "
+"Noun Project, this is how designers rank their reasons: 1) to support the "
+"Noun Project mission, 2) to promote their own personal brand, and 3) to "
+"generate money. It’s striking to see that money comes third, and mission, "
+"first. If you want to engage a global network of contributors, it’s "
+"important to have a mission beyond making money."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6161
+msgid ""
+"In Edward’s view, Creative Commons is central to their mission of sharing "
+"and social good. Using Creative Commons makes the Noun Project’s mission "
+"genuine and has generated a lot of their initial traction and "
+"credibility. CC comes with a built-in community of users and fans."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6168
+msgid ""
+"Edward told us, <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 "
+"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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6178
+msgid ""
+"The Noun Project nurtures their creators’ second motivation—promoting a "
+"personal brand—by connecting every icon and symbol to the creator’s name and "
+"profile page; each profile features their full collection. Users can also "
+"search the icons by the creator’s name."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6185
+msgid ""
+"The Noun Project also builds community through Iconathons—hackathons for "
+"icons.<placeholder type=\"footnote\" id=\"0\"/> In partnership with a "
+"sponsoring organization, the Noun Project comes up with a theme (e.g., "
+"sustainable energy, food bank, guerrilla gardening, human rights) and a list "
+"of icons that are needed, which designers are invited to create at the "
+"event. The results are vectorized, and added to the Noun Project using CC0 "
+"so they can be used by anyone for free."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6194
+msgid ""
+"Providing a free version of their product that satisfies a lot of their "
+"customers’ needs has actually enabled the Noun Project to build the paid "
+"version, using a service-oriented model. The Noun Project’s success lies in "
+"creating services and content that are a strategic mix of free and paid "
+"while staying true to their mission—creating, sharing, and celebrating the "
+"world’s visual language. Integrating Creative Commons into their model has "
+"been key to that goal."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6205
+msgid "Open Data Institute"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6211
+msgid ""
+"The Open Data Institute is an independent nonprofit that connects, equips, "
+"and inspires people around the world to innovate with data. Founded in 2012 "
+"in the UK."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6216
+msgid "<ulink url=\"http://theodi.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6218
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: grant and government "
+"funding, charging for custom services, donations"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6221
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 11, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6224
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: Jeni Tennison, technical "
+"director"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6229
+msgid ""
+"Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the "
+"London-based Open Data Institute (ODI) offers data-related training, events, "
+"consulting services, and research. For ODI, Creative Commons licenses are "
+"central to making their own business model and their customers’ open. CC BY "
+"(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the "
+"public domain) all play a critical role in ODI’s mission to help people "
+"around the world innovate with data."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6239
+msgid ""
+"Data underpins planning and decision making across all aspects of "
+"society. Weather data helps farmers know when to plant their crops, flight "
+"time data from airplane companies helps us plan our travel, data on local "
+"housing informs city planning. When this data is not only accurate and "
+"timely, but open and accessible, it opens up new possibilities. Open data "
+"can be a resource businesses use to build new products and services. It can "
+"help governments measure progress, improve efficiency, and target "
+"investments. It can help citizens improve their lives by better "
+"understanding what is happening around them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6251
+msgid ""
+"The Open Data Institute’s 2012–17 business plan starts out by describing its "
+"vision to establish itself as a world-leading center and to research and be "
+"innovative with the opportunities created by the UK government’s open data "
+"policy. (The government was an early pioneer in open policy and open-data "
+"initiatives.) It goes on to say that the ODI wants to—"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6261
+msgid ""
+"demonstrate the commercial value of open government data and how open-data "
+"policies affect this;"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6267
+msgid "develop the economic benefits case and business models for open data;"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6273
+msgid "help UK businesses use open data; and"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6278
+msgid ""
+"<ulink "
+"url=\"http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6278
+msgid ""
+"show how open data can improve public services.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6283
+msgid ""
+"ODI is very explicit about how it wants to make open business models, and "
+"defining what this means. Jeni Tennison, ODI’s technical director, puts it "
+"this way: <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.</quote> ODI’s particular focus is to show open data’s potential for "
+"revenue."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6293
+msgid ""
+"As an independent nonprofit, ODI secured £10 million over five years from "
+"the UK government via Innovate UK, an agency that promotes innovation in "
+"science and technology. For this funding, ODI has to secure matching funds "
+"from other sources, some of which were met through a $4.75-million "
+"investment from the Omidyar Network."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6301
+msgid ""
+"Jeni started out as a developer and technical architect for data.gov.uk, the "
+"UK government’s pioneering open-data initiative. She helped make data sets "
+"from government departments available as open data. She joined ODI in 2012 "
+"when it was just starting up, as one of six people. It now has a staff of "
+"about sixty."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6308
+msgid ""
+"ODI strives to have half its annual budget come from the core UK government "
+"and Omidyar grants, and the other half from project-based research and "
+"commercial work. In Jeni’s view, having this balance of revenue sources "
+"establishes some stability, but also keeps them motivated to go out and "
+"generate these matching funds in response to market needs."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6316
+msgid ""
+"On the commercial side, ODI generates funding through memberships, training, "
+"and advisory services."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6331
+msgid "<ulink url=\"http://directory.theodi.org/members\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6320
+msgid ""
+"You can join the ODI as an individual or commercial member. Individual "
+"membership is pay-what-you-can, with options ranging from £1 to "
+"£100. Members receive a newsletter and related communications and a discount "
+"on ODI training courses and the annual summit, and they can display an "
+"ODI-supporter badge on their website. Commercial membership is divided into "
+"two tiers: small to medium size enterprises and nonprofits at £720 a year, "
+"and corporations and government organizations at £2,200 a year. Commercial "
+"members have greater opportunities to connect and collaborate, explore the "
+"benefits of open data, and unlock new business opportunities. (All members "
+"are listed on their website.)<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6334
+msgid ""
+"ODI provides standardized open data training courses in which anyone can "
+"enroll. The initial idea was to offer an intensive and academically oriented "
+"diploma in open data, but it quickly became clear there was no market for "
+"that. Instead, they offered a five-day-long public training course, which "
+"has subsequently been reduced to three days; now the most popular course is "
+"one day long. The fee, in addition to the time commitment, can be a barrier "
+"for participation. Jeni says, <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.</quote> "
+"Public-sector organizations sometimes give vouchers to their employees so "
+"they can attend as a form of professional development."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6348
+msgid ""
+"ODI customizes training for clients as well, for which there is more "
+"demand. Custom training usually emerges through an established relationship "
+"with an organization. The training program is based on a definition of "
+"open-data knowledge as applicable to the organization and on the skills "
+"needed by their high-level executives, management, and technical staff. The "
+"training tends to generate high interest and commitment."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6357
+msgid ""
+"Education about open data is also a part of ODI’s annual summit event, where "
+"curated presentations and speakers showcase the work of ODI and its members "
+"across the entire ecosystem. Tickets to the summit are available to the "
+"public, and hundreds of people and organizations attend and participate. In "
+"2014, there were four thematic tracks and over 750 attendees."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6365
+msgid ""
+"In addition to memberships and training, ODI provides advisory services to "
+"help with technical-data support, technology development, change management, "
+"policies, and other areas. ODI has advised large commercial organizations, "
+"small businesses, and international governments; the focus at the moment is "
+"on government, but ODI is working to shift more toward commercial "
+"organizations."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6374
+msgid "On the commercial side, the following value propositions seem to resonate:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6380
+msgid ""
+"Data-driven insights. Businesses need data from outside their business to "
+"get more insight. Businesses can generate value and more effectively pursue "
+"their own goals if they open up their own data too. Big data is a hot topic."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6388
+msgid ""
+"Open innovation. Many large-scale enterprises are aware they don’t innovate "
+"very well. One way they can innovate is to open up their data. ODI "
+"encourages them to do so even if it exposes problems and challenges. The key "
+"is to invite other people to help while still maintaining organizational "
+"autonomy."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6397
+msgid ""
+"Corporate social responsibility. While this resonates with businesses, ODI "
+"cautions against having it be the sole reason for making data open. If a "
+"business is just thinking about open data as a way to be transparent and "
+"accountable, they can miss out on efficiencies and opportunities."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6406
+msgid ""
+"During their early years, ODI wanted to focus solely on the United "
+"Kingdom. But in their first year, large delegations of government visitors "
+"from over fifty countries wanted to learn more about the UK government’s "
+"open-data practices and how ODI saw that translating into economic "
+"value. They were contracted as a service provider to international "
+"governments, which prompted a need to set up international ODI "
+"<quote>nodes.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6415
+msgid ""
+"Nodes are franchises of the ODI at a regional or city level. Hosted by "
+"existing (for-profit or not-for-profit) organizations, they operate locally "
+"but are part of the global network. Each ODI node adopts the charter, a set "
+"of guiding principles and rules under which ODI operates. They develop and "
+"deliver training, connect people and businesses through membership and "
+"events, and communicate open-data stories from their part of the "
+"world. There are twenty-seven different nodes across nineteen countries. ODI "
+"nodes are charged a small fee to be part of the network and to use the "
+"brand."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6429
+msgid ""
+"<ulink url=\"http://theodi.org/odi-startup-programme\"/>; <ulink "
+"url=\"http://theodi.org/open-data-incubator-for-europe\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6427
+msgid ""
+"ODI also runs programs to help start-ups in the UK and across Europe develop "
+"a sustainable business around open data, offering mentoring, advice, "
+"training, and even office space.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6433
+msgid ""
+"A big part of ODI’s business model revolves around community "
+"building. Memberships, training, summits, consulting services, nodes, and "
+"start-up programs create an ever-growing network of open-data users and "
+"leaders. (In fact, ODI even operates something called an Open Data Leaders "
+"Network.) For ODI, community is key to success. They devote significant time "
+"and effort to build it, not just online but through face-to-face events."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6447
+msgid "<ulink url=\"http://certificates.theodi.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6442
+msgid ""
+"ODI has created an online tool that organizations can use to assess the "
+"legal, practical, technical, and social aspects of their open data. If it is "
+"of high quality, the organization can earn ODI’s Open Data Certificate, a "
+"globally recognized mark that signals that their open data is useful, "
+"reliable, accessible, discoverable, and supported.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6450
+msgid ""
+"Separate from commercial activities, the ODI generates funding through "
+"research grants. Research includes looking at evidence on the impact of open "
+"data, development of open-data tools and standards, and how to deploy open "
+"data at scale."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6456
+msgid ""
+"Creative Commons 4.0 licenses cover database rights and ODI recommends CC "
+"BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data "
+"to use Creative Commons licenses rather than creating new <quote>open "
+"licenses</quote> of their own."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6463
+msgid ""
+"For ODI, open is at the heart of what they do. They also release any "
+"software code they produce under open-source-software licenses, and "
+"publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is "
+"to connect and equip people around the world so they can innovate with "
+"data. Disseminating stories, research, guidance, and code under an open "
+"license is essential for achieving that mission. It also demonstrates that "
+"it is perfectly possible to generate sustainable revenue streams that do not "
+"rely on restrictive licensing of content, data, or code. People pay to have "
+"ODI experts provide training to them, not for the content of the training; "
+"people pay for the advice ODI gives them, not for the methodologies they "
+"use. Producing open content, data, and source code helps establish "
+"credibility and creates leads for the paid services that they "
+"offer. According to Jeni, <quote>The biggest lesson we have learned is that "
+"it is completely possible to be open, get customers, and make money.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6481
+msgid ""
+"To serve as evidence of a successful open business model and return on "
+"investment, ODI has a public dashboard of key performance indicators. Here "
+"are a few metrics as of April 27, 2016:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6489
+msgid ""
+"Total amount of cash investments unlocked in direct investments in ODI, "
+"competition funding, direct contracts, and partnerships, and income that ODI "
+"nodes and ODI start-ups have generated since joining the ODI program: £44.5 "
+"million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6497
+msgid "Total number of active members and nodes across the globe: 1,350"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6503
+msgid "Total sales since ODI began: £7.44 million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6508
+msgid ""
+"Total number of unique people reached since ODI began, in person and online: "
+"2.2 million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6514
+msgid "Total Open Data Certificates created: 151,000"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6520
+msgid "<ulink url=\"http://dashboards.theodi.org/company/all\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6519
+msgid ""
+"Total number of people trained by ODI and its nodes since ODI began: "
+"5,080<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6526
+msgid "OpenDesk"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6532
+msgid ""
+"Opendesk is a for-profit company offering an online platform that connects "
+"furniture designers around the world with customers and local makers who "
+"bring the designs to life. Founded in 2014 in the UK."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6538
+msgid "<ulink url=\"http://www.opendesk.cc\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6540 MadewithCreativeCommonsmostup-to-dateversion.xml:8971
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging a transaction "
+"fee"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6543
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: November 4, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6546
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: Nick Ierodiaconou and "
+"Joni Steiner, cofounders"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6551
+msgid ""
+"Opendesk is an online platform that connects furniture designers around the "
+"world not just with customers but also with local registered makers who "
+"bring the designs to life. Opendesk and the designer receive a portion of "
+"every sale that is made by a maker."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6557
+msgid ""
+"Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as "
+"architects together. They also made goods. Their first client was Mint "
+"Digital, who had an interest in open licensing. Nick and Joni were exploring "
+"digital fabrication, and Mint’s interest in open licensing got them to "
+"thinking how the open-source world may interact and apply to physical "
+"goods. They sought to design something for their client that was also "
+"reproducible. As they put it, they decided to <quote>ship the recipe, but "
+"not the goods.</quote> They created the design using software, put it under "
+"an open license, and had it manufactured locally near the client. This was "
+"the start of the idea for Opendesk. The idea for Wikihouse—another open "
+"project dedicated to accessible housing for all—started as discussions "
+"around the same table. The two projects ultimately went on separate paths, "
+"with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit "
+"company."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6574
+msgid ""
+"When Nick and Joni set out to create Opendesk, there were a lot of questions "
+"about the viability of distributed manufacturing. No one was doing it in a "
+"way that was even close to realistic or competitive. The design community "
+"had the intent, but fulfilling this vision was still a long way away."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6581
+msgid ""
+"And now this sector is emerging, and Nick and Joni are highly interested in "
+"the commercialization aspects of it. As part of coming up with a business "
+"model, they began investigating intellectual property and licensing "
+"options. It was a thorny space, especially for designs. Just what aspect of "
+"a design is copyrightable? What is patentable? How can allowing for digital "
+"sharing and distribution be balanced against the designer’s desire to still "
+"hold ownership? In the end, they decided there was no need to reinvent the "
+"wheel and settled on using Creative Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6592
+msgid ""
+"When designing the Opendesk system, they had two goals. They wanted anyone, "
+"anywhere in the world, to be able to download designs so that they could be "
+"made locally, and they wanted a viable model that benefited designers when "
+"their designs were sold. Coming up with a business model was going to be "
+"complex."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6599
+msgid ""
+"They gave a lot of thought to three angles—the potential for social sharing, "
+"allowing designers to choose their license, and the impact these choices "
+"would have on the business model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6604
+msgid ""
+"In support of social sharing, Opendesk actively advocates for (but doesn’t "
+"demand) open licensing. And Nick and Joni are agnostic about which Creative "
+"Commons license is used; it’s up to the designer. They can be proprietary or "
+"choose from the full suite of Creative Commons licenses, deciding for "
+"themselves how open or closed they want to be."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6616
+msgid "<ulink url=\"http://www.opendesk.cc/designers\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6612
+msgid ""
+"For the most part, designers love the idea of sharing content. They "
+"understand that you get positive feedback when you’re attributed, what Nick "
+"and Joni called <quote>reputational glow.</quote> And Opendesk does an "
+"awesome job profiling the designers.<placeholder type=\"footnote\" "
+"id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6619
+msgid ""
+"While designers are largely OK with personal sharing, there is a concern "
+"that someone will take the design and manufacture the furniture in bulk, "
+"with the designer not getting any benefits. So most Opendesk designers "
+"choose the Attribution-NonCommercial license (CC BY-NC)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6626
+msgid ""
+"Anyone can download a design and make it themselves, provided it’s for "
+"noncommercial use — and there have been many, many downloads. Or users can "
+"buy the product from Opendesk, or from a registered maker in Opendesk’s "
+"network, for on-demand personal fabrication. The network of Opendesk makers "
+"currently is made up of those who do digital fabrication using a "
+"computer-controlled CNC (Computer Numeric Control) machining device that "
+"cuts shapes out of wooden sheets according to the specifications in the "
+"design file."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6643
+msgid "<ulink url=\"http://www.opendesk.cc/open-making/makers/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6636
+msgid ""
+"Makers benefit from being part of Opendesk’s network. Making furniture for "
+"local customers is paid work, and Opendesk generates business for them. Joni "
+"said, <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.</quote> Opendesk now has relationships with "
+"hundreds of makers in countries all around the world.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6646
+msgid ""
+"The makers are a critical part of the Opendesk business model. Their model "
+"builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s "
+"website:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6651
+msgid ""
+"When customers buy an Opendesk product directly from a registered maker, "
+"they pay:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6657
+msgid ""
+"the manufacturing cost as set by the maker (this covers material and labour "
+"costs for the product to be manufactured and any extra assembly costs "
+"charged by the maker)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6664
+msgid ""
+"a design fee for the designer (a design fee that is paid to the designer "
+"every time their design is used)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6670
+msgid ""
+"a percentage fee to the Opendesk platform (this supports the infrastructure "
+"and ongoing development of the platform that helps us build out our "
+"marketplace)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6677
+msgid ""
+"a percentage fee to the channel through which the sale is made (at the "
+"moment this is Opendesk, but in the future we aim to open this up to "
+"third-party sellers who can sell Opendesk products through their own "
+"channels—this covers sales and marketing fees for the relevant channel)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6686
+msgid ""
+"a local delivery service charge (the delivery is typically charged by the "
+"maker, but in some cases may be paid to a third-party delivery partner)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6693
+msgid ""
+"charges for any additional services the customer chooses, such as on-site "
+"assembly (additional services are discretionary—in many cases makers will be "
+"happy to quote for assembly on-site and designers may offer bespoke design "
+"options)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6702
+msgid "<ulink url=\"http://www.opendesk.cc/open-making/join\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6701
+msgid ""
+"local sales taxes (variable by customer and maker location)<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6707
+msgid "They then go into detail how makers’ quotes are created:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6710
+msgid ""
+"When a customer wants to buy an Opendesk . . . they are provided with a "
+"transparent breakdown of fees including the manufacturing cost, design fee, "
+"Opendesk platform fee and channel fees. If a customer opts to buy by getting "
+"in touch directly with a registered local maker using a downloaded Opendesk "
+"file, the maker is responsible for ensuring the design fee, Opendesk "
+"platform fee and channel fees are included in any quote at the time of "
+"sale. Percentage fees are always based on the underlying manufacturing cost "
+"and are typically apportioned as follows:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6723
+msgid ""
+"manufacturing cost: fabrication, finishing and any other costs as set by the "
+"maker (excluding any services like delivery or on-site assembly)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6730
+msgid "design fee: 8 percent of the manufacturing cost"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6735
+msgid "platform fee: 12 percent of the manufacturing cost"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6740
+msgid "channel fee: 18 percent of the manufacturing cost"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6745
+msgid "sales tax: as applicable (depends on product and location)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6750
+msgid ""
+"Opendesk shares revenue with their community of designers. According to "
+"Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8 "
+"percent is more generous, and providing a higher value to the designer."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6756
+msgid ""
+"The Opendesk website features stories of designers and makers. Denis Fuzii "
+"published the design for the Valovi Chair from his studio in São Paulo. His "
+"designs have been downloaded over five thousand times in ninety-five "
+"countries. I.J. CNC Services is Ian Jinks, a professional maker based in the "
+"United Kingdom. Opendesk now makes up a large proportion of his business."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6764
+msgid ""
+"To manage resources and remain effective, Opendesk has so far focused on a "
+"very narrow niche—primarily office furniture of a certain simple aesthetic, "
+"which uses only one type of material and one manufacturing technique. This "
+"allows them to be more strategic and more disruptive in the market, by "
+"getting things to market quickly with competitive prices. It also reflects "
+"their vision of creating reproducible and functional pieces."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6773
+msgid ""
+"On their website, Opendesk describes what they do as <quote>open "
+"making</quote>: <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6781
+msgid ""
+"Nick and Joni say that customers like the fact that the furniture has a "
+"known provenance. People really like that their furniture was designed by a "
+"certain international designer but was made by a maker in their local "
+"community; it’s a great story to tell. It certainly sets apart Opendesk "
+"furniture from the usual mass-produced items from a store."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6794
+msgid "<ulink url=\"http://openmaking.is\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6789
+msgid ""
+"Nick and Joni are taking a community-based approach to define and evolve "
+"Opendesk and the <quote>open making</quote> 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.<placeholder "
+"type=\"footnote\" id=\"0\"/> People can submit ideas and discuss the "
+"principles and business practices they’d like to see used."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6798
+msgid ""
+"Nick and Joni talked a lot with us about intellectual property (IP) and "
+"commercialization. Many of their designers fear the idea that someone could "
+"take one of their design files and make and sell infinite number of pieces "
+"of furniture with it. As a consequence, most Opendesk designers choose the "
+"Attribution-NonCommercial license (CC BY-NC)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6806
+msgid ""
+"Opendesk established a set of principles for what their community considers "
+"commercial and noncommercial use. Their website states:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6810
+msgid "It is unambiguously commercial use when anyone:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6815
+msgid "charges a fee or makes a profit when making an Opendesk"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6820
+msgid "sells (or bases a commercial service on) an Opendesk"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6825
+msgid ""
+"It follows from this that noncommercial use is when you make an Opendesk "
+"yourself, with no intention to gain commercial advantage or monetary "
+"compensation. For example, these qualify as noncommercial:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6833
+msgid ""
+"you are an individual with your own CNC machine, or access to a shared CNC "
+"machine, and will personally cut and make a few pieces of furniture yourself"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6840
+msgid ""
+"you are a student (or teacher) and you use the design files for educational "
+"purposes or training (and do not intend to sell the resulting pieces)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6847
+msgid ""
+"you work for a charity and get furniture cut by volunteers, or by employees "
+"at a fab lab or maker space"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6853
+msgid ""
+"Whether or not people technically are doing things that implicate IP, Nick "
+"and Joni have found that people tend to comply with the wishes of creators "
+"out of a sense of fairness. They have found that behavioral economics can "
+"replace some of the thorny legal issues. In their business model, Nick and "
+"Joni are trying to suspend the focus on IP and build an open business model "
+"that works for all stakeholders—designers, channels, manufacturers, and "
+"customers. For them, the value Opendesk generates hangs off "
+"<quote>open,</quote> not IP."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6864
+msgid ""
+"The mission of Opendesk is about relocalizing manufacturing, which changes "
+"the way we think about how goods are made. Commercialization is integral to "
+"their mission, and they’ve begun to focus on success metrics that track how "
+"many makers and designers are engaged through Opendesk in revenue-making "
+"work."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6871
+msgid ""
+"As a global platform for local making, Opendesk’s business model has been "
+"built on honesty, transparency, and inclusivity. As Nick and Joni describe "
+"it, they put ideas out there that get traction and then have faith in "
+"people."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6878
+msgid "OpenStax"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6884
+msgid ""
+"OpenStax is a nonprofit that provides free, openly licensed textbooks for "
+"high-enrollment introductory college courses and Advanced Placement "
+"courses. Founded in 2012 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6889
+msgid "<ulink url=\"http://www.openstaxcollege.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6891
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, charging "
+"for custom services, charging for physical copies (textbook sales)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6895
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 16, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6898
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: David Harris, "
+"editor-in-chief"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6903
+msgid ""
+"OpenStax is an extension of a program called Connexions, which was started "
+"in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of "
+"Electrical and Computer Engineering at Rice University in Houston, "
+"Texas. Frustrated by the limitations of traditional textbooks and courses, "
+"Dr. Baraniuk wanted to provide authors and learners a way to share and "
+"freely adapt educational materials such as courses, books, and "
+"reports. Today, Connexions (now called OpenStax CNX) is one of the world’s "
+"best libraries of customizable educational materials, all licensed with "
+"Creative Commons and available to anyone, anywhere, anytime—for free."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6915
+msgid ""
+"In 2008, while in a senior leadership role at WebAssign and looking at ways "
+"to reduce the risk that came with relying on publishers, David Harris began "
+"investigating open educational resources (OER) and discovered Connexions. A "
+"year and a half later, Connexions received a grant to help grow the use of "
+"OER so that it could meet the needs of students who couldn’t afford "
+"textbooks. David came on board to spearhead this effort. Connexions became "
+"OpenStax CNX; the program to create open textbooks became OpenStax College, "
+"now simply called OpenStax."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6926
+msgid ""
+"David brought with him a deep understanding of the best practices of "
+"publishing along with where publishers have inefficiencies. In David’s view, "
+"peer review and high standards for quality are critically important if you "
+"want to scale easily. Books have to have logical scope and sequence, they "
+"have to exist as a whole and not in pieces, and they have to be easy to "
+"find. The working hypothesis for the launch of OpenStax was to "
+"professionally produce a turnkey textbook by investing effort up front, with "
+"the expectation that this would lead to rapid growth through easy downstream "
+"adoptions by faculty and students."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6944
+msgid ""
+"<ulink "
+"url=\"http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6938
+msgid ""
+"In 2012, OpenStax College launched as a nonprofit with the aim of producing "
+"high-quality, peer-reviewed full-color textbooks that would be available for "
+"free for the twenty-five most heavily attended college courses in the "
+"nation. Today they are fast approaching that number. There is data that "
+"proves the success of their original hypothesis on how many students they "
+"could help and how much money they could help save.<placeholder "
+"type=\"footnote\" id=\"0\"/> Professionally produced content scales "
+"rapidly. All with no sales force!"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6948
+msgid ""
+"OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook "
+"is available as a PDF, an e-book, or web pages. Those who want a physical "
+"copy can buy one for an affordable price. Given the cost of education and "
+"student debt in North America, free or very low-cost textbooks are very "
+"appealing. OpenStax encourages students to talk to their professor and "
+"librarians about these textbooks and to advocate for their use."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6957
+msgid ""
+"Teachers are invited to try out a single chapter from one of the textbooks "
+"with students. If that goes well, they’re encouraged to adopt the entire "
+"book. They can simply paste a URL into their course syllabus, for free and "
+"unlimited access. And with the CC BY license, teachers are free to delete "
+"chapters, make changes, and customize any book to fit their needs."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6965
+msgid ""
+"Any teacher can post corrections, suggest examples for difficult concepts, "
+"or volunteer as an editor or author. As many teachers also want supplemental "
+"material to accompany a textbook, OpenStax also provides slide "
+"presentations, test banks, answer keys, and so on."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6976
+msgid "<ulink url=\"http://openstax.org/adopters\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6972
+msgid ""
+"Institutions can stand out by offering students a lower-cost education "
+"through the use of OpenStax textbooks; there’s even a textbook-savings "
+"calculator they can use to see how much students would save. OpenStax keeps "
+"a running list of institutions that have adopted their "
+"textbooks.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6979
+msgid ""
+"Unlike traditional publishers’ monolithic approach of controlling "
+"intellectual property, distribution, and so many other aspects, OpenStax has "
+"adopted a model that embraces open licensing and relies on an extensive "
+"network of partners."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6985
+msgid ""
+"Up-front funding of a professionally produced all-color turnkey textbook is "
+"expensive. For this part of their model, OpenStax relies on "
+"philanthropy. They have initially been funded by the William and Flora "
+"Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and "
+"Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield "
+"Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To "
+"develop additional titles and supporting technology is probably still going "
+"to require philanthropic investment."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:6996
+msgid ""
+"However, ongoing operations will not rely on foundation grants but instead "
+"on funds received through an ecosystem of over forty partners, whereby a "
+"partner takes core content from OpenStax and adds features that it can "
+"create revenue from. For example, WebAssign, an online homework and "
+"assessment tool, takes the physics book and adds algorithmically generated "
+"physics problems, with problem-specific feedback, detailed solutions, and "
+"tutorial support. WebAssign resources are available to students for a fee."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7006
+msgid ""
+"Another example is Odigia, who has turned OpenStax books into interactive "
+"learning experiences and created additional tools to measure and promote "
+"student engagement. Odigia licenses its learning platform to "
+"institutions. Partners like Odigia and WebAssign give a percentage of the "
+"revenue they earn back to OpenStax, as mission-support fees. OpenStax has "
+"already published revisions of their titles, such as Introduction to "
+"Sociology 2e, using these funds."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7016
+msgid ""
+"In David’s view, this approach lets the market operate at peak "
+"efficiency. OpenStax’s partners don’t have to worry about developing "
+"textbook content, freeing them up from those development costs and letting "
+"them focus on what they do best. With OpenStax textbooks available at no "
+"cost, they can provide their services at a lower cost—not free, but still "
+"saving students money. OpenStax benefits not only by receiving "
+"mission-support fees but through free publicity and marketing. OpenStax "
+"doesn’t have a sales force; partners are out there showcasing their "
+"materials."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7028
+msgid ""
+"OpenStax’s cost of sales to acquire a single student is very, very low and "
+"is a fraction of what traditional players in the market face. This year, "
+"Tyton Partners is actually evaluating the costs of sales for an OER effort "
+"like OpenStax in comparison with incumbents. David looks forward to sharing "
+"these findings with the community."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7036
+msgid ""
+"While OpenStax books are available online for free, many students still want "
+"a print copy. Through a partnership with a print and courier company, "
+"OpenStax offers a complete solution that scales. OpenStax sells tens of "
+"thousands of print books. The price of an OpenStax sociology textbook is "
+"about twenty-eight dollars, a fraction of what sociology textbooks usually "
+"cost. OpenStax keeps the prices low but does aim to earn a small margin on "
+"each book sold, which also contributes to ongoing operations."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7046
+msgid ""
+"Campus-based bookstores are part of the OpenStax solution. OpenStax "
+"collaborates with NACSCORP (the National Association of College Stores "
+"Corporation) to provide print versions of their textbooks in the "
+"stores. While the overall cost of the textbook is significantly less than a "
+"traditional textbook, bookstores can still make a profit on sales. Sometimes "
+"students take the savings they have from the lower-priced book and use it to "
+"buy other things in the bookstore. And OpenStax is trying to break the "
+"expensive behavior of excessive returns by having a no-returns policy. This "
+"is working well, since the sell-through of their print titles is virtually a "
+"hundred percent."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7059
+msgid ""
+"David thinks of the OpenStax model as <quote>OER 2.0.</quote> So what is OER "
+"1.0? Historically in the OER field, many OER initiatives have been locally "
+"funded by institutions or government ministries. In David’s view, this "
+"results in content that has high local value but is infrequently adopted "
+"nationally. It’s therefore difficult to show payback over a time scale that "
+"is reasonable."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7067
+msgid ""
+"OER 2.0 is about OER intended to be used and adopted on a national level "
+"right from the start. This requires a bigger investment up front but pays "
+"off through wide geographic adoption. The OER 2.0 process for OpenStax "
+"involves two development models. The first is what David calls the "
+"acquisition model, where OpenStax purchases the rights from a publisher or "
+"author for an already published book and then extensively revises it. The "
+"OpenStax physics textbook, for example, was licensed from an author after "
+"the publisher released the rights back to the authors. The second model is "
+"to develop a book from scratch, a good example being their biology book."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7080
+msgid ""
+"The process is similar for both models. First they look at the scope and "
+"sequence of existing textbooks. They ask questions like what does the "
+"customer need? Where are students having challenges? Then they identify "
+"potential authors and put them through a rigorous evaluation—only one in ten "
+"authors make it through. OpenStax selects a team of authors who come "
+"together to develop a template for a chapter and collectively write the "
+"first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do "
+"books with just a single author as David says it risks the project going "
+"longer than scheduled.) The draft is peer-reviewed with no less than three "
+"reviewers per chapter. A second draft is generated, with artists producing "
+"illustrations and visuals to go along with the text. The book is then "
+"copyedited to ensure grammatical correctness and a singular voice. Finally, "
+"it goes into production and through a final proofread. The whole process is "
+"very time-consuming."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7098
+msgid ""
+"All the people involved in this process are paid. OpenStax does not rely on "
+"volunteers. Writers, reviewers, illustrators, and editors are all paid an "
+"up-front fee—OpenStax does not use a royalty model. A best-selling author "
+"might make more money under the traditional publishing model, but that is "
+"only maybe 5 percent of all authors. From David’s perspective, 95 percent of "
+"all authors do better under the OER 2.0 model, as there is no risk to them "
+"and they earn all the money up front."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7108
+msgid ""
+"David thinks of the Attribution license (CC BY) as the <quote>innovation "
+"license.</quote> It’s core to the mission of OpenStax, letting people use "
+"their textbooks in innovative ways without having to ask for permission. It "
+"frees up the whole market and has been central to OpenStax being able to "
+"bring on partners. OpenStax sees a lot of customization of their "
+"materials. By enabling frictionless remixing, CC BY gives teachers control "
+"and academic freedom."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7118
+msgid ""
+"Using CC BY is also a good example of using strategies that traditional "
+"publishers can’t. Traditional publishers rely on copyright to prevent others "
+"from making copies and heavily invest in digital rights management to ensure "
+"their books aren’t shared. By using CC BY, OpenStax avoids having to deal "
+"with digital rights management and its costs. OpenStax books can be copied "
+"and shared over and over again. CC BY changes the rules of engagement and "
+"takes advantage of traditional market inefficiencies."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7128
+msgid ""
+"As of September 16, 2016, OpenStax has achieved some impressive "
+"results. From the OpenStax at a Glance fact sheet from their recent press "
+"kit:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7135
+msgid "Books published: 23"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7140
+msgid "Students who have used OpenStax: 1.6 million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7145
+msgid "Money saved for students: $155 million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7150
+msgid "Money saved for students in the 2016/17 academic year: $77 million"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><itemizedlist><listitem><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7156
+msgid ""
+"Schools that have used OpenStax: 2,668 (This number reflects all "
+"institutions using at least one OpenStax textbook. Out of 2,668 schools, 517 "
+"are two-year colleges, 835 four-year colleges and universities, and 344 "
+"colleges and universities outside the U.S.)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7165
+msgid ""
+"While OpenStax has to date been focused on the United States, there is "
+"overseas adoption especially in the science, technology, engineering, and "
+"math (STEM) fields. Large scale adoption in the United States is seen as a "
+"necessary precursor to international interest."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7172
+msgid ""
+"OpenStax has primarily focused on introductory-level college courses where "
+"there is high enrollment, but they are starting to think about verticals—a "
+"broad offering for a specific group or need. David thinks it would be "
+"terrific if OpenStax could provide access to free textbooks through the "
+"entire curriculum of a nursing degree, for example."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7180
+msgid ""
+"Finally, for OpenStax success is not just about the adoption of their "
+"textbooks and student savings. There is a human aspect to the work that is "
+"hard to quantify but incredibly important. They get emails from students "
+"saying how OpenStax saved them from making difficult choices like buying "
+"food or a textbook. OpenStax would also like to assess the impact their "
+"books have on learning efficiency, persistence, and completion. By building "
+"an open business model based on Creative Commons, OpenStax is making it "
+"possible for every student who wants access to education to get it."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7193
+msgid "Amanda Palmer"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7199
+msgid "Amanda Palmer is a musician, artist, and writer. Based in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7203
+msgid "<ulink url=\"http://amandapalmer.net\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7205
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: crowdfunding "
+"(subscription-based), pay-what-you-want, charging for physical copies (book "
+"and album sales), charg-ing for in-person version (performances), selling "
+"merchandise"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7210
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 15, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7218
+msgid ""
+"<ulink "
+"url=\"http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7215
+msgid ""
+"Since the beginning of her career, Amanda Palmer has been on what she calls "
+"a <quote>journey with no roadmap,</quote> continually experimenting to find "
+"new ways to sustain her creative work.<placeholder type=\"footnote\" "
+"id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7221
+msgid ""
+"In her best-selling book, The Art of Asking, Amanda articulates exactly what "
+"she has been and continues to strive for—<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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7228
+msgid ""
+"While she seems to have successfully found that sweet spot for herself, "
+"Amanda is the first to acknowledge there is no silver bullet. She thinks the "
+"digital age is both an exciting and frustrating time for creators. <quote>On "
+"the one hand, we have this beautiful shareability,</quote> Amanda "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7237
+msgid ""
+"Amanda began her artistic career as a street performer. She would dress up "
+"in an antique wedding gown, paint her face white, stand on a stack of milk "
+"crates, and hand out flowers to strangers as part of a silent dramatic "
+"performance. She collected money in a hat. Most people walked by her without "
+"stopping, but an essential few stopped to watch and drop some money into her "
+"hat to show their appreciation. Rather than dwelling on the majority of "
+"people who ignored her, she felt thankful for those who stopped. <quote>All "
+"I needed was . . . some people,</quote> she wrote in her book. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7251
+msgid ""
+"Amanda has come a long way from her street-performing days, but her career "
+"remains dominated by that same sentiment—finding ways to reach <quote>her "
+"crowd</quote> and feeling gratitude when she does. With her band the Dresden "
+"Dolls, Amanda tried the traditional path of signing with a record label. It "
+"didn’t take for a variety of reasons, but one of them was that the label had "
+"absolutely no interest in Amanda’s view of success. They wanted hits, but "
+"making music for the masses was never what Amanda and the Dresden Dolls set "
+"out to do."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7262
+msgid ""
+"After leaving the record label in 2008, she began experimenting with "
+"different ways to make a living. She released music directly to the public "
+"without involving a middle man, releasing digital files on a <quote>pay what "
+"you want</quote> basis and selling CDs and vinyl. She also made money from "
+"live performances and merchandise sales. Eventually, in 2012 she decided to "
+"try her hand at the sort of crowdfunding we know so well today. Her "
+"Kickstarter project started with a goal of $100,000, and she made $1.2 "
+"million. It remains one of the most successful Kickstarter projects of all "
+"time."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7274
+msgid ""
+"Today, Amanda has switched gears away from crowdfunding for specific "
+"projects to instead getting consistent financial support from her fan base "
+"on Patreon, a crowdfunding site that allows artists to get recurring "
+"donations from fans. More than eight thousand people have signed up to "
+"support her so she can create music, art, and any other creative "
+"<quote>thing</quote> that she is inspired to make. The recurring pledges are "
+"made on a <quote>per thing</quote> basis. All of the content she makes is "
+"made freely available under an Attribution-NonCommercial-ShareAlike license "
+"(CC BY-NC-SA)."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7286
+msgid ""
+"Making her music and art available under Creative Commons licensing "
+"undoubtedly limits her options for how she makes a living. But sharing her "
+"work has been part of her model since the beginning of her career, even "
+"before she discovered Creative Commons. Amanda says the Dresden Dolls used "
+"to get ten emails per week from fans asking if they could use their music "
+"for different projects. They said yes to all of the requests, as long as it "
+"wasn’t for a completely for-profit venture. At the time, they used a "
+"short-form agreement written by Amanda herself. <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,</quote> Amanda said. Once she discovered Creative Commons, adopting the "
+"licenses was an easy decision because it gave them a more formal, "
+"standardized way of doing what they had been doing all along. The "
+"NonCommercial licenses were a natural fit."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7304
+msgid ""
+"Amanda embraces the way her fans share and build upon her music. In The Art "
+"of Asking, she wrote that some of her fans’ unofficial videos using her "
+"music surpass the official videos in number of views on YouTube. Rather than "
+"seeing this sort of thing as competition, Amanda celebrates it. <quote>We "
+"got into this because we wanted to share the joy of music,</quote> she said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7312
+msgid ""
+"This is symbolic of how nearly everything she does in her career is "
+"motivated by a desire to connect with her fans. At the start of her career, "
+"she and the band would throw concerts at house parties. As the gatherings "
+"grew, the line between fans and friends was completely blurred. <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,</quote> Amanda wrote in The Art of "
+"Asking."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7322
+msgid ""
+"Even though her fan base is now huge and global, she continues to seek this "
+"sort of human connection with her fans. She seeks out face-to-face contact "
+"with her fans every chance she can get. Her hugely successful Kickstarter "
+"featured fifty concerts at house parties for backers. She spends hours in "
+"the signing line after shows. It helps that Amanda has the kind of dynamic, "
+"engaging personality that instantly draws people to her, but a big component "
+"of her ability to connect with people is her willingness to "
+"listen. <quote>Listening fast and caring immediately is a skill unto "
+"itself,</quote> Amanda wrote."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7334
+msgid ""
+"Another part of the connection fans feel with Amanda is how much they know "
+"about her life. Rather than trying to craft a public persona or image, she "
+"essentially lives her life as an open book. She has written openly about "
+"incredibly personal events in her life, and she isn’t afraid to be "
+"vulnerable. Having that kind of trust in her fans—the trust it takes to be "
+"truly honest—begets trust from her fans in return. When she meets fans for "
+"the first time after a show, they can legitimately feel like they know her."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7343
+msgid ""
+"<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,</quote> Amanda said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7352
+msgid ""
+"Not only does she disclose intimate details of her life to them, she sleeps "
+"on their couches, listens to their stories, cries with them. In short, she "
+"treats her fans like friends in nearly every possible way, even when they "
+"are complete strangers. This mentality—that fans are friends—is completely "
+"intertwined with Amanda’s success as an artist. It is also intertwined with "
+"her use of Creative Commons licenses. Because that is what you do with your "
+"friends—you share."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7362
+msgid ""
+"After years of investing time and energy into building trust with her fans, "
+"she has a strong enough relationship with them to ask for support—through "
+"pay-what-you-want donations, Kickstarter, Patreon, or even asking them to "
+"lend a hand at a concert. As Amanda explains it, crowdfunding (which is "
+"really what all of these different things are) is about asking for support "
+"from people who know and trust you. People who feel personally invested in "
+"your success."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7371
+msgid ""
+"<quote>When you openly, radically trust people, they not only take care of "
+"you, they become your allies, your family,</quote> 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 <quote>weird little "
+"family.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7379
+msgid ""
+"This sort of intimacy with fans is not possible or even desirable for every "
+"creator. <quote>I don’t take for granted that I happen to be the type of "
+"person who loves cavorting with strangers,</quote> Amanda said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7389
+msgid ""
+"Yet while Amanda joyfully interacts with her fans and involves them in her "
+"work as much as possible, she does keep one job primarily to herself—writing "
+"the music. She loves the creativity with which her fans use and adapt her "
+"work, but she intentionally does not involve them at the first stage of "
+"creating her artistic work. And, of course, the songs and music are what "
+"initially draw people to Amanda Palmer. It is only once she has connected to "
+"people through her music that she can then begin to build ties with them on "
+"a more personal level, both in person and online. In her book, Amanda "
+"describes it as casting a net. It starts with the art and then the bond "
+"strengthens with human connection."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7402
+msgid ""
+"For Amanda, the entire point of being an artist is to establish and maintain "
+"this connection. <quote>It sounds so corny,</quote> she said, <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7412
+msgid ""
+"As she explains it, when a fan gives her a ten-dollar bill, usually what "
+"they are saying is that the money symbolizes some deeper value the music "
+"provided them. For Amanda, art is not just a product; it’s a "
+"relationship. Viewed from this lens, what Amanda does today is not that "
+"different from what she did as a young street performer. She shares her "
+"music and other artistic gifts. She shares herself. And then rather than "
+"forcing people to help her, she lets them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7423
+msgid "PLOS (Public Library of Science)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7429
+msgid ""
+"PLOS (Public Library of Science) is a nonprofit that publishes a library of "
+"academic journals and other scientific literature. Founded in 2000 in the "
+"U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7434
+msgid "<ulink url=\"http://plos.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7436
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging content "
+"creators an author processing charge to be featured in the journal"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7440
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 7, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7442
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Louise Page, publisher"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7447
+msgid ""
+"The Public Library of Science (PLOS) began in 2000 when three leading "
+"scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an "
+"online petition. They were calling for scientists to stop submitting papers "
+"to journals that didn’t make the full text of their papers freely available "
+"immediately or within six months. Although tens of thousands signed the "
+"petition, most did not follow through. In August 2001, Patrick and Michael "
+"announced that they would start their own nonprofit publishing operation to "
+"do just what the petition promised. With start-up grant support from the "
+"Gordon and Betty Moore Foundation, PLOS was launched to provide new "
+"open-access journals for biomedicine, with research articles being released "
+"under Attribution (CC BY) licenses."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7461
+msgid ""
+"Traditionally, academic publishing begins with an author submitting a "
+"manuscript to a publisher. After in-house technical and ethical "
+"considerations, the article is then peer-reviewed to determine if the "
+"quality of the work is acceptable for publishing. Once accepted, the "
+"publisher takes the article through the process of copyediting, typesetting, "
+"and eventual publishing in a print or online publication. Traditional "
+"journal publishers recover costs and earn profit by charging a subscription "
+"fee to libraries or an access fee to users wanting to read the journal or "
+"article."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7472
+msgid ""
+"For Louise Page, the current publisher of PLOS, this traditional model "
+"results in inequity. Access is restricted to those who can pay. Most "
+"research is funded through government-appointed agencies, that is, with "
+"public funds. It’s unjust that the public who funded the research would be "
+"required to pay again to access the results. Not everyone can afford the "
+"ever-escalating subscription fees publishers charge, especially when library "
+"budgets are being reduced. Restricting access to the results of scientific "
+"research slows the dissemination of this research and advancement of the "
+"field. It was time for a new model."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7484
+msgid ""
+"That new model became known as open access. That is, free and open "
+"availability on the Internet. Open-access research articles are not behind a "
+"paywall and do not require a login. A key benefit of open access is that it "
+"allows people to freely use, copy, and distribute the articles, as they are "
+"primarily published under an Attribution (CC BY) license (which only "
+"requires the user to provide appropriate attribution). And more importantly, "
+"policy makers, clinicians, entrepreneurs, educators, and students around the "
+"world have free and timely access to the latest research immediately on "
+"publication."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7496
+msgid ""
+"However, open access requires rethinking the business model of research "
+"publication. Rather than charge a subscription fee to access the journal, "
+"PLOS decided to turn the model on its head and charge a publication fee, "
+"known as an article-processing charge. This up-front fee, generally paid by "
+"the funder of the research or the author’s institution, covers the expenses "
+"such as editorial oversight, peer-review management, journal production, "
+"online hosting, and support for discovery. Fees are per article and are "
+"billed upon acceptance for publishing. There are no additional charges based "
+"on word length, figures, or other elements."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7508
+msgid ""
+"Calculating the article-processing charge involves taking all the costs "
+"associated with publishing the journal and determining a cost per article "
+"that collectively recovers costs. For PLOS’s journals in biology, medicine, "
+"genetics, computational biology, neglected tropical diseases, and pathogens, "
+"the article-processing charge ranges from $2,250 to "
+"$2,900. Article-publication charges for PLOS ONE, a journal started in 2006, "
+"are just under $1,500."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7517
+msgid ""
+"PLOS believes that lack of funds should not be a barrier to "
+"publication. Since its inception, PLOS has provided fee support for "
+"individuals and institutions to help authors who can’t afford the "
+"article-processing charges."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7523
+msgid ""
+"Louise identifies marketing as one area of big difference between PLOS and "
+"traditional journal publishers. Traditional journals have to invest heavily "
+"in staff, buildings, and infrastructure to market their journal and convince "
+"customers to subscribe. Restricting access to subscribers means that tools "
+"for managing access control are necessary. They spend millions of dollars on "
+"access-control systems, staff to manage them, and sales staff. With PLOS’s "
+"open-access publishing, there’s no need for these massive expenses; the "
+"articles are free, open, and accessible to all upon "
+"publication. Additionally, traditional publishers tend to spend more on "
+"marketing to libraries, who ultimately pay the subscription fees. PLOS "
+"provides a better service for authors by promoting their research directly "
+"to the research community and giving the authors exposure. And this "
+"encourages other authors to submit their work for publication."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7540
+msgid ""
+"For Louise, PLOS would not exist without the Attribution license (CC "
+"BY). This makes it very clear what rights are associated with the content "
+"and provides a safe way for researchers to make their work available while "
+"ensuring they get recognition (appropriate attribution). For PLOS, all of "
+"this aligns with how they think research content should be published and "
+"disseminated."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7548
+msgid ""
+"PLOS also has a broad open-data policy. To get their research paper "
+"published, PLOS authors must also make their data available in a public "
+"repository and provide a data-availability statement."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7553
+msgid ""
+"Business-operation costs associated with the open-access model still largely "
+"follow the existing publishing model. PLOS journals are online only, but the "
+"editorial, peer-review, production, typesetting, and publishing stages are "
+"all the same as for a traditional publisher. The editorial teams must be top "
+"notch. PLOS has to function as well as or better than other premier "
+"journals, as researchers have a choice about where to publish."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7562
+msgid ""
+"Researchers are influenced by journal rankings, which reflect the place of a "
+"journal within its field, the relative difficulty of being published in that "
+"journal, and the prestige associated with it. PLOS journals rank high, even "
+"though they are relatively new."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7568
+msgid ""
+"The promotion and tenure of researchers are partially based how many times "
+"other researchers cite their articles. Louise says when researchers want to "
+"discover and read the work of others in their field, they go to an online "
+"aggregator or search engine, and not typically to a particular journal. The "
+"CC BY licensing of PLOS research articles ensures easy access for readers "
+"and generates more discovery and citations for authors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7577
+msgid ""
+"Louise believes that open access has been a huge success, progressing from a "
+"movement led by a small cadre of researchers to something that is now "
+"widespread and used in some form by every journal publisher. PLOS has had a "
+"big impact. In 2012 to 2014, they published more open-access articles than "
+"BioMed Central, the original open-access publisher, or anyone else."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7585
+msgid ""
+"PLOS further disrupted the traditional journal-publishing model by "
+"pioneering the concept of a megajournal. The PLOS ONE megajournal, launched "
+"in 2006, is an open-access peer-reviewed academic journal that is much "
+"larger than a traditional journal, publishing thousands of articles per year "
+"and benefiting from economies of scale. PLOS ONE has a broad scope, covering "
+"science and medicine as well as social sciences and the humanities. The "
+"review and editorial process is less subjective. Articles are accepted for "
+"publication based on whether they are technically sound rather than "
+"perceived importance or relevance. This is very important in the current "
+"debate about the integrity and reproducibility of research because negative "
+"or null results can then be published as well, which are generally rejected "
+"by traditional journals. PLOS ONE, like all the PLOS journals, is online "
+"only with no print version. PLOS passes on the financial savings accrued "
+"through economies of scale to researchers and the public by lowering the "
+"article-processing charges, which are below that of other journals. PLOS ONE "
+"is the biggest journal in the world and has really set the bar for "
+"publishing academic journal articles on a large scale. Other publishers see "
+"the value of the PLOS ONE model and are now offering their own "
+"multidisciplinary forums for publishing all sound science."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7609
+msgid ""
+"Louise outlined some other aspects of the research-journal business model "
+"PLOS is experimenting with, describing each as a kind of slider that could "
+"be adjusted to change current practice."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7614
+msgid ""
+"One slider is time to publication. Time to publication may shorten as "
+"journals get better at providing quicker decisions to authors. However, "
+"there is always a trade-off with scale, as the bigger the volume of "
+"articles, the more time the approval process inevitably takes."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7621
+msgid ""
+"Peer review is another part of the process that could change. It’s possible "
+"to redefine what peer review actually is, when to review, and what "
+"constitutes the final article for publication. Louise talked about the "
+"potential to shift to an open-review process, placing the emphasis on "
+"transparency rather than double-blind reviews. Louise thinks we’re moving "
+"into a direction where it’s actually beneficial for an author to know who is "
+"reviewing their paper and for the reviewer to know their review will be "
+"public. An open-review process can also ensure everyone gets credit; right "
+"now, credit is limited to the publisher and author."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7633
+msgid ""
+"Louise says research with negative outcomes is almost as important as "
+"positive results. If journals published more research with negative "
+"outcomes, we’d learn from what didn’t work. It could also reduce how much "
+"the research wheel gets reinvented around the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7640
+msgid ""
+"Another adjustable practice is the sharing of articles at early preprint "
+"stages. Publication of research in a peer-reviewed journal can take a long "
+"time because articles must undergo extensive peer review. The need to "
+"quickly circulate current results within a scientific community has led to a "
+"practice of distributing pre-print documents that have not yet undergone "
+"peer review. Preprints broaden the peer-review process, allowing authors to "
+"receive early feedback from a wide group of peers, which can help revise and "
+"prepare the article for submission. Offsetting the advantages of preprints "
+"are author concerns over ensuring their primacy of being first to come up "
+"with findings based on their research. Other researches may see findings the "
+"preprint author has not yet thought of. However, preprints help researchers "
+"get their discoveries out early and establish precedence. A big challenge is "
+"that researchers don’t have a lot of time to comment on preprints."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7658
+msgid ""
+"What constitutes a journal article could also change. The idea of a research "
+"article as printed, bound, and in a library stack is outdated. Digital and "
+"online open up new possibilities, such as a living document evolving over "
+"time, inclusion of audio and video, and interactivity, like discussion and "
+"recommendations. Even the size of what gets published could change. With "
+"these changes the current form factor for what constitutes a research "
+"article would undergo transformation."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7672
+msgid "<ulink url=\"http://collections.plos.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7676
+msgid "<ulink url=\"http://plos.org/article-level-metrics\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7668
+msgid ""
+"As journals scale up, and new journals are introduced, more and more "
+"information is being pushed out to readers, making the experience feel like "
+"drinking from a fire hose. To help mitigate this, PLOS aggregates and "
+"curates content from PLOS journals and their network of blogs.<placeholder "
+"type=\"footnote\" id=\"0\"/> It also offers something called Article-Level "
+"Metrics, which helps users assess research most relevant to the field "
+"itself, based on indicators like usage, citations, social bookmarking and "
+"dissemination activity, media and blog coverage, discussions, and "
+"ratings.<placeholder type=\"footnote\" id=\"1\"/> Louise believes that the "
+"journal model could evolve to provide a more friendly and interactive user "
+"experience, including a way for readers to communicate with authors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7681
+msgid ""
+"The big picture for PLOS going forward is to combine and adjust these "
+"experimental practices in ways that continue to improve accessibility and "
+"dissemination of research, while ensuring its integrity and reliability. The "
+"ways they interlink are complex. The process of change and adjustment is "
+"not linear. PLOS sees itself as a very flexible publisher interested in "
+"exploring all the permutations research-publishing can take, with authors "
+"and readers who are open to experimentation."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7691
+msgid ""
+"For PLOS, success is not about revenue. Success is about proving that "
+"scientific research can be communicated rapidly and economically at scale, "
+"for the benefit of researchers and society. The CC BY license makes it "
+"possible for PLOS to publish in a way that is unfettered, open, and fast, "
+"while ensuring that the authors get credit for their work. More than two "
+"million scientists, scholars, and clinicians visit PLOS every month, with "
+"more than 135,000 quality articles to peruse for free."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7701
+msgid ""
+"Ultimately, for PLOS, its authors, and its readers, success is about making "
+"research discoverable, available, and reproducible for the advancement of "
+"science."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7707
+msgid "Rijksmuseum"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7713
+msgid ""
+"The Rijksmuseum is a Dutch national museum dedicated to art and "
+"history. Founded in 1800 in the Netherlands"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7717
+msgid "<ulink url=\"http://www.rijksmuseum.nl\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7719
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: grants and government "
+"funding, charging for in-person version (museum admission), selling "
+"merchandise"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7723
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 11, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7726
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: Lizzy Jongma, the data "
+"manager of the collections information department"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7731
+msgid ""
+"The Rijksmuseum, a national museum in the Netherlands dedicated to art and "
+"history, has been housed in its current building since 1885. The monumental "
+"building enjoyed more than 125 years of intensive use before needing a "
+"thorough overhaul. In 2003, the museum was closed for renovations. Asbestos "
+"was found in the roof, and although the museum was scheduled to be closed "
+"for only three to four years, renovations ended up taking ten years. During "
+"this time, the collection was moved to a different part of Amsterdam, which "
+"created a physical distance with the curators. Out of necessity, they "
+"started digitally photographing the collection and creating metadata "
+"(information about each object to put into a database). With the renovations "
+"going on for so long, the museum became largely forgotten by the public. Out "
+"of these circumstances emerged a new and more open model for the museum."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7747
+msgid ""
+"By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager, "
+"staff were fed up with the situation the museum was in. They also realized "
+"that even with the new and larger space, it still wouldn’t be able to show "
+"very much of the whole collection—eight thousand of over one million works "
+"representing just 1 percent. Staff began exploring ways to express "
+"themselves, to have something to show for all of the work they had been "
+"doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there "
+"a way for the museum provide benefit to the public while it was closed? They "
+"began thinking about sharing Rijksmuseum’s collection using information "
+"technology. And they put up a card-catalog like database of the entire "
+"collection online."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7761
+msgid ""
+"It was effective but a bit boring. It was just data. A hackathon they were "
+"invited to got them to start talking about events like that as having "
+"potential. They liked the idea of inviting people to do cool stuff with "
+"their collection. What about giving online access to digital representations "
+"of the one hundred most important pieces in the Rijksmuseum collection? That "
+"eventually led to why not put the whole collection online?"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7772
+msgid "<ulink url=\"http://www.europeana.eu/portal/en\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7770
+msgid ""
+"Then, Lizzy says, Europeana came along. Europeana is Europe’s digital "
+"library, museum, and archive for cultural heritage.<placeholder "
+"type=\"footnote\" id=\"0\"/> As an online portal to museum collections all "
+"across Europe, Europeana had become an important online platform. In October "
+"2010 Creative Commons released CC0 and its public-domain mark as tools "
+"people could use to identify works as free of known copyright. Europeana was "
+"the first major adopter, using CC0 to release metadata about their "
+"collection and the public domain mark for millions of digital works in their "
+"collection. Lizzy says the Rijksmuseum initially found this change in "
+"business practice a bit scary, but at the same time it stimulated even more "
+"discussion on whether the Rijksmuseum should follow suit."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7784
+msgid ""
+"They realized that they don’t <quote>own</quote> the collection and couldn’t "
+"realistically monitor and enforce compliance with the restrictive licensing "
+"terms they currently had in place. For example, many copies and versions of "
+"Vermeer’s Milkmaid (part of their collection) were already online, many of "
+"them of very poor quality. They could spend time and money policing its use, "
+"but it would probably be futile and wouldn’t make people stop using their "
+"images online. They ended up thinking it’s an utter waste of time to hunt "
+"down people who use the Rijksmuseum collection. And anyway, restricting "
+"access meant the people they were frustrating the most were schoolkids."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7797
+msgid ""
+"In 2011 the Rijksmuseum began making their digital photos of works known to "
+"be free of copyright available online, using Creative Commons CC0 to place "
+"works in the public domain. A medium-resolution image was offered for free, "
+"but a high-resolution version cost forty euros. People started paying, but "
+"Lizzy says getting the money was frequently a nightmare, especially from "
+"overseas customers. The administrative costs often offset revenue, and "
+"income above costs was relatively low. In addition, having to pay for an "
+"image of a work in the public domain from a collection owned by the Dutch "
+"government (i.e., paid for by the public) was contentious and frustrating "
+"for some. Lizzy says they had lots of fierce debates about what to do."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7811
+msgid ""
+"In 2013 the Rijksmuseum changed its business model. They Creative Commons "
+"licensed their highest-quality images and released them online for "
+"free. Digitization still cost money, however; they decided to define "
+"discrete digitization projects and find sponsors willing to fund each "
+"project. This turned out to be a successful strategy, generating high "
+"interest from sponsors and lower administrative effort for the "
+"Rijksmuseum. They started out making 150,000 high-quality images of their "
+"collection available, with the goal to eventually have the entire collection "
+"online."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7822
+msgid ""
+"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 "
+"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 "
+"its website. Sharing these images online creates what Lizzy calls the "
+"<quote>Mona Lisa effect,</quote> where a work of art becomes so famous that "
+"people want to see it in real life by visiting the actual museum."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7837
+msgid ""
+"Every museum tends to be driven by the number of physical visitors. The "
+"Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of "
+"its operating budget from the government. But like many museums, it must "
+"generate the rest of the funding through other means. The admission fee has "
+"long been a way to generate revenue generation, including for the "
+"Rijksmuseum."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7845
+msgid ""
+"As museums create a digital presence for themselves and put up 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 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7865
+msgid "<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7859
+msgid ""
+"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 Rijksmuseum collection.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7868
+msgid ""
+"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 <quote>like</quote> 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 "
+"commercial purposes."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7879
+msgid ""
+"Users have created over 276,000 Rijksstudios, generating their own themed "
+"virtual exhibitions on a wide variety of topics ranging from tapestries to "
+"ugly babies and birds. Sets of images have also been created for educational "
+"purposes including use for school exams."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7886
+msgid ""
+"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 "
+"by copyright. The Rijksmuseum does encourage contemporary artists to use a "
+"Creative Commons license for their works, usually a CC BY-SA license "
+"(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they "
+"want to preclude commercial use. That way, their works can be made available "
+"to the public, but within limits the artists have specified."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7906
+msgid ""
+"<ulink "
+"url=\"http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7897
+msgid ""
+"The Rijksmuseum believes that art stimulates entrepreneurial activity. The "
+"line between creative and commercial can be blurry. As Lizzy says, even "
+"Rembrandt was commercial, making his livelihood from selling his "
+"paintings. The Rijksmuseum encourages entrepreneurial commercial use of the "
+"images in Rijksstudio. 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 "
+"Threatened Swan.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7910
+msgid ""
+"<ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award\"/>; the 2014 "
+"award: <ulink url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2014\"/>; "
+"the 2015 award: <ulink "
+"url=\"http://www.rijksmuseum.nl/en/rijksstudio-award-2015\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7922
+msgid ""
+"<ulink "
+"url=\"http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7909
+msgid ""
+"In 2013 the Rijksmuseum organized their first high-profile design "
+"competition, known as the Rijksstudio Award.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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 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 art.<placeholder type=\"footnote\" "
+"id=\"1\"/> The Rijksmuseum has been thrilled with the results. Entries "
+"range from the fun to the weird to the inspirational. The third "
+"international edition of the Rijksstudio Award started in September 2016."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7928
+msgid ""
+"For the next iteration of the Rijksstudio, the Rijksmuseum is considering an "
+"upload tool, for people to upload their own works of art, and enhanced "
+"social elements so users can interact with each other more."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7934
+msgid ""
+"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 "
+"increased visits to their website from thirty-five thousand visits per month "
+"to three hundred thousand."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7943
+msgid ""
+"The Rijksmuseum has been experimenting with other ways to invite the public "
+"to look at and interact with their collection. On an international day "
+"celebrating animals, they ran a successful bird-themed event. The museum put "
+"together a showing of two thousand works that featured birds and invited "
+"bird-watchers to identify the birds depicted. Lizzy notes that while museum "
+"curators know a lot about the works in their collections, they may not know "
+"about certain details in the paintings such as bird species. Over eight "
+"hundred different birds were identified, including a specific species of "
+"crane bird that was unknown to the scientific community at the time of the "
+"painting."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7956
+msgid ""
+"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 <quote>ninety-nine percent of people have respect for "
+"great art.</quote> 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 "
+"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 previous practice of charging fees for access and use. Lizzy sums up "
+"their experience: <quote>Give away; get something in return. Generosity "
+"makes people happy to join you and help out.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7976
+msgid "Shareable"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7982
+msgid "Shareable is an online magazine about sharing. Founded in 2009 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7986
+msgid "<ulink url=\"http://www.shareable.net\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7988
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: grant funding, "
+"crowdfunding (project-based), donations, sponsorships"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7991
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 24, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7994
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: Neal Gorenflo, cofounder "
+"and executive editor"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:7999
+msgid ""
+"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 <quote>sharing "
+"economy</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8010
+msgid ""
+"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 "
+"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, <quote>It’s not so much that collaborative consumption is "
+"dead, it’s more that it risks dying as it gets absorbed by the "
+"<quote>Borg.</quote></quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8022
+msgid ""
+"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. <quote>We would have gotten another type "
+"of audience, but it would have spelled the end of us,</quote> he "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8032
+msgid ""
+"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 "
+"credibility. Although they became detached from the corporate sharing "
+"economy, the online magazine became the voice of the <quote>real sharing "
+"economy</quote> and continued to grow their audience."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8043
+msgid ""
+"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. <quote>At that time, there was a "
+"sharing movement bubbling beneath the surface, but no one was connecting the "
+"dots,</quote> Neal said. <quote>We decided to step into that space and take "
+"on that role.</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8055
+msgid ""
+"They have worked hard to find ways to tell stories that show different "
+"metrics for success. <quote>We wanted to change the notion of what "
+"constitutes the good life,</quote> Neal said. While they started out with a "
+"very broad focus on sharing generally, today they emphasize stories about "
+"the physical commons like <quote>sharing cities</quote> (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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8067
+msgid ""
+"More than half of Shareable’s stories are written by paid journalists that "
+"are contracted by the magazine. <quote>Particularly in content areas that "
+"are a priority for us, we really want to go deep and control the "
+"quality,</quote> 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 "
+"licensed with Creative Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8082
+msgid ""
+"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 licenses for their content, but Neal also believes CC "
+"licensing helps them increase their reach. <quote>By using CC "
+"licensing,</quote> he said, <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 "
+"the reach of other media properties, but most of the outlets who republish "
+"our work have much bigger audiences than we do.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8097
+msgid ""
+"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 their website."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8107
+msgid ""
+"In 2016, Shareable self-published a book of curated Shareable stories called "
+"How to: Share, Save Money and Have Fun. The book was available for sale, but "
+"a PDF version of the book was available for free. Shareable plans to offer "
+"the book in upcoming fund-raising campaigns."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8114
+msgid ""
+"This recent book is one of many fund-raising experiments Shareable has "
+"conducted in recent years. Currently, Shareable is primarily funded by "
+"grants from foundations, but they are actively moving toward a more "
+"diversified model. They have organizational sponsors and are working to "
+"expand their base of individual donors. Ideally, they will eventually be a "
+"hundred percent funded by their audience. Neal believes being fully "
+"community-supported will better represent their vision of the world."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8124
+msgid ""
+"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. <quote>We "
+"attract passionate people,</quote> 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. <quote>A central part of human beings is "
+"that we long to be on a great adventure with people we love,</quote> he "
+"said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8137
+msgid ""
+"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—<quote>Sit your ass in a chair and "
+"start making calls.</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8147
+msgid ""
+"For Neal, this symbolized how so much of success comes down to "
+"relationships. Over time, Shareable has invested time and energy into the "
+"relationships they have forged with their readers and supporters. They have "
+"also invested resources into building relationships between their readers "
+"and supporters."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8154
+msgid ""
+"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. <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,</quote> 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 "
+"three years ago. Going forward, Shareable is focusing the network on "
+"creating and distributing content meant to spur local action. For instance, "
+"Shareable will publish a new CC-licensed book in 2017 filled with ideas for "
+"their network to implement."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8171
+msgid ""
+"Neal says Shareable stumbled upon this strategy, but it seems to perfectly "
+"encapsulate just how the commons is supposed to work. Rather than a "
+"one-size-fits-all approach, Shareable puts the tools out there for people "
+"take the ideas and adapt them to their own communities."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8179
+msgid "Siyavula"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8185
+msgid ""
+"Siyavula is a for-profit educational-technology company that creates "
+"textbooks and integrated learning experiences. Founded in 2012 in South "
+"Africa."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8190
+msgid "<ulink url=\"http://www.siyavula.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8192
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for custom "
+"services, sponsorships"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8195
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: April 5, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8197
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Mark Horner, CEO"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8201
+msgid ""
+"Openness is a key principle for Siyavula. They believe that every learner "
+"and teacher should have access to high-quality educational resources, as "
+"this forms the basis for long-term growth and development. Siyavula has been "
+"a pioneer in creating high-quality open textbooks on mathematics and science "
+"subjects for grades 4 to 12 in South Africa."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8209
+msgid ""
+"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 "
+"times. Siyavula has significantly shifted directions and strategies to "
+"survive and prosper. Mark says it’s been very organic."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8216
+msgid ""
+"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 and math textbooks, so Mark and his "
+"colleagues set out to write them and make them freely available."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8227
+msgid "<ulink url=\"http://www.gnu.org/licenses/fdl\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8224
+msgid ""
+"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.<placeholder type=\"footnote\" "
+"id=\"0\"/> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8233
+msgid ""
+"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 "
+"Shuttleworth; Mark remains incredibly proud of this accomplishment."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8241
+msgid ""
+"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 "
+"the printing and distribution options. A few sponsors came on board but not "
+"enough to meet the need."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8251
+msgid "<ulink url=\"http://www.capetowndeclaration.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8247
+msgid ""
+"In 2007, Shuttleworth and the Open Society Institute convened a group of "
+"open-education activists for a small but lively meeting 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.<placeholder type=\"footnote\" id=\"0\"/> Shuttleworth also invited "
+"Mark to run a project writing open content for all subjects for K–12 in "
+"English. That project became Siyavula."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8256
+msgid ""
+"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 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8264
+msgid ""
+"Mark wanted to build out the remaining curricula collaboratively 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 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 "
+"were safe to share and free from legal repercussions."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8283
+msgid "<ulink url=\"http://cnx.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8279
+msgid ""
+"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 "
+"Connexions.<placeholder type=\"footnote\" id=\"0\"/> Siyavula trained many "
+"teachers to use Connexions, but it proved to be too complex and the "
+"textbooks were rarely edited."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8287
+msgid ""
+"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 ownership over it as a Shuttleworth fellow."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8294
+msgid ""
+"Mark and his team experimented with several different strategies. They "
+"tried creating an authoring and hosting platform called Full Marks so that "
+"teachers could share assessment items. They tried creating a service called "
+"Open Press, where teachers could ask for open educational resources to be "
+"aggregated into a package and printed for them. These services never really "
+"panned out."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8302
+msgid ""
+"Then the South African government approached Siyavula with an interest in "
+"printing out the original six Free High School Science Texts (math and "
+"physical-science textbooks for grades 10 to 12) for all high school "
+"students in South Africa. Although at this point Siyavula was a bit "
+"discouraged by open educational resources, they saw this as a big "
+"opportunity."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8310
+msgid ""
+"They began to conceive of the six books as having massive marketing "
+"potential for Siyavula. Printing Siyavula books for every kid in South "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8319
+msgid ""
+"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 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 "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8332
+msgid ""
+"The costs for using Intelligent Practice were set very low, making it "
+"accessible even to those with limited financial means. Siyavula was going "
+"for large volumes and wide-scale use rather than an expensive product "
+"targeting only the high end of the market."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8338
+msgid ""
+"The government distributed the books to 1.5 million students, but there was "
+"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 "
+"Practice service inadvertently became low-income learners."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8347
+msgid ""
+"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 "
+"<quote>feature phone</quote> (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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8356
+msgid ""
+"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 "
+"about product, but how you sell it, who the market is, what the price is, "
+"and what the barriers to entry are."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8365
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8371
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8380
+msgid ""
+"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 from every grade available for that subject. Lower "
+"subscription rates are provided when there are over two hundred students, "
+"and big schools have a price cap. A 40 percent discount is offered to "
+"schools where both the science and math departments subscribe."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8391
+msgid ""
+"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 "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8400
+msgid ""
+"Based on the success of this effort, Siyavula decided to substantially "
+"increase the production of open educational resources so they could provide "
+"the Intelligent Practice service for a wider range of books. Grades 10 to 12 "
+"math and science books were reworked each year, and new books created for "
+"grades 4 to 6 and later grades 7 to 9."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8411
+msgid "<ulink url=\"http://www.siyavula.com/products-primary-school.html\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8408
+msgid ""
+"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.<placeholder "
+"type=\"footnote\" id=\"0\"/> It’s a complete curriculum that also comes with "
+"teacher’s guides and other resources."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8415
+msgid ""
+"Through this experience, Siyavula learned they could get sponsors to help "
+"fund openly licensed textbooks. It helped that Siyavula had by this time "
+"nailed the production model. It cost roughly $150,000 to produce a book in "
+"two languages. Sponsors liked the social-benefit aspect of textbooks "
+"unlocked via a Creative Commons license. They also liked the exposure their "
+"brand got. For roughly $150,000, their logo would be visible on books "
+"distributed to over one million students."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8425
+msgid ""
+"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 "
+"cannot be modified. Non-government-branded books are available under an "
+"Attribution license (CC BY), allowing others to modify and redistribute the "
+"books."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8433
+msgid ""
+"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 "
+"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 government said no."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8444
+msgid ""
+"Using Siyavula books generated huge savings for the government. Providing "
+"students with a traditionally published grade 12 science or math textbook "
+"costs around 250 rand per book (about US$18). Providing the Siyavula "
+"version cost around 36 rand (about $2.60), a savings of over 200 rand per "
+"book. But none of those savings were passed on to Siyavula. In retrospect, "
+"Mark thinks this may have turned out in their favor as it allowed them to "
+"remain independent from the government."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8454
+msgid ""
+"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 "
+"would be chosen. This scared away potential sponsors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8462
+msgid ""
+"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 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 "
+"Pierre Omidyar and his spouse), and continues to be the model Siyavula uses "
+"today."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8473
+msgid ""
+"Mark says sales are way up, and they are really nailing Intelligent "
+"Practice. Schools continue to use their open textbooks. The "
+"government-announced policy that there would be only one textbook per "
+"subject turned out to be highly contentious and is in limbo."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8480
+msgid ""
+"Siyavula is exploring a range of enhancements to their business model. These "
+"include charging a small amount for assessment services provided over the "
+"phone, diversifying their market to all English-speaking countries in "
+"Africa, and setting up a consortium that makes Intelligent Practice free to "
+"all kids by selling the nonpersonal data Intelligent Practice collects."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8488
+msgid ""
+"Siyavula is a for-profit business but one with a social mission. 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 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 "
+"means they can fulfill their social mission, on top of which they can build "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8504
+msgid "SparkFun"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8510
+msgid ""
+"SparkFun is an online electronics retailer specializing in open "
+"hardware. Founded in 2003 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8514
+msgid "<ulink url=\"http://www.sparkfun.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8516
+msgid ""
+"<emphasis role=\"strong\">Revenue model</emphasis>: charging for physical "
+"copies (electronics sales)"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8519
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: February 29, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8522
+msgid "<emphasis role=\"strong\">Interviewee</emphasis>: Nathan Seidle, founder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8527
+msgid ""
+"SparkFun founder and former CEO Nathan Seidle has a picture of himself "
+"holding up a clone of a SparkFun product in an electronics 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8533
+msgid ""
+"<quote>Being copied is the greatest earmark of flattery and success,</quote> "
+"Nathan said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8539
+msgid ""
+"This worldview runs through everything SparkFun does. SparkFun is an "
+"electronics manufacturer. The company sells its products directly to the "
+"public online, and it bundles them with educational tools to sell to schools "
+"and teachers. SparkFun applies Creative Commons licenses to all of its "
+"schematics, images, tutorial content, and curricula, so anyone can make "
+"their products on their own. Being copied is part of the design."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8548
+msgid ""
+"Nathan believes open licensing is good for the world. <quote>It touches on "
+"our natural human instinct to share,</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8557
+msgid ""
+"<quote>We compete on business principles,</quote> Nathan said. "
+"<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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8563
+msgid ""
+"The result is an intense company-wide focus on product development and "
+"improvement. <quote>Our products are so much better than they were five "
+"years ago,</quote> Nathan said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8573
+msgid ""
+"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. <quote>I don’t believe businesses should be competing with IP "
+"[intellectual property] barriers,</quote> Nathan said. <quote>This is the "
+"stuff they should be competing on.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8583
+msgid ""
+"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. <quote>If you wanted to place an order for "
+"something,</quote> he said, <quote>you first had to search far and wide to "
+"find it, and then you had to call or fax someone.</quote> In 2003, during "
+"his third year of college, he registered <ulink "
+"url=\"http://sparkfun.com\"/> and started reselling products out of his "
+"bedroom. After he graduated, he started making and selling his own products."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8595
+msgid ""
+"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 <quote>human-readable deeds</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8604
+msgid ""
+"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 "
+"also partner with Arduino (also profiled in this book) by manufacturing "
+"boards for resale using Arduino’s brand."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8613
+msgid ""
+"SparkFun also has an educational department dedicated to creating a hands-on "
+"curriculum to teach students about electronics using prototyping "
+"parts. Because SparkFun has always been dedicated to 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8620
+msgid ""
+"<quote>We have the burden and opportunity to educate the next generation of "
+"technical citizens,</quote> Nathan said. <quote>Our goal is to affect the "
+"lives of three hundred and fifty thousand high school students by "
+"2020.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8626
+msgid ""
+"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 "
+"<quote>copyleft</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8637
+msgid ""
+"From the beginning, Nathan has tried to create a work environment at "
+"SparkFun that he himself would want to work in. The result is what appears "
+"to be a pretty fun workplace. The U.S. company is based in Boulder, "
+"Colorado. They have an eighty-thousand-square-foot facility (approximately "
+"seventy-four-hundred square meters), where they design and manufacture their "
+"products. They offer public tours of the space several times a week, and "
+"they open their doors to the public for a competition once a year."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8648
+msgid ""
+"The public event, called the Autonomous Vehicle Competition, brings in a "
+"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. <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,</quote> he said. <quote>This event gives our employees the "
+"opportunity to get face-to-face contact with our customers.</quote> The "
+"event infuses their work with a human element, which makes it more "
+"meaningful."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8662
+msgid ""
+"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. <quote>Profit is "
+"not the goal; it is the outcome of a well-executed plan,</quote> Nathan "
+"said. <quote>We focus on having a bigger impact on the world.</quote> Nathan "
+"believes they get some of the brightest and most amazing employees because "
+"they aren’t singularly focused on the bottom line."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8672
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8679
+msgid ""
+"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. <quote>From the beginning, we have "
+"been listening to the community,</quote> Nathan said. <quote>Customers "
+"would identify a pain point, and we would design something to address "
+"it.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8691
+msgid ""
+"However, this sort of customer engagement does not always 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. <quote>There is a theory that if you "
+"open-source it, they will come,</quote> Nathan said. <quote>That’s not "
+"really true.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8702
+msgid ""
+"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. <quote>What gives me joy is when people take open-source "
+"layouts and then build their own circuit boards from our designs,</quote> "
+"Nathan said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8712
+msgid ""
+"Obviously, opening up the design of their products is a necessary step if "
+"their goal is to empower the public. Nathan also firmly believes it makes "
+"them more money because it requires them to focus on how to provide maximum "
+"value. Rather than designing a new product and protecting it in order to "
+"extract as much money as possible from it, they release the keys necessary "
+"for others to build it themselves and then spend company time and resources "
+"on innovation and service. From a short-term perspective, SparkFun 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8726
+msgid "TeachAIDS"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8732
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8737
+msgid "<ulink url=\"http://teachaids.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8739
+msgid "<emphasis role=\"strong\">Revenue model</emphasis>: sponsorships"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8741
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: March 24, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8744
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: Piya Sorcar, the CEO, and "
+"Shuman Ghosemajumder, the chair"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8749
+msgid ""
+"TeachAIDS is an unconventional media company with a conventional revenue "
+"model. Like most media companies, they are subsidized by "
+"advertising. Corporations pay to have their logos appear on the educational "
+"materials TeachAIDS distributes."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8755
+msgid ""
+"But unlike most media companies, Teach-AIDS is a nonprofit organization with "
+"a purely social mission. TeachAIDS is dedicated to educating the global "
+"population about HIV and AIDS, particularly in parts of the world where "
+"education efforts have been historically unsuccessful. Their educational "
+"content is conveyed through interactive software, using methods based on the "
+"latest research about how people learn. TeachAIDS serves content in more "
+"than eighty countries around the world. In each instance, the content is "
+"translated to the local language and adjusted to conform to local norms and "
+"customs. All content is free and made available under a Creative Commons "
+"license."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8768
+msgid ""
+"TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a "
+"salary of one dollar per year from the nonprofit. The project grew out of "
+"research she was doing while pursuing her doctorate at Stanford "
+"University. She was reading reports about India, noting it would be the next "
+"hot zone of people living with HIV. Despite international and national "
+"entities pouring in hundreds of millions of dollars on HIV-prevention "
+"efforts, the reports showed knowledge levels were still low. People were "
+"unaware of whether the virus could be transmitted through coughing and "
+"sneezing, for instance. Supported by an interdisciplinary team of experts at "
+"Stanford, Piya conducted similar studies, which corroborated the previous "
+"research. They found that the primary cause of the limited understanding was "
+"that HIV, and issues relating to it, were often considered too taboo to "
+"discuss comprehensively. The other major problem was that most of the "
+"education on this topic was being taught through television advertising, "
+"billboards, and other mass-media campaigns, which meant people were only "
+"receiving bits and pieces of information."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8788
+msgid ""
+"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 individuals and governments who were "
+"interested in bringing this model to more countries. <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,</quote> Piya said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8800
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8806
+msgid ""
+"Given their educational mission, TeachAIDS had an obvious interest in seeing "
+"the materials as widely shared as possible. But they also needed to preserve "
+"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. <quote>We wanted attribution for "
+"TeachAIDS, and we couldn’t stand by derivatives without vetting "
+"them,</quote> the cofounder and chair Shuman Ghosemajumder said. <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.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8822
+msgid ""
+"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. <quote>Creating "
+"high-quality content is what matters most to us,</quote> Piya "
+"said. <quote>Research drives everything we do.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8831
+msgid ""
+"One important finding was that people accept the message best when it comes "
+"from familiar voices they trust and admire. To achieve this, TeachAIDS "
+"researches cultural icons that would best resonate with their target "
+"audiences and recruits them to donate their likenesses and voices for use in "
+"the animated software. The celebrities involved vary for each localized "
+"version of the materials."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8840
+msgid ""
+"Localization is probably the single-most important aspect of the way "
+"TeachAIDS creates its content. While each regional version builds from the "
+"same core scientific materials, they pour a lot of resources into "
+"customizing the content for a particular population. Because they use a CC "
+"license that does not allow the public to adapt the content, TeachAIDS "
+"retains careful control over the localization process. The content is "
+"translated into the local language, but there are also changes in substance "
+"and format to reflect cultural differences. This process results in minor "
+"changes, like choosing different idioms based on the local language, and "
+"significant changes, like creating gendered versions for places where people "
+"are more likely to accept information from someone of the same gender."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8855
+msgid ""
+"The localization process relies heavily on volunteers. Their volunteer base "
+"is deeply committed to the cause, and the organization has had better luck "
+"controlling the quality of the materials when they tap volunteers instead of "
+"using paid translators. For quality control, TeachAIDS has three separate "
+"volunteer teams translate the materials from English to the local language "
+"and customize the content based on local customs and norms. Those three "
+"versions are then analyzed and combined into a single master "
+"translation. TeachAIDS has additional teams of volunteers then translate "
+"that version back into English to see how well it lines up with the original "
+"materials. They repeat this process until they reach a translated version "
+"that meets their standards. For the Tibetan version, they went through this "
+"cycle eleven times."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8871
+msgid ""
+"TeachAIDS employs full-time employees, contractors, and volunteers, all in "
+"different capacities and organizational configurations. They are careful to "
+"use people from diverse backgrounds to create the materials, including "
+"teachers, students, and doctors, as well as individuals experienced in "
+"working in the NGO space. This diversity and breadth of knowledge help "
+"ensure their materials resonate with people from all walks of life. "
+"Additionally, TeachAIDS works closely with film writers and directors to "
+"help keep the concepts entertaining and easy to understand. The inclusive, "
+"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. <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,</quote> Piya said. <quote>We need "
+"materials where you can push play and they will work.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8891
+msgid ""
+"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. <quote>Educators from various nonprofits around the world were just "
+"creating their own materials using whatever they could find for free "
+"online,</quote> Shuman said. <quote>The only way to persuade them to use our "
+"highly effective model was to make it completely free.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8904
+msgid ""
+"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 "
+"the advertising compromise their credibility or undermine the heavy "
+"investment they put into creating quality content. Sponsors of the content "
+"have no ability to influence the substance of the content, and they cannot "
+"even create advertising content. Sponsors only get the right to have their "
+"logo appear before and after the educational content. All of the content "
+"remains branded as TeachAIDS."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8915
+msgid ""
+"TeachAIDS is careful not to seek funding to cover the costs of a specific "
+"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. <quote>If we just created versions based on where we "
+"could get sponsorships, we would only have materials for wealthier "
+"countries,</quote> Shuman said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8925
+msgid ""
+"As of 2016, TeachAIDS has dozens of sponsors. <quote>When we go into a new "
+"country, various companies hear about us and reach out to us,</quote> Piya "
+"said. <quote>We don’t have to do much to find or attract them.</quote> 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 channels. The audience for TeachAIDS content also tends to skew "
+"young, which is often a desirable demographic for brands. Unlike traditional "
+"advertising, the content is not time-sensitive, so an investment in a "
+"sponsorship can benefit a brand for many years to come."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8939
+msgid ""
+"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. <quote>This is something "
+"companies can be proud of internally,</quote> Shuman said. Some companies "
+"have even built publicity campaigns around the fact that they have sponsored "
+"these initiatives."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8948
+msgid ""
+"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. <quote>The Creative Commons license has been a "
+"game changer for TeachAIDS,</quote> Piya said."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8958
+msgid "Tribe of Noise"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8964
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8969
+msgid "<ulink url=\"http://www.tribeofnoise.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8974
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: January 26, 2016"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8977
+msgid ""
+"<emphasis role=\"strong\">Interviewee</emphasis>: Hessel van Oorschot, "
+"cofounder"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8982
+msgid ""
+"In the early 2000s, Hessel van Oorschot was an entrepreneur running a "
+"business where he coached other midsize entrepreneurs how to create an "
+"online business. He also coauthored a number of workbooks for small- to "
+"medium-size enterprises to use to optimize their business for the "
+"Web. Through this early work, Hessel became familiar with the principles of "
+"open licensing, including the use of open-source software and Creative "
+"Commons."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:8991
+msgid ""
+"In 2005, Hessel and Sandra Brandenburg launched a niche video-production "
+"initiative. Almost immediately, they ran into issues around finding and "
+"licensing music tracks. All they could find was standard, cold "
+"stock-music. They thought of looking up websites where you could license "
+"music directly from the musician without going through record labels or "
+"agents. But in 2005, the ability to directly license music from a rights "
+"holder was not readily available."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9001
+msgid ""
+"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, <quote>When lawyers are "
+"interested in a venture like this, you might have something special.</quote> "
+"So after some more research, in early 2008, Hessel and Sandra decided to "
+"build a platform."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9011
+msgid ""
+"Building a platform posed a real chicken-and-egg problem. The platform had "
+"to build an online community of music-rights holders and, at the same time, "
+"provide the community with information and ideas about how the new economy "
+"works. Community willingness to try new music business models requires a "
+"trust relationship."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9018
+msgid ""
+"In July 2008, Tribe of Noise opened its virtual doors with a couple hundred "
+"musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a "
+"limited part of their repertoire. The two entrepreneurs wanted to take the "
+"pain away for media makers who wanted to license music and solve the "
+"problems the two had personally experienced finding this music."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9033
+msgid "<ulink url=\"http://www.instoremusicservice.com\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9026
+msgid ""
+"As they were growing the community, Hessel got a phone call from a company "
+"that made in-store music playlists asking if they had enough music licensed "
+"with Creative Commons that they could use. Stores need quality, "
+"good-listening music but not necessarily hits, a bit like a radio show "
+"without the DJ. This opened a new opportunity for Tribe of Noise. They "
+"started their In-store Music Service, using music (licensed with CC BY-SA) "
+"uploaded by the Tribe of Noise community of musicians.<placeholder "
+"type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9036
+msgid ""
+"In most countries, artists, authors, and musicians join a collecting society "
+"that manages the licensing and helps collect the royalties. Copyright "
+"collecting societies in the European Union usually hold monopolies in their "
+"respective national markets. In addition, they require their members to "
+"transfer exclusive administration rights to them of all of their works. "
+"This complicates the picture for Tribe of Noise, who wants to represent "
+"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 "
+"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, <quote>We are "
+"still fighting for a good cause every single day.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9057
+msgid ""
+"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 "
+"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 <quote>copy and paste</quote> "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9071
+msgid ""
+"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:"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9087
+msgid "<ulink url=\"http://www.tribeofnoise.com/info_instoremusic.php\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9079
+msgid ""
+"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 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 "
+"month.<placeholder type=\"footnote\" id=\"0\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9090
+msgid ""
+"Tribe of Noise has another model that does not involve Creative Commons. In "
+"a survey with members, most said they liked the exposure using Creative "
+"Commons gets them and the way it lets them reach out to others to share and "
+"remix. However, they had a bit of a mental struggle with Creative Commons "
+"licenses being perpetual. A lot of musicians have the mind-set that one day "
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9101
+msgid ""
+"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 <quote>nonexclusive exploitation</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9112
+msgid ""
+"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 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9120
+msgid ""
+"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 "
+"upload only to Tribe of Noise Pro, which has a smaller repertoire of music "
+"than the community area."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9126
+msgid ""
+"Hessel sees the two as complementary. Both are needed for the model to "
+"work. With a whole generation of musicians interested in the sharing "
+"economy, the community area of Tribe of Noise is where they can build trust, "
+"create exposure, and generate money. And after that, musicians may become "
+"more interested in exploring other models like Tribe of Noise Pro."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9134
+msgid ""
+"Every musician who joins Tribe of Noise gets their own home page and free "
+"unlimited Web space to upload as much of their own music as they like. Tribe "
+"of Noise is also a social network; fellow musicians and professionals can "
+"vote for, comment on, and like your music. Community managers interact with "
+"and support members, and music supervisors pick and choose from the uploaded "
+"songs for in-store play or to promote them to media producers. Members "
+"really like having people working for the platform who truly engage with "
+"them."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9145
+msgid ""
+"Another way Tribe of Noise creates community and interest is with contests, "
+"which are organized in partnership with Tribe of Noise clients. The client "
+"specifies what they want, and any member can submit a song. Contests usually "
+"involve prizes, exposure, and money. In addition to building member "
+"engagement, contests help members learn how to work with clients: listening "
+"to them, understanding what they want, and creating a song to meet that "
+"need."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9155
+msgid ""
+"Tribe of Noise now has twenty-seven thousand members from 192 countries, and "
+"many are exploring do-it-yourself models for generating revenue. Some came "
+"from music labels and publishers, having gone through the traditional way of "
+"music licensing and now seeing if this new model makes sense for "
+"them. Others are young musicians, who grew up with a DIY mentality and see "
+"little reason to sign with a third party or hand over some of the "
+"control. Still a small but growing group of Tribe members are pursuing a "
+"hybrid model by licensing some of their songs under CC BY-SA and opting in "
+"others with collecting societies like ASCAP or BMI."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9167
+msgid ""
+"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 "
+"only some of your tracks, whereas in many countries in Europe, a collecting "
+"society prefers to represent your entire repertoire (although the European "
+"Commission is making some changes). Tribe of Noise deals with this issue all "
+"the time and gives you a warning whenever you upload a song. If collecting "
+"societies are willing to be open and flexible and do the most they can for "
+"their members, then they can consider organizations like Tribe of Noise as a "
+"nice add-on, generating more exposure and revenue for the musicians they "
+"represent. So far, Tribe of Noise has been able to make all this work "
+"without litigation."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9184
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9196
+msgid "Wikimedia Foundation"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9202
+msgid ""
+"The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia "
+"and its sister projects. Founded in 2003 in the U.S."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9207
+msgid "<ulink url=\"http://wikimediafoundation.org\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9209
+msgid "<emphasis role=\"strong\">Revenue model</emphasis>: donations"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9211
+msgid "<emphasis role=\"strong\">Interview date</emphasis>: December 18, 2015"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><blockquote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9214
+msgid ""
+"<emphasis role=\"strong\">Interviewees</emphasis>: Luis Villa, former Chief "
+"Officer of Community Engagement, and Stephen LaPorte, legal counsel"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9220
+msgid "Nearly every person with an online presence knows Wikipedia."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9223
+msgid ""
+"In many ways, it is the preeminent open project: The online encyclopedia is "
+"created entirely by volunteers. Anyone in the world can edit the "
+"articles. All of the content is available for free to anyone online. All of "
+"the content is released under a Creative Commons license that enables people "
+"to reuse and adapt it for any purpose."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9231
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9236
+msgid ""
+"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 "
+"sites like Wikidata and Wikimedia Commons. The foundation employs about two "
+"hundred and eighty people, who all work to support the projects it "
+"hosts. But the true heart of Wikipedia and its sister projects is its "
+"community. The numbers of people in the community are variable, but about "
+"seventy-five thousand volunteers edit and improve Wikipedia articles every "
+"month. Volunteers are organized in a variety of ways across the globe, "
+"including formal Wikimedia chapters (mostly national), groups focused on a "
+"particular theme, user groups, and many thousands who are not connected to a "
+"particular organization."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9250
+msgid ""
+"As Wikimedia legal counsel Stephen LaPorte told us, <quote>There is a common "
+"saying that Wikipedia works in practice but not in theory.</quote> While it "
+"undoubtedly has its challenges and flaws, Wikipedia and its sister projects "
+"are a striking testament to the power of human collaboration."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9257
+msgid ""
+"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 "
+"Creative Commons more generally. With Wikipedia, everything just happens at "
+"an unprecedented scale."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9266
+msgid ""
+"The story of Wikipedia has been told many times. For our purposes, it is "
+"enough to know the experiment started in 2001 at a small scale, inspired by "
+"the crazy notion that perhaps a truly open, collaborative project could "
+"create something meaningful. At this point, Wikipedia is so ubiquitous and "
+"ingrained in our digital lives that the fact of its existence seems less "
+"remarkable. But outside of software, Wikipedia is perhaps the single most "
+"stunning example of successful community cocreation. Every day, seven "
+"thousand new articles are created on Wikipedia, and nearly fifteen thousand "
+"edits are made every hour."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9278
+msgid ""
+"The nature of the content the community creates is ideal for asynchronous "
+"cocreation. <quote>An encyclopedia is something where incremental community "
+"improvement really works,</quote> 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 "
+"of their systems, but generally speaking, there are very few exceptions to "
+"the rule that anyone can edit any article, even without an account on their "
+"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. <quote>We look at the things that the community can do "
+"well, and we want to let them do those things,</quote> 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."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9302
+msgid ""
+"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. <quote>There is a "
+"constantly evolving system to keep the balance in place to avoid Wikipedia "
+"becoming the world’s biggest graffiti wall,</quote> 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. <quote>The secret "
+"to having any healthy community is bringing back the right people,</quote> "
+"Luis said. <quote>Vandals tend to get bored and go away. That is partially "
+"our model working, and partially just human nature.</quote> Most of the "
+"time, people want to do the right thing."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9318
+msgid ""
+"Wikipedia not only relies on good behavior within its community and on its "
+"sites, but also by everyone else once the content leaves Wikipedia. All of "
+"the text of Wikipedia is available under an Attribution-ShareAlike license "
+"(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, <quote>Being open has only made "
+"Wikipedia bigger and stronger. The desire to protect is not always what is "
+"best for everyone.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para><footnote><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9342
+msgid ""
+"<ulink "
+"url=\"http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/\"/>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9330
+msgid ""
+"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 "
+"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. <quote>In a movement as large as ours, there is an incredible "
+"diversity of motivations,</quote> 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.<placeholder type=\"footnote\" id=\"0\"/> Only a fraction of Wikipedia "
+"users are also editors. But editing is not the only way to contribute to "
+"Wikipedia. <quote>Some donate text, some donate images, some donate "
+"financially,</quote> Stephen told us. <quote>They are all "
+"contributors.</quote>"
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9349
+msgid ""
+"But the vast majority of us who use Wikipedia are not contributors; we are "
+"passive readers. The Wikimedia Foundation survives primarily on individual "
+"donations, with about $15 as the average. Because Wikipedia is one of the "
+"ten most popular websites in terms of total page views, donations from a "
+"small portion of that audience can translate into a lot of money. In the "
+"2015-16 fiscal year, they received more than $77 million from more than five "
+"million donors."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9359
+msgid ""
+"The foundation has a fund-raising team that works year-round to raise money, "
+"but the bulk of their revenue comes in during the December campaign in "
+"Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United "
+"States. They engage in extensive user testing and research to maximize the "
+"reach of their fund-raising campaigns. Their basic fund-raising message is "
+"simple: We provide our readers and the world immense value, so give "
+"back. Every little bit helps. With enough eyeballs, they are right."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9370
+msgid ""
+"The vision of the Wikimedia Foundation is a world in which every single "
+"human being can freely share in the sum of all knowledge. They work to "
+"realize this vision by empowering people around the globe to create "
+"educational content made freely available under an open license or in the "
+"public domain. Stephen and Luis said the mission, which is rooted in the "
+"same philosophy behind Creative Commons, drives everything the foundation "
+"does."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9379
+msgid ""
+"The philosophy behind the endeavor also enables the foundation to be "
+"financially sustainable. It instills trust in their readership, which is "
+"critical for a revenue strategy that relies on reader donations. It also "
+"instills trust in their community."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9385
+msgid ""
+"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. <quote>Wikipedia is an example of how a mission can "
+"motivate an entire movement,</quote> Stephen told us."
+msgstr ""
+
+#. type: Content of: <book><part><chapter><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9392
+msgid ""
+"Of course, what results from that movement is one of the Internet’s great "
+"public resources. <quote>The Internet has a lot of businesses and stores, "
+"but it is missing the digital equivalent of parks and open public "
+"spaces,</quote> Stephen said. <quote>Wikipedia has found a way to be that "
+"open public space.</quote>"
+msgstr ""
+
+#. type: Content of: <book><appendix><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9402
+msgid "Bibliography"
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9404
+msgid ""
+"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."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9410
+msgid ""
+"Anderson, Chris. Free: How Today’s Smartest Businesses Profit by Giving "
+"Something for Nothing, reprint with new preface. New York: Hyperion, 2010."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9415
+msgid "———. Makers: The New Industrial Revolution. New York: Signal, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9418
+msgid ""
+"Ariely, Dan. Predictably Irrational: The Hidden Forces That Shape Our "
+"Decisions. Rev. ed. New York: Harper Perennial, 2010."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9422
+msgid ""
+"Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media, "
+"2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9426
+msgid ""
+"Benkler, Yochai. The Wealth of Networks: How Social Production Transforms "
+"Markets and Freedom. New Haven: Yale University Press, 2006. <ulink "
+"url=\"http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf\"/> (licensed "
+"under CC BY-NC-SA)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9433
+msgid ""
+"Benyayer, Louis-David, ed. Open Models: Business Models of the Open "
+"Economy. Cachan, France: Without Model, 2016. <ulink "
+"url=\"http://www.slideshare.net/WithoutModel/open-models-book-64463892\"/> "
+"(licensed under CC BY-SA)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9439
+msgid ""
+"Bollier, David. Commoning as a Transformative Social Paradigm. Paper "
+"commissioned by the Next Systems Project. Washington, DC: Democracy "
+"Collaborative, 2016. <ulink "
+"url=\"http://thenextsystem.org/commoning-as-a-transformative-social-paradigm/\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9445
+msgid ""
+"———. Think Like a Commoner: A Short Introduction to the Life of the "
+"Commons. Gabriola Island, BC: New Society, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9449
+msgid ""
+"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. "
+"<ulink "
+"url=\"http://bollier.org/democratic-money-and-capital-commons-report-pdf\"/>. "
+"For more information, see <ulink "
+"url=\"http://bollier.org/blog/democratic-money-and-capital-commons\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9459
+msgid ""
+"Bollier, David, and Silke Helfrich, eds. The Wealth of the Commons: A World "
+"Beyond Market and State. Amherst, MA: Levellers Press, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9463
+msgid ""
+"Botsman, Rachel, and Roo Rogers. What’s Mine Is Yours: The Rise of "
+"Collaborative Consumption. New York: Harper Business, 2010."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9467
+msgid ""
+"Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New "
+"Haven: Yale University Press, 2008."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9470
+msgid ""
+"<ulink url=\"http://www.thepublicdomain.org/download/\"/> (licensed under CC "
+"BY-NC-SA)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9474
+msgid ""
+"Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in "
+"Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9479
+msgid ""
+"Chesbrough, Henry. Open Business Models: How to Thrive in the New Innovation "
+"Landscape. Boston: Harvard Business School Press, 2006."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9483
+msgid ""
+"———. Open Innovation: The New Imperative for Creating and Profiting from "
+"Technology. Boston: Harvard Business Review Press, 2006."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9487
+msgid ""
+"City of Bologna. Regulation on Collaboration between Citizens and the City "
+"for the Care and Regeneration of Urban Commons. Translated by LabGov "
+"(LABoratory for the GOVernance of Commons). Bologna, Italy: City of Bologna, "
+"2014). <ulink "
+"url=\"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\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9494
+msgid ""
+"Cole, Daniel H. <quote>Learning from Lin: Lessons and Cautions from the "
+"Natural Commons for the Knowledge Commons.</quote> Chap. 2 in Frischmann, "
+"Madison, and Strandburg, Governing Knowledge Commons."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9499
+msgid ""
+"Creative Commons. 2015 State of the Commons. Mountain View, CA: Creative "
+"Commons, 2015. <ulink url=\"http://stateof.creativecommons.org/2015/\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9504
+msgid ""
+"Doctorow, Cory. Information Doesn’t Want to Be Free: Laws for the Internet "
+"Age. San Francisco: McSweeney’s, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9508
+msgid ""
+"Eckhardt, Giana, and Fleura Bardhi. <quote>The Sharing Economy Isn’t about "
+"Sharing at All.</quote> Harvard Business Review, January 28, 2015. <ulink "
+"url=\"http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9514
+msgid ""
+"Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge: "
+"Confronting the Commodification of Human Discovery. Regina, SK: University "
+"of Regina Press, 2015. <ulink "
+"url=\"http://uofrpress.ca/publications/Free-Knowledge\"/> (licensed under CC "
+"BY-NC-ND)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9521
+msgid ""
+"Eyal, Nir. Hooked: How to Build Habit-Forming Products. With Ryan "
+"Hoover. New York: Portfolio, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9525
+msgid ""
+"Farley, Joshua, and Ida Kubiszewski. <quote>The Economics of Information in "
+"a Post-Carbon Economy.</quote> Chap. 11 in Elliott and Hepting, Free "
+"Knowledge."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9530
+msgid ""
+"Foster, William Landes, Peter Kim, and Barbara Christiansen. <quote>Ten "
+"Nonprofit Funding Models.</quote> Stanford Social Innovation Review, Spring "
+"2009. <ulink "
+"url=\"http://ssir.org/articles/entry/ten_nonprofit_funding_models\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9536
+msgid ""
+"Frischmann, Brett M. Infrastructure: The Social Value of Shared "
+"Resources. New York: Oxford University Press, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9540
+msgid ""
+"Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg, "
+"eds. Governing Knowledge Commons. New York: Oxford University Press, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9545
+msgid ""
+"Frischmann, Brett M., Michael J. Madison, and Katherine J. "
+"Strandburg. <quote>Governing Knowledge Commons.</quote> Chap. 1 in "
+"Frischmann, Madison, and Strandburg, Governing Knowledge Commons."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9550
+msgid ""
+"Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with "
+"new epilogue. New York: Portfolio, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9554
+msgid ""
+"Grant, Adam. Give and Take: Why Helping Others Drives Our Success. New "
+"York: Viking, 2013."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9558
+msgid ""
+"Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity "
+"and the Commons. New York: Zed Books, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9562
+msgid ""
+"Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the "
+"Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9567
+msgid ""
+"Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters. Toronto: "
+"Doubleday Canada, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9571
+msgid ""
+"Hyde, Lewis. Common as Air: Revolution, Art, and Ownership. New York: "
+"Farrar, Straus and Giroux, 2010."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9575
+msgid ""
+"———. The Gift: Creativity and the Artist in the Modern World. 2nd Vintage "
+"Books edition. New York: Vintage Books, 2007."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9579
+msgid ""
+"Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential "
+"within Us All. New York: Crown, 2013."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9583
+msgid ""
+"Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution; "
+"Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9588
+msgid ""
+"Kleon, Austin. Show Your Work: 10 Ways to Share Your Creativity and Get "
+"Discovered. New York: Workman, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9592
+msgid ""
+"———. Steal Like an Artist: 10 Things Nobody Told You about Being "
+"Creative. New York: Workman, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9596
+msgid ""
+"Kramer, Bryan. Shareology: How Sharing Is Powering the Human Economy. New "
+"York: Morgan James, 2016."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9600
+msgid ""
+"Lee, David. <quote>Inside Medium: An Attempt to Bring Civility to the "
+"Internet.</quote> BBC News, March 3, 2016. <ulink "
+"url=\"http://www.bbc.com/news/technology-35709680\"/>"
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9605
+msgid ""
+"Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid "
+"Economy. New York: Penguin Press, 2008."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9609
+msgid ""
+"Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and "
+"Manifesto. Gabriola Island, BC: New Society, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9613
+msgid ""
+"Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus "
+"and Giroux, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9617
+msgid ""
+"New York Times Customer Insight Group. The Psychology of Sharing: Why Do "
+"People Share Online? New York: New York Times Customer Insight Group, 2011. "
+"<ulink url=\"http://www.iab.net/media/file/POSWhitePaper.pdf\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9623
+msgid ""
+"Osterwalder, Alex, and Yves Pigneur. Business Model Generation. Hoboken, "
+"NJ: John Wiley and Sons, 2010. A preview of the book is available at <ulink "
+"url=\"http://strategyzer.com/books/business-model-generation\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9629
+msgid ""
+"Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value "
+"Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the "
+"book is available at <ulink "
+"url=\"http://strategyzer.com/books/value-proposition-design\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9635
+msgid ""
+"Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let "
+"People Help. New York: Grand Central, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9639
+msgid ""
+"Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make "
+"Available Their Highest Quality Material without Restrictions, and What Are "
+"the Results? The Hague, Netherlands: Europeana Foundation, 2014. <ulink "
+"url=\"http://pro.europeana.eu/publication/democratising-the-rijksmuseum\"/> "
+"(licensed under CC BY-SA)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9647
+msgid ""
+"Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne, "
+"Australia: Commons Transition Coalition, 2016. <ulink "
+"url=\"http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader\"/> "
+"(licensed under CC BY-NC-ND)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9653
+msgid ""
+"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. <quote>The Magic Cauldron.</quote> <ulink "
+"url=\"http://www.catb.org/esr/writings/cathedral-bazaar/\"/>."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9659
+msgid ""
+"Ries, Eric. The Lean Startup: How Today’s Entrepreneurs Use Continuous "
+"Innovation to Create Radically Successful Businesses. New York: Crown "
+"Business, 2011."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9664
+msgid ""
+"Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the "
+"Collaborative Commons, and the Eclipse of Capitalism. New York: Palgrave "
+"Macmillan, 2014."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9669
+msgid "Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9673
+msgid ""
+"Rushkoff, Douglas. Throwing Rocks at the Google Bus: How Growth Became the "
+"Enemy of Prosperity. New York: Portfolio, 2016."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9677
+msgid ""
+"Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New "
+"York: Farrar, Straus and Giroux, 2012."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9681
+msgid ""
+"Shirky, Clay. Cognitive Surplus: How Technology Makes Consumers into "
+"Collaborators. London, England: Penguin Books, 2010."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9685
+msgid ""
+"Slee, Tom. What’s Yours Is Mine: Against the Sharing Economy. New York: OR "
+"Books, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9689
+msgid ""
+"Stephany, Alex. The Business of Sharing: Making in the New Sharing "
+"Economy. New York: Palgrave Macmillan, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9693
+msgid ""
+"Stepper, John. Working Out Loud: For a Better Career and Life. New York: "
+"Ikigai Press, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9697
+msgid ""
+"Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a "
+"Complex World. Boston: Houghton Mifflin Harcourt, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9701
+msgid ""
+"Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise "
+"of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9705
+msgid "Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9709
+msgid ""
+"Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology "
+"Behind Bitcoin Is Changing Money, Business, and the World. Toronto: "
+"Portfolio, 2016."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9714
+msgid ""
+"Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark "
+"Reiter. New York: Simon and Schuster, 2006."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9718
+msgid ""
+"Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago: "
+"University of Chicago Press, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9722
+msgid ""
+"Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open "
+"Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers, "
+"with Creative Commons Netherlands; Premsela, the Netherlands Institute for "
+"Design and Fashion; and the Waag Society, 2011. <ulink "
+"url=\"http://opendesignnow.org\"/> (licensed under CC BY-NC-SA)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9730
+msgid ""
+"Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society "
+"3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014. <ulink "
+"url=\"http://society30.com/get-the-book/\"/> (licensed under CC BY-NC-ND)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9736
+msgid ""
+"Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005. <ulink "
+"url=\"http://web.mit.edu/evhippel/www/democ1.htm\"/> (licensed under CC "
+"BY-NC-ND)."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9741
+msgid ""
+"Whitehurst, Jim. The Open Organization: Igniting Passion and "
+"Performance. Boston: Harvard Business Review Press, 2015."
+msgstr ""
+
+#. type: Content of: <book><appendix><title>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9746
+msgid "Acknowledgments"
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9748
+msgid ""
+"We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative "
+"Commons Board, and all of our Creative Commons colleagues for "
+"enthusiastically supporting our work. Special gratitude to the William and "
+"Flora Hewlett Foundation for the initial seed funding that got us started on "
+"this project."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9755
+msgid ""
+"Huge appreciation to all the Made with Creative Commons interviewees for "
+"sharing their stories with us. You make the commons come alive. Thanks for "
+"the inspiration."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9760
+msgid ""
+"We interviewed more than the twenty-four organizations profiled in this "
+"book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium "
+"for sharing their stories with us. While not featured as case studies in "
+"this book, you all are equally interesting, and we encourage our readers to "
+"visit your sites and explore your work."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9768
+msgid ""
+"This book was made possible by the generous support of 1,687 Kickstarter "
+"backers listed below. We especially acknowledge our many Kickstarter "
+"co-editors who read early drafts of our work and provided invaluable "
+"feedback. Heartfelt thanks to all of you."
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9774
+msgid ""
+"Co-editor Kickstarter backers (alphabetically by first name): 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, "
+"Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper, "
+"Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle, "
+"Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative "
+"Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado, "
+"Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David "
+"Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi "
+"Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder, "
+"Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix "
+"Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin "
+"Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis "
+"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 "
+"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 "
+"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 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 Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle, "
+"Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, 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, 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"
+msgstr ""
+
+#. type: Content of: <book><appendix><para>
+#: MadewithCreativeCommonsmostup-to-dateversion.xml:9825
+msgid ""
+"All other Kickstarter backers (alphabetically by first name): 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 "
+"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 "
+"Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo 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, 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 "
+"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 "
+"Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel "
+"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, "
+"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 "
+"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, "
+"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 "
+"Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun "
+"Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron "
+"Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook, "
+"Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu, "
+"Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long, "
+"Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff, "
+"Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford, "
+"Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile, "
+"@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler, "
+"Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt, "
+"Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano, "
+"Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh, "
+"Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote "
+"(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris "
+"Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber, "
+"Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger, "
+"Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum, "
+"Christian Wachter, Christina Bennett, Christine Henry, Christine Rico, "
+"Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris, "
+"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 "
+"Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie "
+"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, "
+"Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana "
+"Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez, "
+"Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado, "
+"Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein, "
+"Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario "
+"Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova, "
+"Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave "
+"Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David "
+"Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam, "
+"David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David "
+"Mcconville, David Mikula, David Nelson, David Orban, David Parry, David "
+"Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah "
+"Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek "
+"Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane "
+"K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La "
+"Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun, "
+"Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio 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 Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo "
+"Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal, "
+"Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie "
+"Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli "
+"Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique "
+"Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric "
+"Hellman, Eric Steuer, Erica Fletcher, Erik 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, 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 "
+"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, "
+"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, "
+"Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco, "
+"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, "
+"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 "
+"Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry "
+"Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen "
+"Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach "
+"Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser, "
+"Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne, "
+"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, "
+"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, "
+"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 LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim "
+"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 "
+"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 "
+"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, Julie Harboe, Julien Brossoit, Julien "
+"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, "
+"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 "
+"Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main, "
+"Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie "
+"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 "
+"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 "
+"Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown, "
+"Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent "
+"Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro "
+"Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini, "
+"leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos "
+"Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir "
+"Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa "
+"Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn "
+"Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna "
+"Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman, "
+"Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de "
+"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 "
+"Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, 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, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler, "
+"Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky, "
+"Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark "
+"Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark "
+"Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi, "
+"Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin "
+"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 "
+"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 "
+"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 Crees, Michael David Johas Teener, Michael Dennis Moore, Michael "
+"Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, 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 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 "
+"Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko "
+"<quote>Macro</quote> 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, "
+"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, "
+"Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley, "
+"Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan, "
+"Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky "
+"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, "
+"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 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, "
+"Peter Langmar, 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 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, "
+"Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich "
+"McCue, Richard <quote>TalkToMeGuy</quote> 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, "
+"Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob "
+"Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert "
+"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 "
+"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 "
+"Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute "
+"Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan "
+"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 "
+"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 "
+"Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha "
+"VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott "
+"Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson, "
+"Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker, "
+"Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian "
+"Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey "
+"Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth "
+"Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn "
+"Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson, "
+"Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King, "
+"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, "
+"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, "
+"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 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 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 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 "
+"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 "
+"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 "
+"Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua "
+"de Haan, ZeMarmot Open Movie"
+msgstr ""
--- /dev/null
+<html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Feito com Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pt_BR" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Feito com 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>
+ Este livro é publicado sob uma licença CC BY-SA, o que significa que você
+pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo
+para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito
+apropriado, forneça um link para o licença e indicar se foram feitas
+alterações. Se você remixar, transformar ou desenvolver o material, deverá
+distribuir suas contribuições sob a mesma licença do original. Detalhes da
+licença: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR" target="_top">https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR</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>Não sei muito sobre jornalismo de não ficção... A maneira que penso sobre
+essas coisas e em termos do que posso fazer é... ensaios como esse são
+ocasiões para observar alguém razoavelmente brilhante, mas também
+razoavelmente mediano, prestar mais atenção e pensar muito mais longamente
+sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance
+de fazer em nossas vidas diárias.</p></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>Índice</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Prefácio</a></span></dt><dt><span class="preface"><a href="#introduction">Introdução</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. O Quadro Geral</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com 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>Lista de Figuras</b></p><dl><dt>1.1. <a href="#fig-1">Engajamento empresarial com comuns, estado e mercado.</a></dt><dt>1.2. <a href="#fig-2">Quatro aspectos da gestão de recursos</a></dt><dt>1.3. <a href="#fig-3">Como o mercado, os bens comuns e o estado geram recursos.</a></dt><dt>1.4. <a href="#fig-4">Na sociedade pré-industrializada.</a></dt><dt>1.5. <a href="#fig-5">O comum é gradualmente substituído pelo Estado.</a></dt><dt>1.6. <a href="#fig-6">Como o mercado, o estado e os comuns são hoje.</a></dt></dl></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="foreword"></a>Prefácio</h1></div></div></div><p>
+ Três anos atrás, logo depois de ser contratado como CEO da Creative Commons,
+me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como
+um dos proponentes mais conhecidos da CC – alguém que também teve uma
+carreira de sucesso como escritor que compartilha seu trabalho usando CC –
+eu disse a ele que achava que a CC tinha um papel na definição e promoção de
+modelos de negócios abertos. Ele discordou gentilmente e considerou a busca
+de modelos de negócios viáveis por meio da CC <span class="quote">“<span class="quote">uma pista
+falsa</span>”</span>.
+ </p><p>
+ Ele estava, de certa forma, completamente correto – aqueles que fazem coisas
+com Creative Commons têm segundas intenções, como Paul Stacey explica neste
+livro: <span class="quote">“<span class="quote">Independentemente do status legal, todos eles têm uma missão
+social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem
+fins lucrativos. O dinheiro é um meio para um fim social, não o fim em
+si.</span>”</span>
+ </p><p>
+ No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
+palavras de Cory em seu livro <span class="emphasis"><em>Information Doesn’t Want to Be
+Free</em></span>: <span class="quote">“<span class="quote">Entrar nas artes porque você quer ficar rico é como
+comprar bilhetes de loteria porque você quer ficar rico. Pode funcionar, mas
+quase certamente não. Embora, é claro, alguém sempre ganhe na
+loteria.</span>”</span>
+ </p><p>
+ Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e
+quase ninguém ganha. O que eles não dizem é que, se você decidir
+compartilhar seu trabalho, o retorno pode ser significativo e
+duradouro. Este livro está repleto de histórias de pessoas que assumem
+riscos muito maiores do que os dois dólares que pagamos por um bilhete de
+loteria e, em vez disso, colhem as recompensas que advêm de perseguir suas
+paixões e viver seus valores.
+ </p><p>
+ Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para
+continuar a criar e compartilhar geralmente requer alguma receita. Max
+Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso:
+<span class="quote">“<span class="quote">Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro
+para que possamos fazer mais piadas e jogos.</span>”</span>
+ </p><p>
+ O foco da Creative Commons é construir um commons vibrante e utilizável,
+movido pela colaboração e gratidão. Capacitar comunidades de colaboração
+está no centro de nossa estratégia. Com isso em mente, a Creative Commons
+iniciou o projeto deste livro. Liderado por Paul e Sarah, o projeto teve
+como objetivo definir e promover os melhores modelos de negócios
+abertos. Paul e Sarah eram os autores ideais para escrever Feito com
+Creative Commons.
+ </p><p>
+ Paul sonha com um futuro onde novos modelos de criatividade e inovação
+superem a desigualdade e a escassez que hoje definem as piores partes do
+capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades
+de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou
+um melhor educador, um pesquisador perspicaz e também um jardineiro
+habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que
+inspira seus colegas e a comunidade.
+ </p><p>
+ Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no
+bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o
+ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma
+campanha política que não terminou como ela esperava. Hoje, ela está mais
+determinada do que nunca a viver com seus valores na manga. Sempre posso
+contar com Sarah para empurrar a Creative Commons para focar em nosso
+impacto – para tornar a coisa principal a coisa principal. Ela é prática,
+orientada para os detalhes e inteligente. Não há ninguém na minha equipe com
+quem eu goste mais de debater.
+ </p><p>
+ Como co-autores, Paul e Sarah se complementam perfeitamente. Eles
+pesquisaram, analisaram, discutiram e trabalharam em equipe, às vezes juntos
+e às vezes de forma independente. Eles mergulharam na pesquisa e na escrita
+com paixão e curiosidade, e um profundo respeito pelo que é necessário para
+construir o bem comum e compartilhar com o mundo. Eles permaneceram abertos
+a novas ideias, incluindo a possibilidade de que suas teorias iniciais
+precisassem ser aprimoradas ou pudessem estar completamente erradas. Isso é
+corajoso e tornou-se um livro melhor, perspicaz, honesto e útil.
+ </p><p>
+ Desde o início, a CC quis desenvolver este projeto com os princípios e
+valores da colaboração aberta. O livro foi financiado, desenvolvido,
+pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente
+sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com
+atribuição. É, por si só, um exemplo de modelo de negócio aberto.
+ </p><p>
+ Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma
+campanha Kickstarter para gerar o financiamento básico para o livro. O
+restante foi fornecido por generosos doadores e apoiadores do CC. No final,
+tornou-se um dos projetos de livro de maior sucesso no Kickstarter,
+superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a
+maioria deles novos apoiadores da Creative Commons.
+ </p><p>
+ Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os
+planos, rascunhos, estudos de caso e análises, desde o início e com
+frequência, e envolveram comunidades em todo o mundo para ajudar a escrever
+este livro. Como suas opiniões divergiram e seus interesses entraram em
+foco, eles dividiram suas vozes e decidiram mantê-los separados no produto
+final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem
+dúvida, tornou o Feito com Creative Commons um projeto melhor.
+ </p><p>
+ Aqueles que trabalham e compartilham dos bens comuns não são criadores
+típicos. Eles são parte de algo maior do que eles próprios, e o que eles
+oferecem a todos nós é um dom profundo. O que eles recebem em troca é
+gratidão e uma comunidade.
+ </p><p>
+ Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por
+dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter
+(e se oferecer como um benefício do Kickstarter), ele concordou
+imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a
+colaboração em seu núcleo, e a comunidade como um valor chave, e porque as
+licenças CC ajudaram muitos a compartilhar as formas que escolheram com um
+público global.
+ </p><p>
+ Sarah escreve, <span class="quote">“<span class="quote">Os esforços feitos com Creative Commons prosperam
+quando a comunidade é construída em torno do que eles fazem. Isso pode
+significar uma comunidade colaborando para criar algo novo, ou pode ser
+simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se
+unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente
+ser feito com Creative Commons traz automaticamente consigo algum elemento
+de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são
+atraídas para os valores simbolizados pelo uso de CC</span>”</span>. Amanda Palmer,
+a outra música perfilada no livro, certamente acrescentaria isso de seu
+estudo de caso: <span class="quote">“<span class="quote">Não há objetivo final mais satisfatório do que ter
+alguém lhe dizendo que o que você faz é genuinamente valioso para
+eles.</span>”</span>
+ </p><p>
+ Este não é um livro de negócios típico. Para quem procura uma receita ou um
+roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo
+social, construir algo grande por meio da colaboração ou se juntar a uma
+comunidade global poderosa e crescente, eles certamente ficarão
+satisfeitos. Feito com Creative Commons oferece um conjunto de valores e
+princípios claramente articulados para mudar o mundo, algumas ferramentas
+essenciais para explorar suas próprias oportunidades de negócios e duas
+dezenas de doses de pura inspiração.
+ </p><p>
+ Em um artigo de 1996 da Stanford Law Review <span class="quote">“<span class="quote">The Zones of
+Cyberspace</span>”</span>, o fundador do CC Lawrence Lessig escreveu, <span class="quote">“<span class="quote">O
+ciberespaço é um lugar. Pessoas moram lá. Elas experimentam todos os tipos
+de coisas que experimentam no espaço real, ali. Para alguns, elas
+experimentam mais. Elas vivenciam isso não como indivíduos isolados, jogando
+algum jogo de computador de alta tecnologia; elas experimentam isso em
+grupos, em comunidades, entre estranhos, entre pessoas que eles conhecem e
+às vezes gostam. </span>”</span>
+ </p><p>
+ Estou extremamente orgulhoso de que a Creative Commons seja capaz de
+publicar este livro para as muitas comunidades que conhecemos e
+gostamos. Sou grato a Paul e Sarah por sua criatividade e ideias, e às
+comunidades globais que nos ajudaram a trazer isso para você. Como
+frequentemente diz o membro do conselho da CC, Johnathan Nightingale,
+<span class="quote">“<span class="quote">É tudo feito de pessoas.</span>”</span>
+ </p><p>
+ Esse é o verdadeiro valor das coisas feitas com 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}
+ \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>Introdução</h1></div></div></div><p>
+ Este livro mostra ao mundo como o compartilhamento pode ser bom para os
+negócios – mas com uma diferença.
+ </p><p>
+ Começamos o projeto com a intenção de explorar como criadores, organizações
+e empresas ganham dinheiro para sustentar o que fazem quando compartilham
+seus trabalhos usando licenças Creative Commons. Nosso objetivo não era
+identificar uma fórmula para modelos de negócios que usam Creative Commons,
+mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram
+modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo
+sobre o que já funciona. No início, estruturamos nossa investigação em
+termos de negócios familiares. Criamos uma <span class="quote">“<span class="quote">tela de modelo de negócios
+aberto</span>”</span> em branco, uma ferramenta on-line interativa que ajudaria as
+pessoas a projetar e analisar seu modelo de negócios.
+ </p><p>
+ Por meio do generoso financiamento dos patrocinadores do Kickstarter,
+começamos este projeto primeiro identificando e – selecionando um grupo
+diverso de criadores, organizações e empresas que usam a Creative Commons de
+uma forma integral o que chamamos de ser Feito com Creative Commons. Nós os
+entrevistamos e escrevemos suas histórias. Analisamos o que ouvimos e nos
+aprofundamos na literatura.
+ </p><p>
+ Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa
+maneira inicial de enquadrar o trabalho não combinava com as histórias que
+estávamos ouvindo.
+ </p><p>
+ Os entrevistados não eram empresas típicas que vendem para consumidores e
+buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles
+estavam compartilhando para tornar o mundo um lugar melhor, criando
+relacionamentos e comunidade em torno das obras que estavam sendo
+compartilhadas e gerando receita não para um crescimento ilimitado, mas para
+sustentar a operação.
+ </p><p>
+ Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um
+modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo
+diferente. Algo que gera não apenas valor econômico, mas também valor social
+e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons
+não é um <span class="quote">“<span class="quote">negócio de costume</span>”</span>.
+ </p><p>
+ Tivemos que repensar a forma como concebemos esse projeto. E isso não
+aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas
+ideias em postagens de blog no Medium e com atualizações regulares para
+nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de
+caso e análises com nossos cocriadores do Kickstarter, que forneceram
+edições, feedback e conselhos inestimáveis. Nosso pensamento mudou
+drasticamente ao longo de um ano e meio.
+ </p><p>
+ Ao longo do processo, nós dois frequentemente tínhamos maneiras muito
+diferentes de compreender e descrever o que estávamos aprendendo. Aprender
+um com o outro foi uma das grandes alegrias deste trabalho e, esperamos,
+algo que tornou o produto final muito mais rico do que jamais poderia ter
+sido se qualquer um de nós empreendesse este projeto sozinho. Nós
+preservamos nossas vozes por toda parte, e você será capaz de sentir nossas
+abordagens diferentes, mas complementares, enquanto lê nossas diferentes
+seções.
+ </p><p>
+ Embora recomendamos que você leia o livro do início ao fim, cada seção é
+lida de forma mais ou menos independente. O livro está estruturado em duas
+partes principais.
+ </p><p>
+ A parte um, a visão geral, começa com uma estrutura geral escrita por
+Paul. Ele fornece algum contexto histórico para os bens comuns digitais,
+descrevendo as três maneiras como a sociedade administrou recursos e
+compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende
+pensar além dos negócios e dos termos de mercado e eloquentemente defende o
+compartilhamento e a ampliação dos bens comuns digitais.
+ </p><p>
+ A visão geral continua com o capítulo de Sarah, enquanto ela considera o que
+significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro
+seja uma parte do bolo, há também um conjunto de valores voltados para o
+público e o tipo de conexões humanas que tornam o compartilhamento
+verdadeiramente significativo. Esta seção descreve as maneiras como os
+criadores, organizações e empresas que entrevistamos geram receita, como
+promovem o interesse público e vivem seus valores e como promovem conexões
+com as pessoas com quem compartilham.
+ </p><p>
+ E para encerrar a primeira parte, temos uma pequena seção que explica as
+diferentes licenças Creative Commons. Falamos sobre o equívoco de que as
+licenças mais restritivas – aquelas que estão mais próximas do modelo com
+todos os direitos reservados do direito autoral tradicional – são as únicas
+maneiras de ganhar dinheiro.
+ </p><p>
+ A segunda parte do livro é composta pelas vinte e quatro histórias dos
+criadores, empresas e organizações que entrevistamos. Enquanto nós dois
+participamos das entrevistas, dividimos a redação desses perfis.
+ </p><p>
+ Obviamente, temos o prazer de disponibilizar o livro usando uma licença
+Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza,
+localize e desenvolva esta obra.
+ </p><p>
+ Escrever este livro nos transformou e nos inspirou. A maneira como agora
+olhamos e pensamos sobre o que significa ser Feito com Creative Commons
+mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa
+a usar o Creative Commons e, assim, contribuir para a transformação de nossa
+economia e do mundo para melhor.
+ </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{ Paul e 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>Parte I. O Quadro Geral</h1></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. Como ser Feito com 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>Capítulo 1. O Novo Mundo dos Comuns Digitais</h2></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="sect1"><a href="#the-commons-the-market-and-the-state">Os Comuns, o Mercado e o Estado</a></span></dt><dt><span class="sect1"><a href="#the-four-aspects-of-a-resource">Os Quatro Aspectos de um Recurso</a></span></dt><dt><span class="sect1"><a href="#a-short-history-of-the-commons">Uma Breve História dos Comuns</a></span></dt><dt><span class="sect1"><a href="#the-digital-revolution">A Revolução Digital</a></span></dt><dt><span class="sect1"><a href="#the-birth-of-creative-commons">O Nascimento da Creative Commons</a></span></dt><dt><span class="sect1"><a href="#the-changing-market">O Mercado em Mudança</a></span></dt><dt><span class="sect1"><a href="#benefits-of-the-digital-commons">Benefícios do Comum Digital</a></span></dt><dt><span class="sect1"><a href="#our-case-studies">Nossos estudos de caso</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 descreve eloquentemente os comuns como <span class="quote">“<span class="quote">o ar e os
+oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos
+são partes dos bens comuns. Assim como a linguagem e o conhecimento, as
+calçadas e praças públicas, as histórias da infância e os processos de
+democracia. Algumas partes dos comuns são dádivas da natureza, outras são o
+produto do esforço humano. Alguns são novos, como a Internet; outros são tão
+antigos quanto o solo e a caligrafia.</span>”</span><a href="#ftn.idm112" class="footnote" name="idm112"><sup class="footnote">[1]</sup></a>
+ </p><p>
+ Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns
+digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum
+abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação,
+pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e
+dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais
+digitais. A Internet é uma espécie de comum digital global. Os indivíduos,
+organizações e empresas cujo perfil temos em nossos estudos de caso usam
+Creative Commons para compartilhar seus recursos online pela Internet.
+ </p><p>
+ O comum não se trata apenas de recursos compartilhados, no entanto. É também
+sobre as práticas sociais e os valores que os gerem. Um recurso é um
+substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um
+verbo.<a href="#ftn.idm117" class="footnote" name="idm117"><sup class="footnote">[2]</sup></a> Os criadores, organizações e
+empresas que definimos estão todos engajados em compartilhar. O uso da
+Creative Commons os envolve na prática social de compartilhamento,
+gerenciando recursos de forma coletiva com uma comunidade de
+usuários.<a href="#ftn.idm120" class="footnote" name="idm120"><sup class="footnote">[3]</sup></a> O compartilhamento é guiado
+por um conjunto de valores e normas que equilibram os custos e benefícios da
+empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e
+sustentabilidade equitativos.
+ </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>Os Comuns, o Mercado e o Estado</h2></div></div></div><p>
+ Historicamente, houve três maneiras de gerenciar recursos e compartilhar
+riqueza: os comuns (administrados coletivamente), o estado (ou seja, o
+governo) e o mercado – com os dois últimos sendo as formas dominantes
+hoje.<a href="#ftn.idm126" class="footnote" name="idm126"><sup class="footnote">[4]</sup></a>
+ </p><p>
+ As organizações e empresas em nossos estudos de caso são únicas na forma
+como participam dos bens comuns enquanto se envolvem com o mercado e/ou
+estado. A extensão do envolvimento com o mercado ou estado varia. Alguns
+operam principalmente como comuns com o mínimo ou nenhuma dependência do
+mercado ou estado.<a href="#ftn.idm130" class="footnote" name="idm130"><sup class="footnote">[5]</sup></a> Outros fazem parte
+do mercado ou estado, dependendo deles para a sustentabilidade
+financeira. Todos operam como híbridos, mesclando as normas dos comuns com
+as do mercado ou do estado.
+ </p><p>
+ A fig. <a class="xref" href="#fig-1" title="Figura 1.1. Engajamento empresarial com comuns, estado e mercado.">1.1</a> é uma representação
+de como uma empresa pode ter vários níveis de envolvimento com comuns,
+estado e mercado.
+ </p><p>
+ Alguns de nossos estudos de caso são simplesmente comuns e empresas de
+mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses
+estudos de caso mostraria a esfera do estado como pequena ou até
+ausente. Outros estudos de caso são principalmente baseados no mercado, com
+apenas um pequeno envolvimento com os comuns. Uma descrição desses estudos
+de caso mostraria a esfera do mercado tão grande e a esfera dos comuns tão
+pequena. A extensão em que uma empresa se considera primariamente de um tipo
+ou de outro afeta o equilíbrio das normas pelas quais opera.
+ </p><p>
+ Todos os nossos estudos de caso geram dinheiro como meio de subsistência e
+sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras
+de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns
+(geralmente expressos em declarações de missão) é um desafio. Gerenciar a
+interação e o engajamento entre os comuns e o mercado exige um toque hábil,
+um forte senso de valores e a capacidade de combinar o melhor de ambos.
+ </p><p>
+ O estado tem um papel importante a desempenhar na promoção do uso e adoção
+dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente
+para construir os comuns. Além do dinheiro, as leis e regulamentos relativos
+à propriedade, direitos autorais, negócios e finanças podem ser projetados
+para promover os comuns.
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figura 1.1. Engajamento empresarial com comuns, estado e mercado.</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="Engajamento empresarial com comuns, estado e mercado."></td></tr></table></div></div></div><br class="figure-break"><p>
+ É útil entender como os comuns, o mercado e o estado gerenciam os recursos
+de maneira diferente, e não apenas para aqueles que se consideram
+principalmente como comuns. Para empresas ou organizações governamentais que
+desejam se envolver e usar os comuns, saber como os comuns funciona os
+ajudará a compreender a melhor forma de fazer isso. Participar e usar os
+comuns da mesma forma que você faz com o mercado ou estado não é uma
+estratégia para o sucesso.
+ </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>Os Quatro Aspectos de um Recurso</h2></div></div></div><p>
+ Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu
+uma estrutura para analisar como os recursos naturais são gerenciados em um
+comum.<a href="#ftn.idm149" class="footnote" name="idm149"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
+como as características biofísicas de recursos comuns, os atores da
+comunidade e as interações que ocorrem entre eles, regras em uso e
+resultados. Essa estrutura foi simplificada e generalizada para se aplicar
+aos comuns, ao mercado e ao estado neste capítulo.
+ </p><p>
+ Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o
+estado funcionam, vamos considerar quatro aspectos da gestão de recursos:
+características dos recursos, as pessoas envolvidas e o processo que usam,
+as normas e regras que desenvolvem para governar o uso e, finalmente, uso de
+recursos junto com os resultados desse uso (ver Fig. <a class="xref" href="#fig-2" title="Figura 1.2. Quatro aspectos da gestão de recursos">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figura 1.2. Quatro aspectos da gestão de recursos</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="Quatro aspectos da gestão de recursos"></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>Características</h3></div></div></div><p>
+ Os recursos têm características ou atributos específicos que afetam a
+maneira como podem ser usados. Alguns recursos são naturais; outros são
+produzidos pelo homem. E – significativamente para o comum de hoje – os
+recursos podem ser físicos ou digitais, o que afeta o potencial inerente de
+um recurso.
+ </p><p>
+ Os recursos físicos existem em oferta limitada. Se eu tenho um recurso
+físico e dou a você, não o tenho mais. Quando um recurso é removido e usado,
+o suprimento se torna escasso ou esgotado. A escassez pode resultar em
+rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons
+geralmente são baseadas em formato digital, mas alguns de nossos estudos de
+caso também produzem recursos na forma física. Os custos de produção e
+distribuição de um bem físico geralmente exigem que elas se envolvam com o
+mercado.
+ </p><p>
+ Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos
+digitais, por outro lado, são não esgotáveis, não exclusivos e não
+rivais. Se eu compartilhar um recurso digital com você, ambos teremos o
+recurso. Dar a você não significa que eu não o tenha mais. Os recursos
+digitais podem ser armazenados, copiados e distribuídos infinitamente sem se
+esgotarem e com custo próximo a zero. Abundância, em vez de escassez, é uma
+característica inerente aos recursos digitais.
+ </p><p>
+ A natureza não esgotável, não exclusiva e não rival dos recursos digitais
+significa que as regras e normas para gerenciá-los podem (e devem) ser
+diferentes de como os recursos físicos são gerenciados. No entanto, nem
+sempre é esse o caso. Os recursos digitais são frequentemente tornados
+artificialmente escassos. Colocar recursos digitais nos comuns os torna
+livre e abundantes.
+ </p><p>
+ Nossos estudos de caso gerenciam frequentemente recursos híbridos, que
+começam como digitais com a possibilidade de se tornarem um recurso
+físico. O arquivo digital de um livro pode ser impresso em papel e
+transformado em livro físico. Um projeto de mobília renderizado por
+computador pode ser fisicamente fabricado em madeira. Essa conversão do
+digital para o físico invariavelmente tem custos. Muitas vezes, os recursos
+digitais são gerenciados de forma livre e aberta, mas o dinheiro é cobrado
+para converter um recurso digital em físico.
+ </p><p>
+ Além dessa ideia de físico versus digital, os comuns, o mercado e o estado
+concebem os recursos de maneira diferente (veja Fig. <a class="xref" href="#fig-3" title="Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.">1.3</a>). O mercado vê os recursos como
+bens privados – mercadorias para venda – dos quais o valor é extraído. O
+estado vê os recursos como bens públicos que fornecem valor aos cidadãos do
+estado. Os comuns vêem os recursos como comuns, proporcionando uma riqueza
+comum que se estende além das fronteiras do estado, a ser repassada de forma
+inalterada ou aprimorada para as gerações futuras.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Pessoas e processos</h3></div></div></div><p>
+ Nos comuns, no mercado e no estado, diferentes pessoas e processos são
+usados para gerenciar os recursos. Os processos usados definem quem tem uma
+palavra a dizer e como um recurso é gerenciado.
+ </p><p>
+ No estado, um governo de funcionários eleitos é responsável por administrar
+os recursos em nome do público. Os cidadãos que produzem e usam esses
+recursos não estão diretamente envolvidos; em vez disso, essa
+responsabilidade é entregue ao governo. Ministérios e departamentos
+estaduais com funcionários públicos definem orçamentos, implementam
+programas e administram recursos com base nas prioridades e procedimentos do
+governo.
+ </p><p>
+ No mercado, as pessoas envolvidas são produtores, compradores, vendedores e
+consumidores. As empresas atuam como intermediários entre aqueles que
+produzem recursos e aqueles que os consomem ou usam. Os processos de mercado
+procuram extrair o máximo de valor monetário possível dos recursos. No
+mercado, os recursos são administrados como mercadorias, frequentemente
+produzidos em massa e vendidos aos consumidores com base em uma transação em
+dinheiro.
+ </p><p>
+ Em contraste com o estado e o mercado, os recursos em um comum são
+gerenciados mais diretamente pelas pessoas envolvidas.<a href="#ftn.idm177" class="footnote" name="idm177"><sup class="footnote">[7]</sup></a> Os criadores de recursos humanos produzidos podem
+colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do
+mercado é necessária. Qualquer um pode participar dos comuns e determinar
+por si mesmo até que ponto deseja se envolver – como contribuidor, usuário
+ou gerente. As pessoas envolvidas incluem não apenas aqueles que criam e
+usam os recursos, mas também aqueles afetados pelo resultado do uso. Quem
+você é afeta a sua opinião, as ações que você pode tomar e a extensão da
+tomada de decisão. Nos comuns, a comunidade como um todo gerencia os
+recursos. Os recursos colocados nos comuns usando Creative Commons exigem
+que os usuários dêem crédito ao criador original. Conhecer a pessoa por trás
+de um recurso torna os comuns menos anônimos e mais pessoais.
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.</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="Como o mercado, os bens comuns e o estado geram recursos."></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>Normas e regras</h3></div></div></div><p>
+ As interações sociais entre as pessoas e os processos usados pelo estado,
+mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e
+regras definem permissões, alocam direitos e resolvem disputas.
+ </p><p>
+ A autoridade do estado é governada pelas constituições nacionais. As normas
+relacionadas a prioridades e tomada de decisões são definidas por
+funcionários eleitos e procedimentos parlamentares. As regras estaduais são
+expressas por meio de políticas, regulamentos e leis. O estado influencia as
+normas e regras do mercado e dos comuns por meio das regras que passa.
+ </p><p>
+ As normas de mercado são influenciadas pela economia e pela competição por
+recursos escassos. As regras do mercado seguem as leis de propriedade,
+negócios e financeiras definidas pelo estado.
+ </p><p>
+ Tal como acontece com o mercado, um comum pode ser influenciado por
+políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum
+são amplamente definidas pela comunidade. Elas pesam os custos e benefícios
+individuais em relação aos custos e benefícios para toda a comunidade. A
+consideração é dada não apenas à eficiência econômica, mas também à equidade
+e sustentabilidade.<a href="#ftn.idm193" class="footnote" name="idm193"><sup class="footnote">[8]</sup></a>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Objetivos</h3></div></div></div><p>
+ A combinação dos aspectos que discutimos até agora – as características
+inerentes do recurso, pessoas e processos, e normas e regras – moldam como
+os recursos são usados. O uso também é influenciado pelos diferentes
+objetivos que o estado, o mercado e os comuns têm.
+ </p><p>
+ No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos
+pelos bens que consumimos é visto como uma medida objetiva da utilidade que
+eles fornecem. A meta então passa a ser maximizar o valor monetário total na
+economia.<a href="#ftn.idm200" class="footnote" name="idm200"><sup class="footnote">[9]</sup></a> As unidades consumidas se
+traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras
+de medir as metas do mercado.
+ </p><p>
+ O estado visa usar e administrar os recursos de uma forma que equilibre a
+economia com as necessidades sociais e culturais de seus cidadãos. Saúde,
+educação, empregos, meio ambiente, transporte, segurança, patrimônio e
+justiça são facetas de uma sociedade saudável, e o estado aplica seus
+recursos para esses objetivos. Metas estaduais são refletidas em medidas de
+qualidade de vida.
+ </p><p>
+ Nos comuns, a meta é maximizar o acesso, equidade, distribuição,
+participação, inovação e sustentabilidade. Você pode medir o sucesso
+observando quantas pessoas acessam e usam um recurso; como os usuários são
+distribuídos por gênero, renda e localização; se uma comunidade para
+estender e aumentar os recursos está sendo formada; e se os recursos estão
+sendo usados de maneiras inovadoras para o bem pessoal e social.
+ </p><p>
+ Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a
+sustentabilidade de todas as nossas empresas de estudo de caso dependem de
+sua capacidade de utilizar e equilibrar estrategicamente esses diferentes
+aspectos de gerenciamento de recursos.
+ </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>Uma Breve História dos Comuns</h2></div></div></div><p>
+ Usar os comuns para gerenciar recursos faz parte de um longo continuum
+histórico. No entanto, na sociedade contemporânea, o mercado e o Estado
+dominam o discurso sobre como os recursos são mais bem
+administrados. Raramente os comuns são considerados uma opção. Os comuns
+desapareceram amplamente da consciência e da consideração. Não há notícias
+ou discursos sobre os comuns.
+ </p><p>
+ Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em
+todo o mundo são indicações de um movimento de base em direção aos
+comuns. Os comuns estão ressurgindo. Para entender a resiliência dos comuns
+e sua renovação atual, é útil saber um pouco de sua história.
+ </p><p>
+ Durante séculos, povos indígenas e sociedades pré-industrializadas
+administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes,
+caça selvagem e muitas outras coisas coletivamente como comuns.<a href="#ftn.idm212" class="footnote" name="idm212"><sup class="footnote">[10]</sup></a> Não havia mercado, não havia economia global. O
+estado na forma de governantes influenciou os bens comuns, mas de forma
+alguma os controlou. A participação social direta em um comum era a
+principal maneira pela qual os recursos eram administrados e as necessidades
+atendidas. (Fig. <a class="xref" href="#fig-4" title="Figura 1.4. Na sociedade pré-industrializada.">1.4</a> ilustra os
+comuns em relação ao Estado e ao mercado.)
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figura 1.4. Na sociedade pré-industrializada.</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="Na sociedade pré-industrializada."></td></tr></table></div></div></div><br class="figure-break"><p>
+ Isso é seguido por uma longa história do Estado (uma monarquia ou
+governante) assumindo o controle dos comuns para seus próprios fins. Isso é
+chamado de cerco dos comuns.<a href="#ftn.idm225" class="footnote" name="idm225"><sup class="footnote">[11]</sup></a>
+Antigamente, <span class="quote">“<span class="quote">plebeus</span>”</span> eram expulsos da terra, cercas e sebes
+erguidas, leis aprovadas e segurança criada para proibir o
+acesso.<a href="#ftn.idm229" class="footnote" name="idm229"><sup class="footnote">[12]</sup></a> Gradualmente, recursos
+tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo
+qual os recursos eram administrados. (Veja Fig. <a class="xref" href="#fig-5" title="Figura 1.5. O comum é gradualmente substituído pelo Estado.">1.5</a>).
+ </p><p>
+ Propriedades de terra, água e caça foram distribuídas para famílias
+governantes e nomeados políticos. Plebeus deslocados da terra migraram para
+as cidades. Com o surgimento da revolução industrial, a terra e os recursos
+tornaram-se mercadorias vendidas a empresas para apoiar a produção. As
+monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se
+trabalhadores que ganham dinheiro operando a maquinaria da indústria. As
+leis financeiras, comerciais e de propriedade foram revisadas pelos governos
+para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o
+acesso imediato aos bens produzidos no mercado resultou em um padrão de vida
+em elevação, saúde melhorada e educação. A Fig. <a class="xref" href="#fig-6" title="Figura 1.6. Como o mercado, o estado e os comuns são hoje.">1.6</a> mostra como hoje o mercado é o
+principal meio pelo qual os recursos são gerenciados.
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figura 1.5. O comum é gradualmente substituído pelo Estado.</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="O comum é gradualmente substituído pelo Estado."></td></tr></table></div></div></div><br class="figure-break"><p>
+ No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios
+do mercado foram compensados pela distribuição desigual e superexploração.
+ </p><p>
+ A superexploração foi o tópico do influente ensaio de Garrett Hardin
+<span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>, publicado na Science em
+1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho
+pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns
+são alcançados. O comum é então tragicamente esgotado a ponto de não poder
+mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como
+um truísmo econômico e uma justificativa para a propriedade privada e os
+mercados livres.
+ </p><p>
+ No entanto, há uma falha séria em <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>
+de Hardin – é uma ficção. Hardin não estudou realmente como funcionam os
+comuns reais. Elinor Ostrom ganhou o Prêmio Nobel de Economia em 2009 por
+seu trabalho ao estudar diferentes áreas comuns em todo o mundo. O trabalho
+de Ostrom mostra que os recursos naturais comuns podem ser administrados com
+sucesso pelas comunidades locais, sem qualquer regulamentação das
+autoridades centrais ou sem privatização. Governo e privatização não são as
+únicas opções. Existe uma terceira via: gestão pelas pessoas, onde aqueles
+que são diretamente impactados estão diretamente envolvidos. Com recursos
+naturais, existe uma localidade regional. As pessoas da região são as mais
+familiarizadas com o recurso natural, têm com ele a relação e a história
+mais direta e, portanto, estão em melhor posição para gerenciá-lo. A
+abordagem de Ostrom para a governança dos recursos naturais rompeu com as
+convenções; ela reconheceu a importância dos comuns como uma alternativa ao
+mercado ou estado para resolver problemas de ação coletiva.<a href="#ftn.idm248" class="footnote" name="idm248"><sup class="footnote">[13]</sup></a>
+ </p><p>
+ Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo
+pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse
+próprio, sem interação ou consideração pelos outros. Mas, como Ostrom
+descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma
+comunidade e incentiva o discurso. Isso naturalmente gera normas e regras
+que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum
+sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em
+inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A
+Tragédia do Mercado.
+ </p><p>
+ A história de Hardin é baseada na premissa de recursos esgotáveis. Os
+economistas têm se concentrado quase exclusivamente nos mercados baseados na
+escassez. Muito pouco se sabe sobre como funciona a abundância.<a href="#ftn.idm254" class="footnote" name="idm254"><sup class="footnote">[14]</sup></a> O surgimento da tecnologia da informação e da
+Internet levou a uma explosão de recursos digitais e novos meios de
+compartilhamento e distribuição. Os recursos digitais nunca podem ser
+esgotados. A ausência de uma teoria ou modelo de funcionamento da
+abundância, no entanto, tem levado o mercado a tornar artificialmente
+escassos os recursos digitais e possibilitar a aplicação das normas e regras
+usuais de mercado.
+ </p><p>
+ Quando se trata de usar fundos do estado para criar bens digitais, no
+entanto, realmente não há justificativa para a escassez artificial. A norma
+para obras digitais financiadas pelo estado deve ser que elas estejam livre
+e abertamente disponíveis ao público que pagou por elas.
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figura 1.6. Como o mercado, o estado e os comuns são hoje.</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="Como o mercado, o estado e os comuns são hoje."></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>A Revolução Digital</h2></div></div></div><p>
+ Nos primeiros dias da computação, programadores e desenvolvedores aprenderam
+uns com os outros compartilhando software. Na década de 1980, o movimento do
+software livre codificou essa prática de compartilhamento em um conjunto de
+princípios e liberdades:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ A liberdade de executar um programa de software como desejar, para qualquer
+propósito.
+ </p></li><li class="listitem"><p>
+ A liberdade de estudar como um programa de software funciona (porque o
+acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele
+faça sua computação como você desejar.
+ </p></li><li class="listitem"><p>
+ A liberdade de redistribuir cópias.
+ </p></li><li class="listitem"><p>
+ A liberdade de distribuir cópias de suas versões modificadas para outras
+pessoas.<a href="#ftn.idm278" class="footnote" name="idm278"><sup class="footnote">[15]</sup></a>
+ </p></li></ul></div><p>
+ Esses princípios e liberdades constituem um conjunto de normas e regras que
+tipificam um comum digital.
+ </p><p>
+ No final da década de 1990, para tornar o compartilhamento de código-fonte e
+colaboração mais atraente para as empresas, a iniciativa de software de
+código-fonte aberto converteu esses princípios em licenças e padrões para
+gerenciar o acesso e distribuição de software. Os benefícios do código
+aberto – como confiabilidade, escalabilidade e qualidade verificada por
+revisão por pares independentes – tornaram-se amplamente reconhecidos e
+aceitos. Os clientes gostaram da maneira como o código aberto lhes deu
+controle sem ficar preso a uma tecnologia proprietária fechada. O software
+livre e de código aberto também gerou um efeito de rede onde o valor de um
+produto ou serviço aumenta com o número de pessoas que o usam.<a href="#ftn.idm284" class="footnote" name="idm284"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
+muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos
+básicos da Internet.
+ </p><p>
+ Embora o software de código aberto funcione como um bem comum, muitas
+empresas e mercados se desenvolveram em torno dele. Modelos de negócios
+baseados em licenças e padrões de software de código aberto evoluíram junto
+com organizações que gerenciavam o código de software com base em princípios
+de abundância em vez de escassez. O ensaio de Eric Raymond <span class="quote">“<span class="quote">The Magic
+Cauldron</span>”</span> faz um ótimo trabalho ao analisar a economia e os modelos
+de negócios associados ao software de código aberto.<a href="#ftn.idm289" class="footnote" name="idm289"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
+sustentáveis para aqueles feitos com Creative Commons.
+ </p><p>
+ Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas
+também de uma abundância de participação. O crescimento da computação
+pessoal, da tecnologia da informação e da Internet possibilitou a
+participação em massa na produção e distribuição de trabalhos
+criativos. Fotos, livros, música e muitas outras formas de conteúdo digital
+agora podiam ser prontamente criados e distribuídos por quase qualquer
+pessoa. Apesar desse potencial de abundância, por padrão, essas obras
+digitais são regidas por leis de direitos autorais. De acordo com os
+direitos autorais, uma obra digital é propriedade do criador e, por lei,
+outras pessoas estão proibidas de acessá-la e usá-la sem a permissão do
+criador.
+ </p><p>
+ Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é
+compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre
+relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros
+sobre quem somos e com o que nos importamos. Compartilhar permite que nos
+sintamos mais envolvidos com o mundo.<a href="#ftn.idm296" class="footnote" name="idm296"><sup class="footnote">[18]</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>O Nascimento da Creative Commons</h2></div></div></div><p>
+ Em 2001, Creative Commons foi criada como uma organização sem fins
+lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo
+digital. Um conjunto de licenças Creative Commons foi modelado com base no
+software de código aberto, mas para uso com conteúdo digital em vez de
+código de software. As licenças oferecem a todos, de criadores individuais a
+grandes empresas e instituições, uma maneira simples e padronizada de
+conceder permissões de direitos autorais para suas obras criativas.
+ </p><p>
+ As licenças Creative Commons têm um design de três camadas. As normas e
+regras de cada licença são primeiramente expressas em linguagem jurídica
+completa, conforme usada pelos advogados. Essa camada é chamada de código
+legal. Mas como a maioria dos criadores e usuários não são advogados, as
+licenças também têm uma escritura comum, expressando as permissões em
+linguagem simples, que as pessoas comuns podem ler e entender
+rapidamente. Ele atua como uma interface amigável para a camada de código
+legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando
+mais fácil para a web saber que uma obra é licenciada pelo Creative Commons,
+expressando permissões de uma forma que sistemas de software, mecanismos de
+busca e outros tipos de tecnologia possam entender.<a href="#ftn.idm304" class="footnote" name="idm304"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
+usuários e até mesmo a própria web entendam as normas e regras associadas ao
+conteúdo digital em um comum.
+ </p><p>
+ Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um
+espaço comum global. Esses trabalhos foram vistos online 136 bilhões de
+vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em
+trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de
+pesquisa em periódicos, recursos educacionais, música e outras faixas de
+áudio e vídeos.
+ </p><p>
+ Artistas, fotógrafos, músicos e cineastas individuais usam o Creative
+Commons, mas o mesmo acontece com museus, governos, indústrias criativas,
+fabricantes e editoras. Milhões de sites usam licenças CC, incluindo
+plataformas principais como Wikipédia e Flickr e outras menores como
+blogs.<a href="#ftn.idm310" class="footnote" name="idm310"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
+são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso
+foram escolhidos para refletir essa diversidade.)
+ </p><p>
+ Alguns vêem o Creative Commons como uma forma de compartilhar um presente
+com outras pessoas, uma forma de se tornar conhecido ou uma forma de
+fornecer benefício social. Outros estão simplesmente comprometidos com as
+normas associadas a bens comuns. E para alguns, a participação foi
+estimulada pelo movimento da cultura livre, um movimento social que promove
+a liberdade de distribuir e modificar trabalhos criativos. O movimento da
+cultura livre vê os comuns como proporcionando benefícios significativos em
+comparação com as leis restritivas de direitos autorais. Este ethos de troca
+livre em um comum alinha o movimento da cultura livre com o movimento do
+software livre e de código aberto.
+ </p><p>
+ Com o tempo, o Creative Commons gerou uma série de movimentos abertos,
+incluindo recursos educacionais abertos, acesso aberto, ciência aberta e
+dados abertos. O objetivo em todos os casos foi democratizar a participação
+e compartilhar recursos digitais sem nenhum custo, com permissões legais
+para qualquer pessoa acessar, usar e modificar livremente.
+ </p><p>
+ O Estado está cada vez mais envolvido no apoio a movimentos abertos. A
+Parceria para Governo Aberto foi lançada em 2011 para fornecer uma
+plataforma internacional para os governos se tornarem mais abertos,
+responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países
+participantes para setenta.<a href="#ftn.idm317" class="footnote" name="idm317"><sup class="footnote">[21]</sup></a> Em todos
+esses países, o governo e a sociedade civil estão trabalhando juntos para
+desenvolver e implementar reformas ambiciosas de governo aberto. Os governos
+estão adotando cada vez mais a Creative Commons para garantir que as obras
+financiadas com os dólares dos contribuintes sejam abertas e livres ao
+público que as pagou.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>O Mercado em Mudança</h2></div></div></div><p>
+ O mercado de hoje é amplamente impulsionado pelo capitalismo global. Os
+sistemas jurídicos e financeiros são estruturados para apoiar a extração, a
+privatização e o crescimento corporativo. A percepção de que o mercado é
+mais eficiente do que o estado levou à privatização contínua de muitos
+recursos naturais públicos, serviços públicos, serviços e
+infraestruturas.<a href="#ftn.idm324" class="footnote" name="idm324"><sup class="footnote">[22]</sup></a> Embora este sistema
+tenha sido altamente eficiente na geração de consumismo e no crescimento do
+produto interno bruto, o impacto no bem-estar humano foi misto. Compensando
+o aumento dos padrões de vida e as melhorias na saúde e na educação, estão
+sempre aumentando a desigualdade de riqueza, a desigualdade social, a
+pobreza, a deterioração de nosso ambiente natural e o colapso da
+democracia.<a href="#ftn.idm327" class="footnote" name="idm327"><sup class="footnote">[23]</sup></a>
+ </p><p>
+ Diante desses desafios, há um crescente reconhecimento de que o crescimento
+do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser
+social e economicamente inclusivo, que a sustentabilidade ambiental é um
+requisito, não uma opção, e que precisamos equilibrar melhor o mercado ,
+Estado e comunidade.<a href="#ftn.idm331" class="footnote" name="idm331"><sup class="footnote">[24]</sup></a>
+ </p><p>
+ Essas realizações levaram a um ressurgimento do interesse pelos comuns como
+meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália,
+estão colaborando com seus cidadãos para estabelecer regulamentações para o
+cuidado e regeneração de comuns urbanos.<a href="#ftn.idm336" class="footnote" name="idm336"><sup class="footnote">[25]</sup></a> Seul e Amsterdã se autodenominam <span class="quote">“<span class="quote">cidades
+compartilhadas</span>”</span>, buscando tornar mais sustentáveis e eficientes uso
+de recursos escassos. Eles veem o compartilhamento como uma forma de
+melhorar o uso dos espaços públicos, a mobilidade, a coesão social e a
+segurança.<a href="#ftn.idm341" class="footnote" name="idm341"><sup class="footnote">[26]</sup></a>
+ </p><p>
+ O próprio mercado se interessou pela economia de compartilhamento, com
+empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem
+de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de
+caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte
+sob as normas e regras usuais do mercado, tornando-os menos comuns e mais
+como uma empresa tradicional em busca de ganhos financeiros. Grande parte da
+economia compartilhada não trata dos comuns ou da construção de uma
+alternativa para uma economia de mercado impulsionada pelas corporações;
+trata-se de estender o mercado livre desregulamentado a novas áreas de
+nossas vidas.<a href="#ftn.idm346" class="footnote" name="idm346"><sup class="footnote">[27]</sup></a> Embora nenhuma das
+pessoas que entrevistamos para nossos estudos de caso se descreva como parte
+da economia compartilhada, na verdade existem alguns paralelos
+significativos. Tanto a economia compartilhada quanto os comuns fazem melhor
+uso da capacidade dos ativos. A economia compartilhada vê residentes
+pessoais e carros como tendo capacidade ociosa latente com valor de
+aluguel. O acesso equitativo dos comuns amplia e diversifica o número de
+pessoas que podem usar e obter valor de um ativo.
+ </p><p>
+ Uma maneira que os estudos de caso do Feito com Creative Commons diferem
+daqueles da economia compartilhada é seu foco em recursos digitais. Os
+recursos digitais funcionam sob regras econômicas diferentes das físicas. Em
+um mundo onde os preços sempre parecem subir, a tecnologia da informação é
+uma anomalia. O poder de processamento do computador, o armazenamento e a
+largura de banda estão aumentando rapidamente, mas, em vez de os custos
+aumentarem, os custos estão diminuindo. As tecnologias digitais estão
+ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa
+construída sobre essas tecnologias sempre diminuirá até chegar perto de
+zero.<a href="#ftn.idm350" class="footnote" name="idm350"><sup class="footnote">[28]</sup></a>
+ </p><p>
+ Aquelas que são feitas com Creative Commons procuram aproveitar as
+características inerentes exclusivas dos recursos digitais, incluindo a
+redução de custos. O uso de tecnologias de gerenciamento de direitos
+digitais na forma de bloqueios, senhas e controles para evitar que bens
+digitais sejam acessados, alterados, replicados e distribuídos é mínimo ou
+inexistente. Em vez disso, as licenças Creative Commons são usadas para
+disponibilizar conteúdo digital nos comuns, aproveitando a economia
+exclusiva associada a ser digital. O objetivo é ver os recursos digitais
+usados da forma mais ampla e pelo maior número de pessoas
+possível. Maximizar o acesso e a participação é um objetivo comum. Eles
+visam a abundância em vez da escassez.
+ </p><p>
+ O custo incremental de armazenamento, cópia e distribuição de bens digitais
+é próximo a zero, tornando a abundância possível. Mas imaginar um mercado
+baseado na abundância e não na escassez é tão estranho ao modo como
+concebemos a teoria e prática econômica que lutamos para
+fazê-lo.<a href="#ftn.idm355" class="footnote" name="idm355"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
+Creative Commons são, cada um, pioneiros neste novo cenário, criando seus
+próprios modelos e práticas econômicas.
+ </p><p>
+ Alguns buscam minimizar suas interações com o mercado e operar da forma mais
+autônoma possível. Outros estão operando principalmente como um negócio
+dentro das regras e normas existentes do mercado. E ainda outros estão
+procurando mudar as normas e regras pelas quais o mercado opera.
+ </p><p>
+ Para uma empresa comum, fazer do benefício social uma parte de suas
+operações é difícil, pois é legalmente exigido para tomar decisões que
+beneficiam financeiramente os acionistas. Mas novas formas de negócios estão
+surgindo. Existem corporações de benefícios e empresas sociais, que ampliam
+seus objetivos de negócios de gerar lucro para gerar um impacto positivo na
+sociedade, nos trabalhadores, na comunidade e no meio ambiente.<a href="#ftn.idm360" class="footnote" name="idm360"><sup class="footnote">[30]</sup></a> Empresas de propriedade da comunidade, empresas de
+propriedade dos trabalhadores, cooperativas, guildas e outras formas
+organizacionais oferecem alternativas à corporação
+tradicional. Coletivamente, essas entidades de mercado alternativas estão
+mudando as regras e normas do mercado.<a href="#ftn.idm363" class="footnote" name="idm363"><sup class="footnote">[31]</sup></a>
+ </p><p><span class="quote">“<span class="quote">Um livro sobre modelos de negócios abertos</span>”</span> é como o
+descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado
+<span class="emphasis"><em>Business Model Generation</em></span> como nossa referência para
+definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos
+usando um <span class="quote">“<span class="quote">processo aberto</span>”</span> envolvendo 470 coautores de
+quarenta e cinco países, é útil como uma estrutura para falar sobre modelos
+de negócios <a href="#ftn.idm370" class="footnote" name="idm370"><sup class="footnote">[32]</sup></a>
+ </p><p>
+ Ele contém uma <span class="quote">“<span class="quote">tela de modelo de negócios </span>”</span>, que concebe um
+modelo de negócios como tendo nove blocos de construção.<a href="#ftn.idm376" class="footnote" name="idm376"><sup class="footnote">[33]</sup></a> Essa tela em branco pode servir como uma ferramenta
+para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa
+tela de modelo de negócios em uma tela de modelo de negócios aberta,
+adicionando mais três blocos de construção relevantes para o mercado
+híbrido, empresas comuns: bem social, licença Creative Commons e <span class="quote">“<span class="quote">tipo
+de ambiente aberto em que a empresa se encaixa</span>”</span>.<a href="#ftn.idm380" class="footnote" name="idm380"><sup class="footnote">[34]</sup></a> Essa tela aprimorada provou ser útil quando
+analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.
+ </p><p>
+ Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em
+se descreverem como um modelo de negócios aberto – o termo modelo de
+negócios sugeria principalmente estar situado no mercado. Sua posição no
+espectro de bens comuns ao mercado afeta até que ponto você se vê como uma
+empresa no mercado. Quanto mais importantes para a missão são os recursos
+compartilhados e os valores comuns, menos conforto há em se descrever ou
+descrever o que você faz como um negócio. Nem todos os que têm
+empreendimentos Feitos com Creative Commons falam de negócios; para alguns,
+o processo foi experimental, emergente e orgânico, em vez de cuidadosamente
+planejado usando um modelo predefinido.
+ </p><p>
+ Todos os criadores, empresas e organizações que definimos se envolvem com o
+mercado para gerar receita de alguma forma. As maneiras pelas quais isso é
+feito variam amplamente. Doações, pague o que puder, assinaturas,
+<span class="quote">“<span class="quote">digital de graça, mas físico por uma taxa</span>”</span>, crowdfunding,
+matchmaking, serviços de valor agregado, patrocinadores... A lista continua
+e continua. (Descrição inicial de como obter receita disponível por meio da
+nota de referência. Para as reflexões mais recentes, consulte Como trazer
+dinheiro na próxima seção.)<a href="#ftn.idm388" class="footnote" name="idm388"><sup class="footnote">[35]</sup></a> Não existe
+uma fórmula mágica única e cada empreendimento inventou maneiras que
+funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos
+fluxos de receita reduz o risco e oferece vários caminhos para a
+sustentabilidade.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefícios do Comum Digital</h2></div></div></div><p>
+ Embora possa estar claro por que as organizações baseadas em comuns desejam
+interagir e se envolver com o mercado (elas precisam de dinheiro para
+sobreviver), pode ser menos óbvio por que o mercado se envolveria com os
+comuns. Os comuns digitais oferecem muitos benefícios.
+ </p><p>
+ O comum acelera a disseminação. O fluxo livre de recursos nos comuns oferece
+enormes economias de escala. A distribuição é descentralizada, com todos
+aqueles que estão nos comuns com poderes para compartilhar os recursos aos
+quais têm acesso. Aqueles que são feitos com Creative Commons têm uma
+necessidade reduzida de vendas ou marketing. A distribuição descentralizada
+amplia a oferta e o <span class="emphasis"><em>know-how</em></span>.
+ </p><p>
+ O comum garante o acesso a todos. O mercado tem operado tradicionalmente
+colocando recursos atrás de um paywall, que exige o pagamento antes do
+acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem
+pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum
+uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o
+DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe
+para se envolver em práticas punitivas associadas à restrição de acesso. A
+maneira como os comuns fornecem acesso a todos nivela o campo de jogo e
+promove inclusão, equidade e justiça.
+ </p><p>
+ O comum maximiza a participação. Os recursos nos comuns podem ser usados e
+contribuídos por todos. Usar os recursos dos outros, contribuir com os seus
+e misturar os seus com outros para criar novas obras são formas dinâmicas de
+participação possibilitadas pelos comuns. Ser feito com Creative Commons
+significa que você está envolvendo o maior número possível de usuários com
+seus recursos. Os usuários também estão criando, editando, remixando,
+fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns
+possibilitam que as pessoas participem diretamente da cultura, da construção
+do conhecimento e até da democracia e de muitas outras práticas socialmente
+benéficas.
+ </p><p>
+ Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que
+podem usá-los levam a novas ideias. A maneira como os recursos comuns podem
+ser modificados, personalizados e melhores resultados em trabalhos derivados
+nunca imaginados pelo criador original. Alguns empreendimentos Feitos com
+Creative Commons encorajam deliberadamente os usuários a pegar os recursos
+que estão sendo compartilhados e inová-los. Isso move a pesquisa e o
+desenvolvimento (R&D) de apenas dentro da organização para estar na
+comunidade.<a href="#ftn.idm400" class="footnote" name="idm400"><sup class="footnote">[36]</sup></a> A inovação baseada na
+comunidade manterá uma organização ou negócio em alerta. Deve continuar a
+contribuir com novas ideias, absorver e construir sobre as inovações dos
+outros e administrar os recursos e o relacionamento com a comunidade.
+ </p><p>
+ O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos
+podem ser criados para uma necessidade local ou regional, mas eles vão longe
+e geram um impacto global. No mundo digital, não existem fronteiras entre
+países. Quando você é Feito com Creative Commons, geralmente é local e
+global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas
+feitos e fabricados localmente. Livros digitais ou música sendo distribuídos
+globalmente, mas leituras e shows realizados localmente. O comum digital
+amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem
+sua obra local e globalmente.
+ </p><p>
+ O comum é gerador. Em vez de extrair valor, o comum agrega valor. Os
+recursos digitalizados persistem sem se esgotarem e, com o uso, são
+aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado
+tem como foco a geração de valor para o negócio e para o cliente. Os comuns
+geram valor para uma gama mais ampla de beneficiários, incluindo a empresa,
+o cliente, o criador, o público e os próprios comuns. A natureza generativa
+dos comuns significa que é mais econômico e produz um maior retorno sobre o
+investimento. O valor não é medido apenas em termos financeiros. Cada novo
+recurso adicionado aos comuns fornece valor ao público e contribui para o
+valor geral dos comuns.
+ </p><p>
+ Os comuns unem as pessoas por uma causa comum. Os comuns conferem às pessoas
+a responsabilidade direta de administrar os recursos para o bem comum. Os
+custos e benefícios para o indivíduo são equilibrados com os custos e
+benefícios para a comunidade e para as gerações futuras. Os recursos não são
+anônimos ou produzidos em massa. Sua proveniência é conhecida e reconhecida
+por meio de atribuição e outros meios. Aqueles que são Feitos com Creative
+Commons geram consciência e reputação com base em suas contribuições para os
+comuns. O alcance, o impacto e a sustentabilidade dessas contribuições
+dependem em grande parte de sua capacidade de estabelecer relacionamentos e
+conexões com aqueles que as usam e melhoram. Ao funcionar com base no
+engajamento social, não na troca monetária, os comuns unificam as pessoas.
+ </p><p>
+ Os benefícios dos comuns são muitos. Quando esses benefícios se alinham com
+os objetivos dos indivíduos, comunidades, negócios no mercado ou empresas
+estatais, a escolha de administrar recursos como os comuns deve ser a melhor
+opção.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Nossos estudos de caso</h2></div></div></div><p>
+ Os criadores, organizações e empresas em nossos estudos de caso operam como
+organizações sem fins lucrativos, com fins lucrativos e empresas
+sociais. Independentemente do status legal, todos eles têm uma missão
+social. A principal razão de sua existência é tornar o mundo um lugar
+melhor, sem fins lucrativos. O dinheiro é um meio para um fim social, não o
+fim em si. Eles fatoram o interesse público nas decisões, comportamento e
+práticas. Transparência e confiança são muito importantes. O impacto e o
+sucesso são medidos em relação aos objetivos sociais expressos nas
+declarações de missão e não se referem apenas aos resultados financeiros.
+ </p><p>
+ Os estudos de caso são baseados nas narrativas contadas a nós por fundadores
+e funcionários principais. Em vez de usar apenas finanças como medida de
+sucesso e sustentabilidade, eles enfatizaram sua missão, práticas e meios
+pelos quais medem o sucesso. As métricas de sucesso são uma mistura de como
+as metas sociais estão sendo atendidas e o quão sustentável é a empresa.
+ </p><p>
+ Nossos estudos de caso são diversos, abrangendo desde publicação até
+educação e manufatura. Todas as organizações, empresas e criadores nos
+estudos de caso produzem recursos digitais. Esses recursos existem em muitas
+formas, incluindo livros, designs, canções, pesquisas, dados, obras
+culturais, materiais educacionais, ícones gráficos e vídeo. Alguns são
+representações digitais de recursos físicos. Outros nascem digitais, mas
+podem ser transformados em recursos físicos.
+ </p><p>
+ Eles estão criando novos recursos, ou usando os recursos de outras pessoas,
+ou combinando recursos existentes para fazer algo novo. Eles, e seu público,
+todos desempenham um papel direto e participativo no gerenciamento desses
+recursos, incluindo sua preservação, curadoria, distribuição e
+aprimoramento. O acesso e a participação estão abertos a todos,
+independentemente dos meios monetários.
+ </p><p>
+ E como usuários de licenças Creative Commons, eles automaticamente fazem
+parte de uma comunidade global. Os novos comuns digitais são
+globais. Aqueles que traçamos vêm de quase todos os continentes do
+mundo. Construir e interagir dentro desta comunidade global conduz ao
+sucesso.
+ </p><p>
+ As licenças Creative Commons podem expressar regras legais sobre o uso de
+recursos nos comuns, mas o sucesso nos comuns requer mais do que seguir a
+letra da lei e obter meios financeiros. Repetidamente, ouvimos em nossas
+entrevistas como o sucesso e a sustentabilidade estão vinculados a um
+conjunto de crenças, valores e princípios que fundamentam suas ações: Dê
+mais do que recebe. Seja aberto e inclusivo. Adicionar valor. Torne visível
+o que você está usando dos comuns, o que você está adicionando e o que está
+monetizando. Maximize a abundância. Dê atribuição. Expressar
+gratidão. Desenvolva confiança; não explore. Construa relacionamento e
+comunidade. Seja transparente. Defenda os comuns.
+ </p><p>
+ Os novos comuns digitais estão aqui para ficar. Os estudos de caso de Feito
+com Creative Commons mostram como é possível fazer parte desses comuns
+enquanto ainda funciona dentro dos sistemas de mercado e estaduais. Os
+comuns geram benefícios que nem o mercado nem o estado podem alcançar por
+conta própria. Em vez de o mercado ou estado dominar como meio principal de
+gestão de recursos, uma alternativa mais equilibrada é possível.
+ </p><p>
+ O uso empresarial do Creative Commons apenas começou. Os estudos de caso
+neste livro são apenas pontos de partida. Cada um está mudando e evoluindo
+com o tempo. Muitos mais estão se juntando e inventando novos modelos. Esta
+visão geral tem como objetivo fornecer uma estrutura e uma linguagem para
+pensar e falar sobre os novos comuns digitais. As seções restantes são
+aprofundadas, fornecendo mais orientações e percepções sobre como funciona.
+ </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm112" class="footnote"><p><a href="#idm112" class="para"><sup class="para">[1] </sup></a>
+ Jonathan Rowe, <span class="emphasis"><em>Our Common Wealth</em></span> (San Francisco:
+Berrett-Koehler, 2013), 14.
+ </p></div><div id="ftn.idm117" class="footnote"><p><a href="#idm117" class="para"><sup class="para">[2] </sup></a>
+ David Bollier, <span class="emphasis"><em>Think Like a Commoner: A Short Introduction to the
+Life of the Commons</em></span> (Gabriola Island, BC: New Society, 2014),
+176.
+ </p></div><div id="ftn.idm120" class="footnote"><p><a href="#idm120" class="para"><sup class="para">[3] </sup></a>
+ <span class="emphasis"><em>Ibid</em></span>., 15.
+ </p></div><div id="ftn.idm126" class="footnote"><p><a href="#idm126" class="para"><sup class="para">[4] </sup></a>
+ <span class="emphasis"><em>Ibid</em></span>., 145.
+ </p></div><div id="ftn.idm130" class="footnote"><p><a href="#idm130" class="para"><sup class="para">[5] </sup></a>
+ <span class="emphasis"><em>Ibid</em></span>., 175.
+ </p></div><div id="ftn.idm149" class="footnote"><p><a href="#idm149" 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>, em <span class="emphasis"><em>Governing
+Knowledge Commons</em></span>, eds. Brett M. Frischmann, Michael J. Madison e
+Katherine J. Strandburg (Nova York: Oxford University Press, 2014), 53.
+ </p></div><div id="ftn.idm177" class="footnote"><p><a href="#idm177" class="para"><sup class="para">[7] </sup></a>
+ Max Haiven, <span class="emphasis"><em>Crises of Imagination, Crises of Power: Capitalism,
+Creativity and the Commons</em></span> (Nova York: Zed Books, 2014), 93.
+ </p></div><div id="ftn.idm193" class="footnote"><p><a href="#idm193" class="para"><sup class="para">[8] </sup></a>
+ Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 175.
+ </p></div><div id="ftn.idm200" class="footnote"><p><a href="#idm200" class="para"><sup class="para">[9] </sup></a>
+ Joshua Farley e Ida Kubiszewski, <span class="quote">“<span class="quote">The Economics of Information in a
+Post-Carbon Economy</span>”</span> em <span class="emphasis"><em>Free Knowledge: Confronting the
+Commodification of Human Discovery</em></span>, eds. Patricia W. Elliott e
+Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4.
+ </p></div><div id="ftn.idm212" class="footnote"><p><a href="#idm212" class="para"><sup class="para">[10] </sup></a>
+ Rowe, <span class="emphasis"><em>Our Common Wealth</em></span>, 19; e Heather Menzies,
+<span class="emphasis"><em>Reclaiming the Commons for the Common Good: A Memoir and
+Manifesto</em></span> (Gabriola Island, BC: New Society, 2014), 42–43.
+ </p></div><div id="ftn.idm225" class="footnote"><p><a href="#idm225" class="para"><sup class="para">[11] </sup></a>
+ Bollier, <span class="emphasis"><em>Think Like a Commoner</em></span>, 55–78.
+ </p></div><div id="ftn.idm229" class="footnote"><p><a href="#idm229" class="para"><sup class="para">[12] </sup></a>
+ Fritjof Capra e Ugo Mattei, <span class="emphasis"><em>The Ecology of Law: Toward a Legal
+System in Tune with Nature and Community</em></span> (Oakland, CA:
+Berrett-Koehler, 2015), 46–57; e Bollier, <span class="emphasis"><em>Think Like a
+Commoner</em></span>, 88.
+ </p></div><div id="ftn.idm248" class="footnote"><p><a href="#idm248" class="para"><sup class="para">[13] </sup></a>
+ Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg,
+<span class="quote">“<span class="quote">Governing Knowledge Commons</span>”</span>, em Frischmann, Madison e
+Strandburg, <span class="emphasis"><em>Governing Knowledge Commons</em></span>, 12.
+ </p></div><div id="ftn.idm254" class="footnote"><p><a href="#idm254" class="para"><sup class="para">[14] </sup></a>
+ Farley e Kubiszewski, <span class="quote">“<span class="quote">Economics of Information</span>”</span>, em Elliott y
+Hepting, <span class="emphasis"><em>Free Knowledge</em></span>, 203.
+ </p></div><div id="ftn.idm278" class="footnote"><p><a href="#idm278" class="para"><sup class="para">[15] </sup></a><span class="quote">“<span class="quote">O que é software livre?</span>”</span> Sistema operacional GNU, o
+Laboratório de licenciamento e conformidade da Free Software Foundation,
+acessado em 30 de dezembro de 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.idm284" class="footnote"><p><a href="#idm284" class="para"><sup class="para">[16] </sup></a>
+ Wikipédia, s.v. <span class="quote">“<span class="quote">Open-source software</span>”</span>, última modificação em
+22 de novembro de 2016.
+ </p></div><div id="ftn.idm289" class="footnote"><p><a href="#idm289" class="para"><sup class="para">[17] </sup></a>
+ Eric S. Raymond, <span class="quote">“<span class="quote">The Magic Cauldron</span>”</span>, em <span class="emphasis"><em>The
+Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental
+Revolutionary</em></span>, 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.idm296" class="footnote"><p><a href="#idm296" class="para"><sup class="para">[18] </sup></a>
+ New York Times Customer Insight Group, <span class="emphasis"><em>The Psychology of Sharing:
+Why Do People Share Online?</em></span> (Nova 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.idm304" class="footnote"><p><a href="#idm304" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations</span>”</span>, Creative Commons, acessado em 30 de
+dezembro de 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.idm310" class="footnote"><p><a href="#idm310" class="para"><sup class="para">[20] </sup></a>
+ Creative Commons, <span class="emphasis"><em>2015 State of the Commons</em></span> (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.idm317" class="footnote"><p><a href="#idm317" class="para"><sup class="para">[21] </sup></a>
+ Wikipédia, s.v. <span class="quote">“<span class="quote">Open Government Partnership</span>”</span>, última
+modificação em 24 de setembro de 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.idm324" class="footnote"><p><a href="#idm324" class="para"><sup class="para">[22] </sup></a>
+ Capra e Mattei, <span class="emphasis"><em>Ecology of Law</em></span>, 114.
+ </p></div><div id="ftn.idm327" class="footnote"><p><a href="#idm327" class="para"><sup class="para">[23] </sup></a>
+ <span class="emphasis"><em>Ibid</em></span>., 116.
+ </p></div><div id="ftn.idm331" class="footnote"><p><a href="#idm331" class="para"><sup class="para">[24] </sup></a>
+ A Agência Sueca de Cooperação para o Desenvolvimento Internacional,
+<span class="quote">“<span class="quote">Stockholm Statement</span>”</span> acessada em 15 de fevereiro de 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.idm336" class="footnote"><p><a href="#idm336" class="para"><sup class="para">[25] </sup></a>
+ Cidade de Bolonha, <span class="emphasis"><em>Regulation on Collaboration between Citizens
+and the City for the Care and Regeneration of Urban Commons</em></span>,
+trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália:
+Cidade de Bolonha, 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.idm341" class="footnote"><p><a href="#idm341" class="para"><sup class="para">[26] </sup></a>
+ O site de Seoul Sharing City website é <a class="ulink" href="http://english.sharehub.kr" target="_top">http://english.sharehub.kr</a>; para Amsterdam Sharing City, acesse
+<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.idm346" class="footnote"><p><a href="#idm346" class="para"><sup class="para">[27] </sup></a>
+ Tom Slee, <span class="emphasis"><em>What’s Yours Is Mine: Against the Sharing
+Economy</em></span> (Nova York: OR Books, 2015), 42.
+ </p></div><div id="ftn.idm350" class="footnote"><p><a href="#idm350" class="para"><sup class="para">[28] </sup></a>
+ Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
+Giving Something for Nothing</em></span>, reimpressão com novo
+prefácio. (Nova York: Hyperion, 2010), 78.
+ </p></div><div id="ftn.idm355" class="footnote"><p><a href="#idm355" class="para"><sup class="para">[29] </sup></a>
+ Jeremy Rifkin, <span class="emphasis"><em>The Zero Marginal Cost Society: The Internet of
+Things, the Collaborative Commons, and the Eclipse of Capitalism</em></span>
+(Nova York: Palgrave Macmillan, 2014) , 273.
+ </p></div><div id="ftn.idm360" class="footnote"><p><a href="#idm360" class="para"><sup class="para">[30] </sup></a>
+ Gar Alperovitz, <span class="emphasis"><em>What Then Must We Do? Straight Talk about the Next
+American Revolution: Democratizing Wealth and Building a
+Community-Sustaining Economy from the Ground Up</em></span> (White River
+Junction, VT: Chelsea Green, 2013), 39.
+ </p></div><div id="ftn.idm363" class="footnote"><p><a href="#idm363" class="para"><sup class="para">[31] </sup></a>
+ Marjorie Kelly, <span class="emphasis"><em>Owning Our Future: The Emerging Ownership
+Revolution; Journeys to a Generative Economy</em></span> (São Francisco:
+Berrett-Koehler, 2012), 8–9.
+ </p></div><div id="ftn.idm370" class="footnote"><p><a href="#idm370" class="para"><sup class="para">[32] </sup></a>
+ Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
+Generation</em></span> (Hoboken, NJ: John Wiley and Sons, 2010). Uma
+pré-visualização do livro está disponível em <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.idm376" class="footnote"><p><a href="#idm376" class="para"><sup class="para">[33] </sup></a>
+ Esta tela de modelo de negócios está disponível para download em <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.idm380" class="footnote"><p><a href="#idm380" class="para"><sup class="para">[34] </sup></a>
+ Fizemos o <span class="quote">“<span class="quote">Open Business Model Canvas</span>”</span>, projetado pelo co-autor
+Paul Stacey, disponível online em <a class="ulink" href="http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit" target="_top">http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit</a>.
+Você também pode encontrar as perguntas do Open Business Model Canvas em
+<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.idm388" class="footnote"><p><a href="#idm388" class="para"><sup class="para">[35] </sup></a>
+ Uma lista mais abrangente de fluxos de receita está disponível neste post
+que escrevi no Medium em 6 de março de 2016. <span class="quote">“<span class="quote">What Is an Open Business
+Model and How Can You Generate Revenue?</span>”</span>, disponível em <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.idm400" class="footnote"><p><a href="#idm400" class="para"><sup class="para">[36] </sup></a>
+ Henry Chesbrough, <span class="emphasis"><em>Open Innovation: The New Imperative for Creating
+and Profiting from Technology</em></span> (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>Capítulo 2. Como ser Feito com Creative Commons</h2></div></div></div><div class="toc"><p><b>Índice</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>
+ Quando iniciamos este projeto em agosto de 2015, decidimos escrever um livro
+sobre modelos de negócios que envolvem licenças Creative Commons de alguma
+forma significativa -- o que chamamos de ser Feito com Creative Commons. Com
+a ajuda de nossos patrocinadores do Kickstarter, escolhemos vinte e quatro
+empreendimentos em todo o mundo que são Feitos com Creative Commons. A
+mistura é diversa, de um músico individual a uma editora universitária de
+livros didáticos a um fabricante de eletrônicos. Alguns fazem seu próprio
+conteúdo e compartilham sob licença Creative Commons. Outros são plataformas
+para obras criativas com licença CC feitos por terceiros. Muitos ficam em
+algum ponto intermediário, usando e contribuindo com a obra criativa que é
+compartilhada com o público. Como todos os que usam as licenças, esses
+empreendimentos compartilham sua obra -- sejam dados abertos ou designs de
+móveis -- de uma forma que permite ao público não apenas acessá-la, mas
+também utilizá-la.
+ </p><p>
+ Analisamos os modelos de receita, segmentos de clientes e propostas de valor
+de cada empreendimento. Procuramos maneiras de colocar seu conteúdo sob
+licenças Creative Commons para ajudar a impulsionar as vendas ou aumentar o
+alcance. Usando medidas tradicionais de sucesso econômico, tentamos mapear
+esses modelos de negócios de uma forma que incorporasse significativamente o
+impacto do Creative Commons. Em nossas entrevistas, investigamos as
+motivações, o papel das licenças CC, os modos de geração de receita e as
+definições de sucesso.
+ </p><p>
+ Em pouco tempo, percebemos que o livro que começamos a escrever era bem
+diferente daquele que estava se revelando em nossas entrevistas e pesquisas.
+ </p><p>
+ Não é que estivéssemos errados ao pensar que você pode ganhar dinheiro
+usando licenças Creative Commons. Em muitos casos, o CC pode ajudar você a
+ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de
+negócios que outras pessoas que desejam usar o licenciamento CC como parte
+de seu sustento ou negócio poderiam replicar. O que não percebemos foi o
+quão equivocado seria escrever um livro sobre ser Feito com Creative Commons
+usando apenas lentes de negócios.
+ </p><p>
+ De acordo com o manual seminal Business Model Generation, um modelo de
+negócios <span class="quote">“<span class="quote">descreve a lógica de como uma organização cria, entrega e
+captura valor.</span>”</span><a href="#ftn.idm428" class="footnote" name="idm428"><sup class="footnote">[37]</sup></a> Pensar em
+compartilhar em termos de criação e captura de valor sempre pareceu
+inadequadamente transacional e deslocado, algo que ouvimos repetidamente em
+nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com
+ele, <span class="quote">“<span class="quote">Modelo de negócios pode significar qualquer coisa que você
+quiser</span>”</span>.
+ </p><p>
+ Eventualmente, nós conseguimos. Ser Feito com Creative Commons é mais do que
+um modelo de negócios. Embora falemos sobre modelos de receita específicos
+como uma parte de nossa análise (e com mais detalhes nos estudos de caso),
+descartamos isso como nossa rubrica orientadora para o livro.
+ </p><p>
+ Reconheço que demorei muito para chegar lá. Quando Paul e eu dividimos nossa
+redação depois de terminar a pesquisa, minha incumbência era destilar tudo o
+que aprendemos com os estudos de caso e escrever as lições práticas e
+resultados. Passei meses tentando colocar o que aprendemos na caixa do
+modelo de negócios, convencido de que deve haver alguma fórmula para a forma
+como as coisas interagem. Mas não existe fórmula. Você provavelmente terá
+que descartar essa maneira de pensar antes de continuar a ler.
+ </p><p>
+ Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a
+toda a diversidade entre os criadores, organizações e empresas que traçamos
+o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom
+para os negócios, mas não é por isso que o fazem. Compartilhar a obra com o
+Creative Commons é, em sua essência, uma decisão moral. Os benefícios
+comerciais e outros benefícios de interesse próprio são secundários. A
+maioria decidiu usar licenças CC primeiro e encontrou um modelo de receita
+depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente
+sobre o impacto do compartilhamento nos negócios pode estar um pouco fora do
+caminho.
+ </p><p>
+ Mas também começamos a perceber algo sobre o que significa ser Feito com
+Creative Commons. Quando as pessoas nos falaram sobre como e por que usaram
+CC, ficou claro que significava algo mais do que usar uma licença de
+copyright. Também representou um conjunto de valores. Existe um simbolismo
+por trás do uso de CC, e esse simbolismo tem muitas camadas.
+ </p><p>
+ Em um nível, ser Feito com Creative Commons expressa uma afinidade com o
+valor do Creative Commons. Embora existam muitos sabores diferentes de
+licenças CC e maneiras quase infinitas de ser Feito com Creative Commons, o
+sistema de valores básico está enraizado em uma crença fundamental de que o
+conhecimento e a criatividade são blocos de construção de nossa cultura, e
+não apenas mercadorias das quais extrair valor de mercado. Esses valores
+refletem a crença de que o bem comum deve sempre fazer parte da equação
+quando determinamos como regular nossos resultados culturais. Eles refletem
+a crença de que todos têm algo a contribuir e que ninguém pode ser dono de
+nossa cultura compartilhada. Eles refletem a crença na promessa de
+compartilhar.
+ </p><p>
+ Quer o público aproveite a oportunidade para copiar e adaptar sua obra,
+compartilhar com uma licença Creative Commons é um símbolo de como você
+deseja interagir com as pessoas que consomem sua oba. Sempre que você cria
+algo, <span class="quote">“<span class="quote">todos os direitos reservados</span>”</span> sob direitos autorais são
+automáticos, portanto, o símbolo de copyright (©) na obra não
+necessariamente aparece como um marcador de desconfiança ou protecionismo
+excessivo. Mas usar uma licença CC pode ser um símbolo do oposto -- de
+querer um relacionamento humano real, ao invés de uma transação de mercado
+impessoal. Deixa aberta a possibilidade de conexão.
+ </p><p>
+ Sendo Feito com Creative Commons não apenas demonstra valores ligados a CC e
+compartilhamento. Também demonstra que algo diferente do lucro impulsiona o
+que você faz. Em nossas entrevistas, sempre perguntamos como era o sucesso
+para eles(as). Era impressionante como raramente se mencionava dinheiro. A
+maioria tem um propósito mais profundo e uma visão diferente de sucesso.
+ </p><p>
+ A motivação motriz varia dependendo do tipo de empreendimento. Para
+criadores individuais, geralmente é uma questão de inspiração pessoal. De
+certa forma, isso não é novidade. Como Doctorow escreveu, <span class="quote">“<span class="quote">Os
+criadores geralmente começam a fazer o que fazem por
+amor.</span>”</span><a href="#ftn.idm443" class="footnote" name="idm443"><sup class="footnote">[38]</sup></a> Mas quando você
+compartilha sua obra criativa sob uma licença CC, essa dinâmica é ainda mais
+pronunciada. Da mesma forma, para os inovadores tecnológicos, geralmente se
+trata menos de criar algo novo específico que o tornará rico e mais de
+resolver um problema específico que você tem. Os criadores do Arduino nos
+disseram que a questão chave ao criar algo é <span class="quote">“<span class="quote">Você, como criador,
+deseja usá-lo? Deve ter uso e significado pessoal.</span>”</span>
+ </p><p>
+ Muitos dos que são Feitos com Creative Commons têm uma missão social
+expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar
+com Creative Commons avança expressamente essa missão social, e usar as
+licenças pode ser a diferença entre legitimidade e hipocrisia. O cofundador
+do Noun Project, Edward Boatman, nos disse que eles não poderiam ter
+declarado sua missão social de compartilhar com uma cara séria se não
+estivessem dispostos a mostrar ao mundo que não havia problema em
+compartilhar seu conteúdo usando uma licença Creative Commons.
+ </p><p>
+ Essa dinâmica é provavelmente um dos motivos pelos quais existem tantos
+exemplos de organizações sem fins lucrativos feitos com Creative Commons. O
+conteúdo é o resultado de uma obra de amor ou de uma ferramenta para
+impulsionar a mudança social, e o dinheiro é como a gasolina no carro, algo
+que você precisa para continuar, mas não é um fim em si mesmo. Sendo Feito
+com Creative Commons é uma visão diferente de um negócio ou meio de vida,
+onde o lucro não é primordial e a produção de bem social e conexão humana
+são essenciais para o sucesso.
+ </p><p>
+ Mesmo que o lucro não seja o objetivo final, você tem que trazer dinheiro
+para ser Feito com Creative Commons com sucesso. No mínimo, você tem que
+ganhar dinheiro suficiente para manter as luzes acesas.
+ </p><p>
+ Os custos de fazer negócios variam amplamente para aqueles feitos com CC,
+mas geralmente há um limite muito mais baixo para a sustentabilidade do que
+costumava haver para qualquer empreendimento criativo. A tecnologia digital
+tornou mais fácil do que nunca criar e distribuir. Como Doctorow colocou em
+seu livro <span class="emphasis"><em>Information Doesn't Want to Be Free</em></span>,
+<span class="quote">“<span class="quote">Se os dólares analógicos se transformaram em moedas digitais (como
+dizem os críticos da mídia financiada por anúncios), há o fato de que é
+possível fazer funcionar uma empresa que obtém a mesma quantidade de
+publicidade que seus ancestrais por uma fração do preço.</span>”</span>
+ </p><p>
+ Alguns custos de criação são os mesmos de sempre. Leva a mesma quantidade de
+tempo e dinheiro para escrever um artigo de jornal revisado por pares ou
+pintar um quadro. A tecnologia não pode mudar isso. Mas outros custos são
+reduzidos drasticamente pela tecnologia, particularmente em domínios de
+produção pesada como cinema.<a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[39]</sup></a> Conteúdo
+licenciado por CC e conteúdo de domínio público, bem como a oba de
+colaboradores voluntários, também podem reduzir drasticamente os custos se
+forem sendo usados como recursos para criar algo novo. E, claro, existe a
+realidade de que algum conteúdo seria criado, independentemente de o criador
+ser pago ou não, porque é um trabalho de amor.
+ </p><p>
+ Distribuir conteúdo é quase universalmente mais barato do que nunca. Uma vez
+que o conteúdo é criado, os custos para distribuir cópias digitalmente são
+essencialmente zero.<a href="#ftn.idm456" class="footnote" name="idm456"><sup class="footnote">[40]</sup></a> Os custos para
+distribuir cópias físicas ainda são significativos, mas menores do que eram
+historicamente. E agora é muito mais fácil imprimir e distribuir cópias
+físicas sob demanda, o que também reduz custos. Dependendo do esforço, pode
+haver uma série de outras despesas possíveis, como marketing e promoção, e
+até despesas associadas às várias maneiras como o dinheiro está sendo ganho,
+como viagens ou treinamento personalizado.
+ </p><p>
+ É importante reconhecer que o maior impacto da tecnologia nos
+empreendimentos criativos é que os criadores agora podem arcar com os custos
+de criação e distribuição sozinhos. As pessoas agora costumam ter um caminho
+direto para seu público potencial, sem necessariamente precisar de
+intermediários como gravadoras e editoras de livros. Doctorow escreveu:
+<span class="quote">“<span class="quote">Se você é um criador que nunca obteve a hora de uma das grandes
+potências imperiais, esta é a sua hora. Onde antes você não tinha meios de
+alcançar um público sem a ajuda das megaempresas dominantes do setor, agora
+você tem centenas de maneiras de fazer isso sem eles.</span>”</span><a href="#ftn.idm461" class="footnote" name="idm461"><sup class="footnote">[41]</sup></a> Anteriormente, a distribuição de obra criativa
+envolvia os custos associados à manutenção uma entidade monolítica, agora os
+criadores podem fazer a obra sozinhos. Isso significa que as necessidades
+financeiras de empreendimentos criativos podem ser muito mais modestas.
+ </p><p>
+ Seja para um criador individual ou um empreendimento maior, geralmente não é
+suficiente para quebrar, mesmo se você quiser fazer do que está fazendo um
+meio de vida. Você precisa construir algum suporte para a operação
+geral. Este bit extra parece diferente para todos, mas o mais importante, em
+quase todos os casos para aqueles Feitos com Creative Commons, a definição
+de <span class="quote">“<span class="quote">dinheiro suficiente</span>”</span> parece muito diferente do que no mundo
+de capital de risco e opções de ações. É mais sobre sustentabilidade e menos
+sobre crescimento e lucro ilimitados. O fundador do SparkFun, Nathan Seidle,
+nos disse, <span class="quote">“<span class="quote">Modelo de negócios é uma palavra realmente grandiosa para
+isso. Na verdade, trata-se apenas de manter a operação funcionando no dia a
+dia.</span>”</span>
+ </p><p>
+ Este livro é uma prova da noção de que é possível ganhar dinheiro usando
+licenças CC e conteúdo licenciado CC, mas ainda estamos em um estágio muito
+experimental. Os criadores, organizações e empresas que apresentamos neste
+livro estão abrindo caminho e se adaptando em tempo real à medida que buscam
+essa nova forma de operar.
+ </p><p>
+ Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser
+bom para os negócios de maneiras bastante previsíveis. A primeira é como ele
+ajuda a resolver <span class="quote">“<span class="quote">o problema 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
+initially, and mean something, for anything to work at
+all.</span>”</span><a href="#ftn.idm474" class="footnote" name="idm474"><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 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.idm478" class="footnote" name="idm478"><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
+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.idm482" class="footnote" name="idm482"><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.idm485" class="footnote" name="idm485"><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.idm488" class="footnote" name="idm488"><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
+something that is available at the price of one cent versus the price of
+zero.<a href="#ftn.idm491" class="footnote" name="idm491"><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
+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.idm496" class="footnote" name="idm496"><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
+company that publishes online educational materials, made an early decision
+not to prevent students from accessing their content, even in the form of a
+tiny paywall, because it would negatively impact student success in a way
+that would undermine the social mission behind what they do. They believe
+this decision has generated an immense amount of goodwill within the
+community.
+ </p><p>
+ 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.idm501" class="footnote" name="idm501"><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.
+ </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 protect works, but people are going to do it anyway. And
+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
+online. Doing this meant forgoing the revenue they previously got from
+selling digital images. But Lizzy says that was a small price to pay for all
+of the opportunities that sharing unlocked for them.
+ </p><p>
+ Being Made with Creative Commons means you stop thinking about ways to
+artificially make your content scarce, and instead leverage it as the
+potentially abundant resource it is.<a href="#ftn.idm507" class="footnote" name="idm507"><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>
+ </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
+return.<a href="#ftn.idm511" class="footnote" name="idm511"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
+Arduino boards knew it was impossible to stop people from copying their
+hardware, so they decided not to even try and instead look for the benefits
+of being open. For them, the result is one of the most ubiquitous pieces of
+hardware in the world, with a thriving online community of tinkerers and
+innovators that have done things with their work they never could have done
+otherwise.
+ </p><p>
+ 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
+automatically go viral, but eliminating legal barriers to copying the work
+certainly can’t hurt the chances that your work will be shared. The CC
+license symbolizes that sharing is welcome. It can act as a little tap on
+the shoulder to those who come across the work—a nudge to copy the work if
+they have any inkling of doing so. All things being equal, if one piece of
+content has a sign that says Share and the other says Don’t Share (which is
+what <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
+academics who are experts on particular topics. All of the articles are
+CC-licensed, and they are copied and reshared on other sites by design. This
+proliferating effect, which they track, is a central part of the value to
+their academic authors who want to reach as many readers as possible.
+ </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 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.idm521" class="footnote" name="idm521"><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 copied, CC licensing makes it even more accessible and likely to
+spread.
+ </p><p>
+ If you are successful in reaching more users, readers, listeners, or other
+consumers of your work, you can start to benefit from the bandwagon
+effect. The simple fact that there are other people consuming or following
+your work spurs others to want to do the same.<a href="#ftn.idm524" class="footnote" name="idm524"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
+herd behavior, but it is also because a large following is at least a
+partial indicator of quality or usefulness.<a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[54]</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>Use CC to get attribution and name recognition</h3></div></div></div><p>
+ Every Creative Commons license requires that credit be given to the author,
+and that reusers supply a link back to the original source of the
+material. CC0, not a license but a tool used to put work in the public
+domain, does not make attribution a legal requirement, but many communities
+still give credit as a matter of best practices and social norms. In fact,
+it is social norms, rather than the threat of legal enforcement, that most
+often motivate people to provide attribution and otherwise comply with the
+CC license terms anyway. This is the mark of any well-functioning community,
+within both the marketplace and the society at large.<a href="#ftn.idm531" class="footnote" name="idm531"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
+creators, and in the vast majority of circumstances, people are naturally
+inclined to follow those wishes. This is particularly the case for something
+as straightforward and consistent with basic notions of fairness as
+providing credit.
+ </p><p>
+ The fact that the name of the creator follows a CC-licensed work makes the
+licenses an important means to develop a reputation or, in corporate speak,
+a brand. The drive to associate your name with your work is not just based
+on commercial motivations, it is fundamental to authorship. Knowledge
+Unlatched is a nonprofit that helps to subsidize the print production of
+CC-licensed academic texts by pooling contributions from libraries around
+the United States. The CEO, Frances Pinter, says that the Creative Commons
+license on the works has a huge value to authors because reputation is the
+most important currency for academics. Sharing with CC is a way of having
+the most people see and cite your work.
+ </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
+itself. Opendesk is a platform for furniture designers to share their
+designs. Consumers who like those designs can then get matched with local
+makers who turn the designs into real-life furniture. The fact that I,
+sitting in the middle of the United States, can pick out a design created by
+a designer in Tokyo and then use a maker within my own community to
+transform the design into something tangible is part of the power of their
+platform. The provenance of the design is a special part of the product.
+ </p><p>
+ Knowing the source of a work is also critical to ensuring its
+credibility. Just as a trademark is designed to give consumers a way to
+identify the source and quality of a particular good and service, knowing
+the author of a work gives the public a way to assess its credibility. In a
+time when online discourse is plagued with misinformation, being a trusted
+information source is more valuable than ever.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
+ As we will cover in more detail later, many endeavors that are Made with
+Creative Commons make money by providing a product or service other than the
+CC-licensed work. Sometimes that other product or service is completely
+unrelated to the CC content. Other times it’s a physical copy or live
+performance of the CC content. In all cases, the CC content can attract
+people to your other product or service.
+ </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 functions as a marketing tool. We see
+this phenomenon regularly with famous artwork. The Mona Lisa is likely the
+most recognizable painting on the planet. Its ubiquity has the effect of
+catalyzing interest in seeing the painting in person, and in owning physical
+goods with the image. Abundant copies of the content often entice more
+demand, not blunt it. Another example came with the advent of the
+radio. Although the music industry did not see it coming (and fought it!),
+free music on the radio functioned as advertising for the paid version
+people bought in music stores.<a href="#ftn.idm541" class="footnote" name="idm541"><sup class="footnote">[56]</sup></a> Free can
+be a form of promotion.
+ </p><p>
+ In some cases, endeavors that are Made with Creative Commons do not even
+need dedicated marketing teams or marketing budgets. Cards Against Humanity
+is a CC-licensed card game available as a free download. And because of this
+(thanks to the CC license on the game), the creators say it is one of the
+best-marketed games in the world, and they have never spent a dime on
+marketing. The textbook publisher OpenStax has also avoided hiring a
+marketing team. Their products are free, or cheaper to buy in the case of
+physical copies, which makes them much more attractive to students who then
+demand them from their universities. They also partner with service
+providers who build atop the CC-licensed content and, in turn, spend money
+and resources marketing those services (and by extension, the OpenStax
+textbooks).
+ </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>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
+ The great promise of Creative Commons licensing is that it signifies an
+embrace of remix culture. Indeed, this is the great promise of digital
+technology. The Internet opened up a whole new world of possibilities for
+public participation in creative work.
+ </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,
+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.idm548" class="footnote" name="idm548"><sup class="footnote">[57]</sup></a> Adaptation is more game
+changing in some contexts than others. With educational materials, the
+ability to customize and update the content is critically important for its
+usefulness. For photography, the ability to adapt a photo is less important.
+ </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.idm552" class="footnote" name="idm552"><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.idm554" class="footnote" name="idm554"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
+had a part in creating.<a href="#ftn.idm556" class="footnote" name="idm556"><sup class="footnote">[60]</sup></a> And we know
+that creating something, no matter what quality, brings with it a type of
+creative satisfaction that can never be replaced by consuming something
+created by someone else.<a href="#ftn.idm558" class="footnote" name="idm558"><sup class="footnote">[61]</sup></a>
+ </p><p>
+ 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
+presence matters, as if, when you see something or hear something, your
+response is part of the event.</span>”</span><a href="#ftn.idm562" class="footnote" name="idm562"><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 operating under
+the rules of establishment players in the media. Business strategies that
+are embedded in the traditional copyright system, like using digital rights
+management (DRM) and signing exclusivity contracts, can tie the hands of
+creators, often at the expense of the creator’s best interest.<a href="#ftn.idm567" class="footnote" name="idm567"><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>
+ </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
+customers. Sometimes that value is subsidized by funders who are not
+actually beneficiaries of that value. Funders, whether philanthropic
+institutions, governments, or concerned individuals, provide money to the
+organization out of a sense of pure altruism. This is the way traditional
+nonprofit funding operates.<a href="#ftn.idm574" class="footnote" name="idm574"><sup class="footnote">[64]</sup></a> But in many
+cases, the revenue streams used by endeavors that are Made with Creative
+Commons are directly tied to the value they generate, where the recipient is
+paying for the value they receive like any standard market transaction. In
+still other cases, rather than the quid pro quo exchange of money for value
+that typically drives market transactions, the recipient gives money out of
+a sense of reciprocity.
+ </p><p>
+ Most who are Made with Creative Commons use a variety of methods to bring in
+revenue, some market-based and some not. One common strategy is using grant
+funding for content creation when research-and-development costs are
+particularly high, and then finding a different revenue stream (or streams)
+for ongoing expenses. As Shirky wrote, <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.idm580" class="footnote" name="idm580"><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
+interviewed. There is nuance hidden within the specific ways each of them
+makes money, so it is a bit dangerous to generalize too much about what we
+learned. Nonetheless, zooming out and viewing things from a higher level of
+abstraction can be instructive.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
+ In the market, the central question when determining how to bring in revenue
+is what value people are willing to pay for.<a href="#ftn.idm586" class="footnote" name="idm586"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
+you provide is available for free and not a market commodity. Like the
+ubiquitous freemium business model, any possible market transaction with a
+consumer of your content has to be based on some added value you
+provide.<a href="#ftn.idm588" class="footnote" name="idm588"><sup class="footnote">[67]</sup></a>
+ </p><p>
+ In many ways, this is the way of the future for all content-driven
+endeavors. In the market, value lives in things that are scarce. Because the
+Internet makes a universe of content available to all of us for free, it is
+difficult to get people to pay for content online. The struggling newspaper
+industry is a testament to this fact. This is compounded by the fact that at
+least some amount of copying is probably inevitable. That means you may end
+up competing with free versions of your own content, whether you condone it
+or not.<a href="#ftn.idm591" class="footnote" name="idm591"><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
+into either law or software, are simply holding up a price against the force
+of gravity.</span>”</span>
+ </p><p>
+ 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
+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.idm597" class="footnote" name="idm597"><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
+digital age. In fact, they may even have an advantage because they can use
+the abundance of content to derive revenue from something scarce. They can
+also benefit from the goodwill that stems from the values behind being Made
+with Creative Commons.
+ </p><p>
+ For content creators and distributors, there are nearly infinite ways to
+provide value to the consumers of your work, above and beyond the value that
+lives within your free digital content. Often, the CC-licensed content
+functions as a marketing tool for the paid product or service.
+ </p><p>
+ 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
+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 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.idm607" class="footnote" name="idm607"><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.idm614" class="footnote" name="idm614"><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
+a significant subset of people still prefer reading something they can hold
+in their hands. Or in domains where the content isn’t useful until it is in
+physical form, like furniture designs. In those situations, a significant
+portion of consumers will pay for the convenience of having someone else put
+the physical version together for them. Some endeavors squeeze even more out
+of this revenue stream by using a Creative Commons license that only allows
+noncommercial uses, which means no one else can sell physical copies of
+their work in competition with them. This strategy of reserving commercial
+rights can be particularly important for items like books, where every
+printed copy of the same work is likely to be the same quality, so it is
+harder to differentiate one publishing service from another. On the other
+hand, for items like furniture or electronics, the provider of the physical
+goods can compete with other providers of the same works based on quality,
+service, or other traditional business principles.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ As anyone who has ever gone to a concert will tell you, experiencing
+creativity in person is a completely different experience from consuming a
+digital copy on your own. Far from acting as a substitute for face-to-face
+interaction, CC-licensed content can actually create demand for the
+in-person version of experience. You can see this effect when people go view
+original art in person or pay to attend a talk or training course.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ In many cases, people who like your work will pay for products demonstrating
+a connection to your work. As a child of the 1980s, I can personally attest
+to the power of a good concert T-shirt. This can also be an important
+revenue stream for museums and galleries.
+ </p><p>
+ Sometimes the way to find a market-based revenue stream is by providing
+value to people other than those who consume your CC-licensed content. In
+these revenue streams, the free content is being subsidized by an entirely
+different category of people or businesses. Often, those people or
+businesses are paying to access your main audience. The fact that the
+content is free increases the size of the audience, which in turn makes the
+offer more valuable to the paying customers. This is a variation of a
+traditional business model built on free called multi-sided
+platforms.<a href="#ftn.idm625" class="footnote" name="idm625"><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>
+ The traditional model of subsidizing free content is advertising. In this
+version of multi-sided platforms, advertisers pay for the opportunity to
+reach the set of eyeballs the content creators provide in the form of their
+audience.<a href="#ftn.idm631" class="footnote" name="idm631"><sup class="footnote">[73]</sup></a> The Internet has made this
+model more difficult because the number of potential channels available to
+reach those eyeballs has become essentially infinite.<a href="#ftn.idm633" class="footnote" name="idm633"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
+many content creators, including those who are Made with Creative
+Commons. Often, instead of paying to display advertising, the advertiser
+pays to be an official sponsor of particular content or projects, or of the
+overall endeavor.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ Another type of multisided platform is where the content creators themselves
+pay to be featured on the platform. Obviously, this revenue stream is only
+available to those who rely on work created, at least in part, by
+others. The most well-known version of this model is the
+<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
+of the content on the Conversation website.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ This is a version of a traditional business model based on brokering
+transactions between parties.<a href="#ftn.idm644" class="footnote" name="idm644"><sup class="footnote">[75]</sup></a> Curation
+is an important element of this model. Platforms like the Noun Project add
+value by wading through CC-licensed content to curate a high-quality set and
+then derive revenue when creators of that content make transactions with
+customers. Other platforms make money when service providers transact with
+their customers; for example, Opendesk makes money every time someone on
+their site pays a maker to make furniture based on one of the designs on the
+platform.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ As mentioned above, endeavors can make money by providing customized
+services to their users. Platforms can undertake a variation of this service
+model directed at the creators that provide the content they feature. The
+data platforms Figure.NZ and Figshare both capitalize on this model by
+providing paid tools to help their users make the data they contribute to
+the platform more discoverable and reusable.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ Finally, some that are Made with Creative Commons make money by selling use
+of their trademarks. Well known brands that consumers associate with
+quality, credibility, or even an ethos can license that trademark to
+companies that want to take advantage of that goodwill. By definition,
+trademarks are scarce because they represent a particular source of a good
+or service. Charging for the ability to use that trademark is a way of
+deriving revenue from something scarce while taking advantage of the
+abundance of CC content.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
+ Even if we set aside grant funding, we found that the traditional economic
+framework of understanding the market failed to fully capture the ways the
+endeavors we analyzed were making money. It was not simply about monetizing
+scarcity.
+ </p><p>
+ Rather than devising a scheme to get people to pay money in exchange for
+some direct value provided to them, many of the revenue streams were more
+about providing value, building a relationship, and then eventually finding
+some money that flows back out of a sense of reciprocity. While some look
+like traditional nonprofit funding models, they aren’t charity. The endeavor
+exchange value with people, just not necessarily synchronously or in a way
+that requires that those values be equal. As David Bollier wrote in Think
+Like a Commoner, <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
+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
+identity, community and culture. It is a vital brain function that helps the
+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.idm662" class="footnote" name="idm662"><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.idm664" class="footnote" name="idm664"><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>
+ While memberships and donations are traditional nonprofit funding models, in
+the Made with Creative Commons context, they are directly tied to the
+reciprocal relationship that is cultivated with the beneficiaries of their
+work. The bigger the pool of those receiving value from the content, the
+more likely this strategy will work, given that only a small percentage of
+people are likely to contribute. Since using CC licenses can grease the
+wheels for content to reach more people, this strategy can be more effective
+for endeavors that are Made with Creative Commons. The greater the argument
+that the content is a public good or that the entire endeavor is furthering
+a social mission, the more likely this strategy is to succeed.
+ </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
+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. They are similar to a tip jar. People make financial
+contributions as an act of gratitude. These models capitalize on the fact
+that we are naturally inclined to give money for things we value in the
+marketplace, even in situations where we could find a way to get it for
+free.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
+ Crowdfunding models are based on recouping the costs of creating and
+distributing content before the content is created. If the endeavor is Made
+with Creative Commons, anyone who wants the work in question could simply
+wait until it’s created and then access it for free. That means, for this
+model to work, people have to care about more than just receiving the
+work. They have to want you to succeed. Amanda Palmer credits the success of
+her crowdfunding on Kickstarter and Patreon to the years she spent building
+her community and creating a connection with her fans. She wrote in The Art
+of Asking, <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>
+ </p><p>
+ Other types of crowdfunding rely on a sense of responsibility that a
+particular community may feel. Knowledge Unlatched pools funds from major
+U.S. libraries to subsidize CC-licensed academic work that will be, by
+definition, available to everyone for free. Libraries with bigger budgets
+tend to give more out of a sense of commitment to the library community and
+to the idea of open access generally.
+ </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
+founders of the for-profit company Lumen Learning showed us the letter they
+send to those who opt not to pay for the services they provide in connection
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
+sort of behavior toward what could be considered nonpaying customers is
+largely unheard of in the traditional marketplace. But it seems to be part
+of the fabric of being Made with Creative Commons.
+ </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
+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.
+ </p><p>
+ It took me a very long time to see how this avoidance of thinking about what
+they do in pure market terms was deeply tied to being Made with Creative
+Commons.
+ </p><p>
+ I came to the research with preconceived notions about what Creative Commons
+is and what it means to be Made with Creative Commons. It turned out I was
+wrong on so many counts.
+ </p><p>
+ Obviously, being Made with Creative Commons means using Creative Commons
+licenses. That much I knew. But in our interviews, people spoke of so much
+more than copyright permissions when they explained how sharing fit into
+what they do. I was thinking about sharing too narrowly, and as a result, I
+was missing vast swaths of the meaning packed within Creative
+Commons. Rather than parsing the specific and narrow role of the copyright
+license in the equation, it is important not to disaggregate the rest of
+what comes with sharing. You have to widen the lens.
+ </p><p>
+ Being Made with Creative Commons is not just about the simple act of
+licensing a copyrighted work under a set of standardized terms, but also
+about community, social good, contributing ideas, expressing a value system,
+working together. These components of sharing are hard to cultivate if you
+think about what you do in purely market terms. Decent social behavior isn’t
+as intuitive when we are doing something that involves monetary exchange. It
+takes a conscious effort to foster the context for real sharing, based not
+strictly on impersonal market exchange, but on connections with the people
+with whom you share—connections with you, with your work, with your values,
+with each other.
+ </p><p>
+ The rest of this section will explore some of the common strategies that
+creators, companies, and organizations use to remind us that there are
+humans behind every creative endeavor. To remind us we have obligations to
+each other. To remind us what sharing really looks like.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
+ Humans are social animals, which means we are naturally inclined to treat
+each other well.<a href="#ftn.idm697" class="footnote" name="idm697"><sup class="footnote">[78]</sup></a> But the further
+removed we are from the person with whom we are interacting, the less caring
+our behavior will be. While the Internet has democratized cultural
+production, increased access to knowledge, and connected us in extraordinary
+ways, it can also make it easy forget we are dealing with another human.
+ </p><p>
+ To counteract the anonymous and impersonal tendencies of how we operate
+online, individual creators and corporations who use Creative Commons
+licenses work to demonstrate their humanity. For some, this means pouring
+their lives out on the page. For others, it means showing their creative
+process, giving a glimpse into how they do what they do. As writer Austin
+Kleon wrote, <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.idm701" class="footnote" name="idm701"><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
+just avoiding pretense and the temptation to artificially craft an
+image. People don’t just want the glossy version of you. They can’t relate
+to it, at least not in a meaningful way.
+ </p><p>
+ This advice is probably even more important for businesses and organizations
+because we instinctively conceive of them as nonhuman (though in the United
+States, corporations are people!). When corporations and organizations make
+the people behind them more apparent, it reminds people that they are
+dealing with something other than an anonymous corporate entity. In
+business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm708" class="footnote" name="idm708"><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.idm715" class="footnote" name="idm715"><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.idm717" class="footnote" name="idm717"><sup class="footnote">[82]</sup></a>
+ </p><p>
+ Being accountable does not mean operating on consensus. According to James
+Surowiecki, consensus-driven groups tend to resort to
+lowest-common-denominator solutions and avoid the sort of candid exchange of
+ideas that cultivates healthy collaboration.<a href="#ftn.idm720" class="footnote" name="idm720"><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 respond to the input you receive, it can be worse
+than not inviting input in the first place.<a href="#ftn.idm722" class="footnote" name="idm722"><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
+involved and invested in what you do.
+ </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.idm727" class="footnote" name="idm727"><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 of needs, emotions, and
+motivations. In fact, we are hardwired to work together and ensure
+fairness.<a href="#ftn.idm729" class="footnote" name="idm729"><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 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
+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 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.idm735" class="footnote" name="idm735"><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
+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
+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
+do.<a href="#ftn.idm739" class="footnote" name="idm739"><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.idm745" class="footnote" name="idm745"><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.
+Amanda Palmer spends vast quantities of time going online to communicate
+with her public, making a point to listen just as much as she
+talks.<a href="#ftn.idm747" class="footnote" name="idm747"><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
+easy to destroy them if you make the mistake of treating people as anonymous
+customers or free labor.<a href="#ftn.idm751" class="footnote" name="idm751"><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
+can dramatically change the dynamic.<a href="#ftn.idm753" class="footnote" name="idm753"><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
+what you do. The symbolism is powerful. Using Creative Commons licenses
+demonstrates adherence to a particular belief system, which generates
+goodwill and connects like-minded people to your work. Sometimes people will
+be drawn to endeavors that are Made with Creative Commons as a way of
+demonstrating their own commitment to the Creative Commons value system,
+akin to a political statement. Other times people will identify and feel
+connected with an endeavor’s separate social mission. Often both.
+ </p><p>
+ The expression of your values doesn’t have to be implicit. In fact, many of
+the people we interviewed talked about how important it is to state your
+guiding principles up front. Lumen Learning attributes a lot of their
+success to having been outspoken about the fundamental values that guide
+what they do. As a for-profit company, they think their expressed commitment
+to low-income students and open licensing has been critical to their
+credibility in the OER (open educational resources) community in which they
+operate.
+ </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
+you have a sense of purpose that transcends your own
+self-interest.<a href="#ftn.idm760" class="footnote" name="idm760"><sup class="footnote">[93]</sup></a> It attracts committed
+employees, motivates contributors, and builds trust.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="build-a-community"></a>Build a community</h3></div></div></div><p>
+ 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.<a href="#ftn.idm765" class="footnote" name="idm765"><sup class="footnote">[94]</sup></a> 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.
+ </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
+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 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.idm770" class="footnote" name="idm770"><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
+is especially important in building the kinds of participative communities
+that drive open organizations.</span>”</span><a href="#ftn.idm773" class="footnote" name="idm773"><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.idm777" class="footnote" name="idm777"><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.idm779" class="footnote" name="idm779"><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.
+ </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.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
+ 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
+explained how the anonymous market-driven trans-actions in most
+sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm786" class="footnote" name="idm786"><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.idm790" class="footnote" name="idm790"><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
+which to extract value. Part of giving back to the ecosystem is contributing
+content back to the public under CC licenses. But it doesn’t have to just be
+about creating content; it can be about adding value in other ways. The
+social blogging platform Medium provides value to its community by
+incentivizing good behavior, and the result is an online space with
+remarkably high-quality user-generated content and limited
+trolling.<a href="#ftn.idm793" class="footnote" name="idm793"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
+community by committing to help its designers make money, in part by
+actively curating and displaying their work on its platform effectively.
+ </p><p>
+ In all cases, it is important to openly acknowledge the amount of value you
+add versus that which you draw on that was created by others. Being
+transparent about this builds credibility and shows you are a contributing
+player in the commons. When your endeavor is making money, that also means
+apportioning financial compensation in a way that reflects the value
+contributed by others, providing more to contributors when the value they
+add outweighs the value provided by you.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
+ Thanks to the Internet, we can tap into the talents and expertise of people
+around the globe. Chris Anderson calls it the Long Tail of
+talent.<a href="#ftn.idm801" class="footnote" name="idm801"><sup class="footnote">[102]</sup></a> But to make collaboration work,
+the group has to be effective at what it is doing, and the people within the
+group have to find satisfaction from being involved.<a href="#ftn.idm803" class="footnote" name="idm803"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
+creative work than it is for others. Groups tied together online collaborate
+best when people can work independently and asynchronously, and particularly
+for larger groups with loose ties, when contributors can make simple
+improvements without a particularly heavy time commitment.<a href="#ftn.idm805" class="footnote" name="idm805"><sup class="footnote">[104]</sup></a>
+ </p><p>
+ As the success of Wikipedia demonstrates, editing an online encyclopedia is
+exactly the sort of activity that is perfect for massive co-creation because
+small, incremental edits made by a diverse range of people acting on their
+own are immensely valuable in the aggregate. Those same sorts of small
+contributions would be less useful for many other types of creative work,
+and people are inherently less motivated to contribute when it doesn’t
+appear that their efforts will make much of a difference.<a href="#ftn.idm808" class="footnote" name="idm808"><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 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
+sharing or a feeling of belonging.<a href="#ftn.idm812" class="footnote" name="idm812"><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 cocreate their college textbooks, they invest a
+significant amount of time and money to develop professional content. For
+individual creators, where the creative work is the basis for what they do,
+community cocreation is only rarely a part of the picture. Even musician
+Amanda Palmer, who is famous for her openness and involvement with her fans,
+said,</span>”</span>The only department where I wasn’t open to input was the
+writing, the music itself."<a href="#ftn.idm814" class="footnote" name="idm814"><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
+invested in your creative work.<a href="#ftn.idm818" class="footnote" name="idm818"><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
+environment where collaboration flourishes.<a href="#ftn.idm820" class="footnote" name="idm820"><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
+way for people to contribute on their terms, compelled by their own
+motivations.<a href="#ftn.idm823" class="footnote" name="idm823"><sup class="footnote">[110]</sup></a> What that looks like
+varies wildly depending on the project. Not every endeavor that is Made with
+Creative Commons can be Wikipedia, but every endeavor can find ways to
+invite the public into what they do. The goal for any form of collaboration
+is to move away from thinking of consumers as passive recipients of your
+content and transition them into active participants.<a href="#ftn.idm825" class="footnote" name="idm825"><sup class="footnote">[111]</sup></a>
+ </p></div></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm428" class="footnote"><p><a href="#idm428" class="para"><sup class="para">[37] </sup></a>
+ Alex Osterwalder e Yves Pigneur, <span class="emphasis"><em>Business Model
+Generation</em></span> (Hoboken, NJ: John Wiley e Sons, 2010), 14. Uma prévia
+do livro está disponível em <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.idm443" class="footnote"><p><a href="#idm443" class="para"><sup class="para">[38] </sup></a>
+ Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet
+Age* (São Francisco, CA: McSweeney’s, 2014) 68.
+ </p></div><div id="ftn.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[39] </sup></a>
+ Ibid., 55.
+ </p></div><div id="ftn.idm456" class="footnote"><p><a href="#idm456" class="para"><sup class="para">[40] </sup></a>
+ Chris Anderson, <span class="emphasis"><em>Free: How Today’s Smartest Businesses Profit by
+Giving Something for Nothing</em></span>, reimpressão com novo prefácio (Nova
+York: Hyperion, 2010), 224.
+ </p></div><div id="ftn.idm461" class="footnote"><p><a href="#idm461" class="para"><sup class="para">[41] </sup></a>
+ Doctorow, <span class="emphasis"><em>Information Doesn’t Want to Be Free</em></span>, 44.
+ </p></div><div id="ftn.idm474" class="footnote"><p><a href="#idm474" 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.idm478" class="footnote"><p><a href="#idm478" class="para"><sup class="para">[43] </sup></a>
+ Chris Anderson, Makers: The New Industrial Revolution (New York: Signal,
+2012), 64.
+ </p></div><div id="ftn.idm482" class="footnote"><p><a href="#idm482" class="para"><sup class="para">[44] </sup></a>
+ David Bollier, Think Like a Commoner: A Short Introduction to the Life of
+the Commons (Gabriola Island, BC: New Society, 2014), 70.
+ </p></div><div id="ftn.idm485" class="footnote"><p><a href="#idm485" class="para"><sup class="para">[45] </sup></a>
+ Anderson, Makers, 66.
+ </p></div><div id="ftn.idm488" class="footnote"><p><a href="#idm488" class="para"><sup class="para">[46] </sup></a>
+ Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New
+York: Morgan James, 2016), 10.
+ </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[47] </sup></a>
+ Anderson, Free, 62.
+ </p></div><div id="ftn.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[48] </sup></a>
+ Doctorow, Information Doesn’t Want to Be Free, 38.
+ </p></div><div id="ftn.idm501" class="footnote"><p><a href="#idm501" class="para"><sup class="para">[49] </sup></a>
+ Bollier, Think Like a Commoner, 68.
+ </p></div><div id="ftn.idm507" class="footnote"><p><a href="#idm507" class="para"><sup class="para">[50] </sup></a>
+ Anderson, Free, 86.
+ </p></div><div id="ftn.idm511" class="footnote"><p><a href="#idm511" class="para"><sup class="para">[51] </sup></a>
+ Doctorow, Information Doesn’t Want to Be Free, 144.
+ </p></div><div id="ftn.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[52] </sup></a>
+ Anderson, Free, 123.
+ </p></div><div id="ftn.idm524" class="footnote"><p><a href="#idm524" class="para"><sup class="para">[53] </sup></a>
+ Ibid., 132.
+ </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[54] </sup></a>
+ Ibid., 70.
+ </p></div><div id="ftn.idm531" class="footnote"><p><a href="#idm531" 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>
+ </p></div><div id="ftn.idm541" class="footnote"><p><a href="#idm541" class="para"><sup class="para">[56] </sup></a>
+ Anderson, Free, 44.
+ </p></div><div id="ftn.idm548" class="footnote"><p><a href="#idm548" class="para"><sup class="para">[57] </sup></a>
+ Osterwalder and Pigneur, Business Model Generation, 23.
+ </p></div><div id="ftn.idm552" class="footnote"><p><a href="#idm552" class="para"><sup class="para">[58] </sup></a>
+ Anderson, Free, 67.
+ </p></div><div id="ftn.idm554" class="footnote"><p><a href="#idm554" class="para"><sup class="para">[59] </sup></a>
+ Ibid., 58.
+ </p></div><div id="ftn.idm556" class="footnote"><p><a href="#idm556" class="para"><sup class="para">[60] </sup></a>
+ Anderson, Makers, 71.
+ </p></div><div id="ftn.idm558" class="footnote"><p><a href="#idm558" class="para"><sup class="para">[61] </sup></a>
+ Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into
+Collaborators (London: Penguin Books, 2010), 78.
+ </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[62] </sup></a>
+ Ibid., 21.
+ </p></div><div id="ftn.idm567" class="footnote"><p><a href="#idm567" class="para"><sup class="para">[63] </sup></a>
+ Doctorow, Information Doesn’t Want to Be Free, 43.
+ </p></div><div id="ftn.idm574" class="footnote"><p><a href="#idm574" 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
+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.idm580" class="footnote"><p><a href="#idm580" class="para"><sup class="para">[65] </sup></a>
+ Shirky, Cognitive Surplus, 111.
+ </p></div><div id="ftn.idm586" class="footnote"><p><a href="#idm586" class="para"><sup class="para">[66] </sup></a>
+ Osterwalder and Pigneur, Business Model Generation, 30.
+ </p></div><div id="ftn.idm588" class="footnote"><p><a href="#idm588" class="para"><sup class="para">[67] </sup></a>
+ Jim Whitehurst, The Open Organization: Igniting Passion and Performance
+(Boston: Harvard Business Review Press, 2015), 202.
+ </p></div><div id="ftn.idm591" class="footnote"><p><a href="#idm591" class="para"><sup class="para">[68] </sup></a>
+ Anderson, Free, 71.
+ </p></div><div id="ftn.idm597" class="footnote"><p><a href="#idm597" class="para"><sup class="para">[69] </sup></a>
+ Ibid., 231.
+ </p></div><div id="ftn.idm607" class="footnote"><p><a href="#idm607" class="para"><sup class="para">[70] </sup></a>
+ Ibid., 97.
+ </p></div><div id="ftn.idm614" class="footnote"><p><a href="#idm614" class="para"><sup class="para">[71] </sup></a>
+ Anderson, Makers, 107.
+ </p></div><div id="ftn.idm625" class="footnote"><p><a href="#idm625" class="para"><sup class="para">[72] </sup></a>
+ Osterwalder and Pigneur, Business Model Generation, 89.
+ </p></div><div id="ftn.idm631" class="footnote"><p><a href="#idm631" class="para"><sup class="para">[73] </sup></a>
+ Ibid., 92.
+ </p></div><div id="ftn.idm633" class="footnote"><p><a href="#idm633" class="para"><sup class="para">[74] </sup></a>
+ Anderson, Free, 142.
+ </p></div><div id="ftn.idm644" class="footnote"><p><a href="#idm644" class="para"><sup class="para">[75] </sup></a>
+ Osterwalder and Pigneur, Business Model Generation, 32.
+ </p></div><div id="ftn.idm662" class="footnote"><p><a href="#idm662" class="para"><sup class="para">[76] </sup></a>
+ Bollier, Think Like a Commoner, 150.
+ </p></div><div id="ftn.idm664" class="footnote"><p><a href="#idm664" class="para"><sup class="para">[77] </sup></a>
+ Ibid., 134.
+ </p></div><div id="ftn.idm697" class="footnote"><p><a href="#idm697" class="para"><sup class="para">[78] </sup></a>
+ Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our
+Decisions, rev. ed. (New York: Harper Perennial, 2010), 109.
+ </p></div><div id="ftn.idm701" class="footnote"><p><a href="#idm701" class="para"><sup class="para">[79] </sup></a>
+ Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get
+Discovered (New York: Workman, 2014), 93.
+ </p></div><div id="ftn.idm708" class="footnote"><p><a href="#idm708" class="para"><sup class="para">[80] </sup></a>
+ Kramer, Shareology, 76.
+ </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[81] </sup></a>
+ Palmer, Art of Asking, 252.
+ </p></div><div id="ftn.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[82] </sup></a>
+ Whitehurst, Open Organization, 145.
+ </p></div><div id="ftn.idm720" class="footnote"><p><a href="#idm720" class="para"><sup class="para">[83] </sup></a>
+ Surowiecki, Wisdom of Crowds, 203.
+ </p></div><div id="ftn.idm722" class="footnote"><p><a href="#idm722" class="para"><sup class="para">[84] </sup></a>
+ Whitehurst, Open Organization, 80.
+ </p></div><div id="ftn.idm727" class="footnote"><p><a href="#idm727" class="para"><sup class="para">[85] </sup></a>
+ Bollier, Think Like a Commoner, 25.
+ </p></div><div id="ftn.idm729" class="footnote"><p><a href="#idm729" class="para"><sup class="para">[86] </sup></a>
+ Ibid., 31.
+ </p></div><div id="ftn.idm735" class="footnote"><p><a href="#idm735" class="para"><sup class="para">[87] </sup></a>
+ Shirky, Cognitive Surplus, 112.
+ </p></div><div id="ftn.idm739" class="footnote"><p><a href="#idm739" class="para"><sup class="para">[88] </sup></a>
+ Surowiecki, Wisdom of Crowds, 124.
+ </p></div><div id="ftn.idm745" class="footnote"><p><a href="#idm745" class="para"><sup class="para">[89] </sup></a>
+ Kleon, Show Your Work, 127.
+ </p></div><div id="ftn.idm747" class="footnote"><p><a href="#idm747" class="para"><sup class="para">[90] </sup></a>
+ Palmer, Art of Asking, 121.
+ </p></div><div id="ftn.idm751" class="footnote"><p><a href="#idm751" class="para"><sup class="para">[91] </sup></a>
+ Ariely, Predictably Irrational, 87.
+ </p></div><div id="ftn.idm753" class="footnote"><p><a href="#idm753" class="para"><sup class="para">[92] </sup></a>
+ Ibid., 105.
+ </p></div><div id="ftn.idm760" class="footnote"><p><a href="#idm760" class="para"><sup class="para">[93] </sup></a>
+ Ibid., 36.
+ </p></div><div id="ftn.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[94] </sup></a>
+ Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: O’Reilly Media,
+2012), 36.
+ </p></div><div id="ftn.idm770" class="footnote"><p><a href="#idm770" class="para"><sup class="para">[95] </sup></a>
+ Palmer, Art of Asking, 98.
+ </p></div><div id="ftn.idm773" class="footnote"><p><a href="#idm773" class="para"><sup class="para">[96] </sup></a>
+ Whitehurst, Open Organization, 34.
+ </p></div><div id="ftn.idm777" class="footnote"><p><a href="#idm777" class="para"><sup class="para">[97] </sup></a>
+ Surowiecki, Wisdom of Crowds, 200.
+ </p></div><div id="ftn.idm779" class="footnote"><p><a href="#idm779" class="para"><sup class="para">[98] </sup></a>
+ Bollier, Think Like a Commoner, 29.
+ </p></div><div id="ftn.idm786" class="footnote"><p><a href="#idm786" 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,
+<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.idm790" class="footnote"><p><a href="#idm790" 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.idm793" class="footnote"><p><a href="#idm793" 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>.
+ </p></div><div id="ftn.idm801" class="footnote"><p><a href="#idm801" class="para"><sup class="para">[102] </sup></a>
+ Anderson, Makers, 148.
+ </p></div><div id="ftn.idm803" class="footnote"><p><a href="#idm803" class="para"><sup class="para">[103] </sup></a>
+ Shirky, Cognitive Surplus, 164.
+ </p></div><div id="ftn.idm805" class="footnote"><p><a href="#idm805" class="para"><sup class="para">[104] </sup></a>
+ Whitehurst, foreword to Open Organization.
+ </p></div><div id="ftn.idm808" class="footnote"><p><a href="#idm808" class="para"><sup class="para">[105] </sup></a>
+ Shirky, Cognitive Surplus, 144.
+ </p></div><div id="ftn.idm812" class="footnote"><p><a href="#idm812" class="para"><sup class="para">[106] </sup></a>
+ Ibid., 154.
+ </p></div><div id="ftn.idm814" class="footnote"><p><a href="#idm814" class="para"><sup class="para">[107] </sup></a>
+ Palmer, Art of Asking, 163.
+ </p></div><div id="ftn.idm818" class="footnote"><p><a href="#idm818" class="para"><sup class="para">[108] </sup></a>
+ Anderson, Makers, 173.
+ </p></div><div id="ftn.idm820" class="footnote"><p><a href="#idm820" class="para"><sup class="para">[109] </sup></a>
+ Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential
+within Us All (New York: Crown, 2013), 82.
+ </p></div><div id="ftn.idm823" class="footnote"><p><a href="#idm823" class="para"><sup class="para">[110] </sup></a>
+ Whitehurst, foreword to Open Organization.
+ </p></div><div id="ftn.idm825" class="footnote"><p><a href="#idm825" class="para"><sup class="para">[111] </sup></a>
+ 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>Capítulo 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
+creator. There are six licenses in the CC license suite that build on that
+basic set of permissions, ranging from the most restrictive (allowing only
+those basic permissions to share unmodified copies for noncommercial
+purposes) to the most permissive (reusers can do anything they want with
+the work, even for commercial purposes, as long as they give the creator
+credit). The licenses are built on copyright and do not cover other types of
+rights that creators might have in their works, like patents or trademarks.
+ </p><p>
+ Here are the six licenses:
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
+ </p><p>
+ The Attribution license (CC BY) lets others distribute, remix, tweak, and
+build upon your work, even commercially, as long as they credit you for the
+original creation. This is the most accommodating of licenses
+offered. Recommended for maximum dissemination and use of licensed
+materials.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
+ </p><p>
+ 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
+licenses. All new works based on yours will carry the same license, so any
+derivatives will also allow commercial use.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
+commercial and noncommercial, as long as it is passed along unchanged with
+credit to you.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
+ </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
+same terms.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others
+remix, tweak, and build upon your work noncommercially, as long as they
+credit you and license their new creations under the same terms.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.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
+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
+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>).
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
+ </p><p>
+ The Creative Commons Public Domain Mark facilitates the labeling and
+discovery of works that are already free of known copyright restrictions.
+ </p><p>
+ In our case studies, some use just one Creative Commons license, others use
+several. Attribution (found in thirteen case studies) and
+Attribution-ShareAlike (found in eight studies) were the most common, with
+the other licenses coming up in four or so case studies, including the
+public-domain tool CC0. Some of the organizations we profiled offer both
+digital content and software: by using open-source-software licenses for the
+software code and Creative Commons licenses for digital content, they
+amplify their involvement with and commitment to sharing.
+ </p><p>
+ There is a popular misconception that the three NonCommercial licenses
+offered by CC are the only options for those who want to make money off
+their work. As we hope this book makes clear, there are many ways to make
+endeavors that are Made with Creative Commons sustainable. Reserving
+commercial rights is only one of those ways. It is certainly true that a
+license that allows others to make commercial use of your work (CC BY, CC
+BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
+apply an Attribution (CC BY) license to your book, you can’t force a film
+company to pay you royalties if they turn your book into a feature-length
+film, or prevent another company from selling physical copies of your work.
+ </p><p>
+ The decision to choose a NonCommercial and/or NoDerivs license comes down to
+how much you need to retain control over the creative work. The
+NonCommercial and NoDerivs licenses are ways of reserving some significant
+portion of the exclusive bundle of rights that copyright grants to
+creators. In some cases, reserving those rights is important to how you
+bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
+license because they can’t give up on the dream of hitting the creative
+jackpot. The music platform Tribe of Noise told us the NonCommercial
+licenses were popular among their users because people still held out the
+dream of having a major record label discover their work.
+ </p><p>
+ Other times the decision to use a more restrictive license is due to a
+concern about the integrity of the work. For example, the nonprofit
+TeachAIDS uses a NoDerivs license for its educational materials because the
+medical subject matter is particularly important to get right.
+ </p><p>
+ There is no one right way. The NonCommercial and NoDerivs restrictions
+reflect the values and preferences of creators about how their creative work
+should be reused, just as the ShareAlike license reflects a different set of
+values, one that is less about controlling access to their own work and more
+about ensuring that whatever gets created with their work is available to
+all on the same terms. Since the beginning of the commons, people have been
+setting up structures that helped regulate the way in which shared resources
+were used. The CC licenses are an attempt to standardize norms across all
+domains.
+ </p><p>
+ Note
+ </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>Parte 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
+candidates that represented a mix of industries, content types, revenue
+streams, and parts of the world. Twelve of the case studies were selected
+from that group based on votes cast by Kickstarter backers, and the other
+twelve were selected by us.
+ </p><p>
+ We did background research and conducted interviews for each case study,
+based on the same set of basic questions about the endeavor. The idea for
+each case study is to tell the story about the endeavor and the role sharing
+plays within it, largely the way in which it was told to us by those we
+interviewed.
+ </p><div class="toc"><p><b>Índice</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>Capítulo 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>
+ <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+copies (sales of boards, modules, shields, and kits), licensing a trademark
+(fees paid by those who want to sell Arduino products using their name)
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In 2005, at the Interaction Design Institute Ivrea in northern Italy,
+teachers and students needed an easy way to use electronics and programming
+to quickly prototype design ideas. As musicians, artists, and designers,
+they needed a platform that didn’t require engineering expertise. A group of
+teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
+Gianluca Martino, and David Mellis, built a platform that combined different
+open technologies. They called it Arduino. The platform integrated software,
+hardware, microcontrollers, and electronics. All aspects of the platform
+were openly licensed: hardware designs and documentation with the
+Attribution-Share-Alike license (CC BY-SA), and software with the GNU
+General Public License.
+ </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 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 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>
+ </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
+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>
+ </p><p>
+ With the school closing, David and some of the other Arduino founders
+started a consulting firm and multidisciplinary design studio they called
+Tinker, in London. Tinker designed products and services that bridged the
+digital and the physical, and they taught people how to use new technologies
+in creative ways. Revenue from Tinker was invested in sustaining and
+enhancing Arduino.
+ </p><p>
+ 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 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
+grandiose term for it. Originally, they just wanted to make a few boards and
+get them out into the world. They started out with two hundred boards, sold
+them, and made a little profit. They used that to make another thousand,
+which generated enough revenue to make five thousand. In the early days,
+they simply tried to generate enough funding to keep the venture going day
+to day. When they hit the ten thousand mark, they started to think about
+Arduino as a company. By then it was clear you can open-source the design
+but still manufacture the physical product. As long as it’s a quality
+product and sold at a reasonable price, people will buy it.
+ </p><p>
+ Arduino now has a worldwide community of makers—students, hobbyists,
+artists, programmers, and professionals. Arduino provides a wiki called
+Playground (a wiki is where all users can edit and add pages, contributing
+to and benefiting from collective research). People share code, circuit
+diagrams, tutorials, DIY instructions, and tips and tricks, and show off
+their projects. In addition, there’s a multilanguage discussion forum where
+users can get help using Arduino, discuss topics like robotics, and make
+suggestions for new Arduino product designs. As of January 2017, 324,928
+members had made 2,989,489 posts on 379,044 topics. The worldwide community
+of makers has contributed an incredible amount of accessible knowledge
+helpful to novices and experts alike.
+ </p><p>
+ Transitioning Arduino from a project to a company was a big step. Other
+businesses who made boards were charging a lot of money for them. Arduino
+wanted to make theirs available at a low price to people across a wide range
+of industries. As with any business, pricing was key. They wanted prices
+that would get lots of customers but were also high enough to sustain the
+business.
+ </p><p>
+ 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>
+ </p><p>
+ While openly licensing the designs, documentation, and software ensures
+longevity, it does have risks. There’s a possibility that others will create
+knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
+copies of their boards, redesign them, and even sell boards that copy the
+design. They don’t have to pay a license fee to Arduino or even ask
+permission. However, if they republish the design of the board, they have to
+give attribution to Arduino. If they change the design, they must release
+the new design using the same Creative Commons license to ensure that the
+new version is equally free and open.
+ </p><p>
+ Tom and David say that a lot of people have built companies off of Arduino,
+with dozens of Arduino derivatives out there. But in contrast to closed
+business models that can wring money out of the system over many years
+because there is no competition, Arduino founders saw competition as keeping
+them honest, and aimed for an environment of collaboration. A benefit of
+open over closed is the many new ideas and designs others have contributed
+back to the Arduino ecosystem, ideas and designs that Arduino and the
+Arduino community use and incorporate into new products.
+ </p><p>
+ Over time, the range of Arduino products has diversified, changing and
+adapting to new needs and challenges. In addition to simple entry level
+boards, new products have been added ranging from enhanced boards that
+provide advanced functionality and faster performance, to boards for
+creating Internet of Things applications, wearables, and 3-D printing. The
+full range of official Arduino products includes boards, modules (a smaller
+form-factor of classic boards), shields (elements that can be plugged onto a
+board to give it extra features), and kits.<a href="#ftn.idm920" class="footnote" name="idm920"><sup class="footnote">[112]</sup></a>
+ </p><p>
+ 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 entirely no idea how to build a community. They
+started by conducting numerous workshops, working directly with people using
+the platform to make sure the hardware and software worked the way it was
+meant to work and solved people’s problems. The community grew organically
+from there.
+ </p><p>
+ A key decision for Arduino was trademarking the name. The founders needed a
+way to guarantee to people that they were buying a quality product from a
+company committed to open-source values and knowledge sharing. Trademarking
+the Arduino name and logo expresses that guarantee and helps customers
+easily identify their products, and the products sanctioned by them. If
+others want to sell boards using the Arduino name and logo, they have to pay
+a small fee to Arduino. This allows Arduino to scale up manufacturing and
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
+low-quality copies.
+ </p><p>
+ Current official manufacturers are Smart Projects in Italy, SparkFun in the
+United States, and Dog Hunter in Taiwan/China. These are the only
+manufacturers that are allowed to use the Arduino logo on their
+boards. Trademarking their brand provided the founders with a way to protect
+Arduino, build it out further, and fund software and tutorial
+development. The trademark-licensing fee for the brand became Arduino’s
+revenue-generating model.
+ </p><p>
+ How far to open things up wasn’t always something the founders perfectly
+agreed on. David, who was always one to advocate for opening things up more,
+had some fears about protecting the Arduino name, thinking people would be
+mad if they policed their brand. There was some early backlash with a
+project called Freeduino, but overall, trademarking and branding has been a
+critical tool for Arduino.
+ </p><p>
+ David encourages people and businesses to start by sharing everything as a
+default strategy, and then think about whether there is anything that really
+needs to be protected and why. There are lots of good reasons to not open up
+certain elements. This strategy of sharing everything is certainly the
+complete opposite of how today’s world operates, where nothing is
+shared. Tom suggests a business formalize which elements are based on open
+sharing and which are closed. An Arduino blog post from 2013 entitled
+<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.idm930" class="footnote" name="idm930"><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>
+ </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 idea that technology has to be
+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
+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.idm920" class="footnote"><p><a href="#idm920" 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.idm930" class="footnote"><p><a href="#idm930" 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>Capítulo 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
+digital technology to share knowledge and enable collaboration in arts and
+culture. Founded in 2011 in Uruguay.
+ </p><p>
+ <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services
+ </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}
+ \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 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.
+ </p><p>
+ In 2011, Mariana was a sociologist working for an international organization
+to develop research and online education about rural-development
+issues. Jorge was a psychologist, also working in online education. Both
+were bloggers and heavy users of social media, and both had a passion for
+arts and culture. They decided to take their skills in digital technology
+and online learning and apply them to a topic area they loved. They launched
+Ártica, an online business that provides education and consulting for people
+and institutions creating artistic and cultural projects on the Internet.
+ </p><p>
+ Ártica feels like a uniquely twenty-first century business. The small
+company has a global online presence with no physical offices. Jorge and
+Mariana live in Uruguay, and the other two full-time employees, who Jorge
+and Mariana have never actually met in person, live in Spain. They started
+by creating a MOOC (massive open online course) about remix culture and
+collaboration in the arts, which gave them a direct way to reach an
+international audience, attracting students from across Latin America and
+Spain. In other words, it is the classic Internet story of being able to
+directly tap into an audience without relying upon gatekeepers or
+intermediaries.
+ </p><p>
+ 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
+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
+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
+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.
+ </p><p>
+ Online courses are their biggest revenue stream, but they also do more than
+a dozen consulting projects each year, ranging from digitization to event
+planning to marketing campaigns. Some are significant in scope, particularly
+when they work with cultural institutions, and some are smaller projects
+commissioned by individual artists.
+ </p><p>
+ 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
+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
+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>
+ </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
+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,
+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
+simple piece of content, which can evolve to a more complex product in the
+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
+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 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>
+ </p><p>
+ 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
+very important to take a stand for some 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
+social-justice movements. Their efforts to involve people in their work and
+enable artists and cultural institutions to better use technology are all
+tied closely to their belief system. Ultimately, what drives their work is
+a mission to democratize art and culture.
+ </p><p>
+ 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
+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>Capítulo 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>
+ <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
+(subscription-based), charging for physical copies, selling merchandise
+ </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}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ For Ton Roosendaal, the creator of Blender software and its related
+entities, sharing is practical. Making their 3-D content creation software
+available under a free software license has been integral to its development
+and popularity. Using that software to make movies that were licensed with
+Creative Commons pushed that development even further. Sharing enables
+people to participate and to interact with and build upon the technology and
+content they create in a way that benefits Blender and its community in
+concrete ways.
+ </p><p>
+ Each open-movie project Blender runs produces a host of openly licensed
+outputs, not just the final film itself but all of the source material as
+well. The creative process also enhances the development of the Blender
+software because the technical team responds directly to the needs of the
+film production team, creating tools and features that make their lives
+easier. And, of course, each project involves a long, rewarding process for
+the creative and technical community working together.
+ </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>
+ </p><p>
+ Blender’s history begins in the late 1990s, when Ton created the Blender
+software. Originally, the software was an in-house resource for his
+animation studio based in the Netherlands. Investors became interested in
+the software, so he began marketing the software to the public, offering a
+free version in addition to a paid version. Sales were disappointing, and
+his investors gave up on the endeavor in the early 2000s. He made a deal
+with investors—if he could raise enough money, he could then make the
+Blender software available under the GNU General Public License.
+ </p><p>
+ This was long before Kickstarter and other online crowdfunding sites
+existed, but Ton ran his own version of a crowdfunding campaign and quickly
+raised the money he needed. The Blender software became freely available for
+anyone to use. Simply applying the General Public License to the software,
+however, was not enough to create a thriving community around it. Francesco
+told us, <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>
+ </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
+steward the software development and maintenance.
+ </p><p>
+ After a few years, Ton began looking for new ways to push development of the
+software. He came up with the idea of creating CC-licensed films using the
+Blender software. Ton put a call online for all interested and skilled
+artists. Francesco said the idea was to get the best artists available, put
+them in a building together with the best developers, and have them work
+together. They would not only produce high-quality openly licensed content,
+they would improve the Blender software in the process.
+ </p><p>
+ 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
+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 film, Big Buck Bunny, went viral,
+and its animated characters were picked up by marketers.
+ </p><p>
+ Francesco said that, over time, the Blender Institute projects have gotten
+bigger and more prominent. That means the filmmaking process has become more
+complex, combining technical experts and artists who focus on
+storytelling. Francesco says the process is almost on an industrial scale
+because of the number of moving parts. This requires a lot of specialized
+assistance, but the Blender Institute has no problem finding the talent it
+needs to help on projects. <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.
+ </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>
+ </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. All of the assets are available under an
+Attribution license (CC BY) or placed in the public domain (CC0), but they
+are initially made available only to subscribers. Blender Cloud enables
+subscribers to follow Blender’s movie projects as they develop, sharing
+detailed information and content used in the creative process. Blender Cloud
+also has extensive training materials and libraries of characters and other
+assets used in various projects.
+ </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>
+ </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
+toward software development and maintenance. The revenue streams of the
+Institute and Foundation are deliberately kept separate. Blender also has
+other revenue streams, such as the Blender Store, where people can purchase
+DVDs, T-shirts, and other Blender products.
+ </p><p>
+ Ton has worked on projects relating to his Blender software for nearly
+twenty years. Throughout most of that time, he has been committed to making
+the software and the content produced with the software free and
+open. Selling a license has never been part of the business model.
+ </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
+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
+sources, it still takes a lot of talent, skills, time, and budget to
+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>Capítulo 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>
+ <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+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}
+ \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.
+ </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
+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
+profit. And it works. At the time of this writing, Cards Against Humanity is
+the number-one best-selling item out of all toys and games on Amazon. There
+are official expansion packs available, and several official themed packs
+and international editions as well.
+ </p><p>
+ But Cards Against Humanity is also available for free. Anyone can download a
+digital version of the game on the Cards Against Humanity website. More than
+one million people have downloaded the game since the company began tracking
+the numbers.
+ </p><p>
+ The game is available under an Attribution-NonCommercial-ShareAlike license
+(CC BY-NC-SA). That means, in addition to copying the game, anyone can
+create new versions of the game as long as they make it available under the
+same noncommercial terms. The ability to adapt the game is like an entire
+new game unto itself.
+ </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
+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 nerdy to be invited to other parties. The game was
+a hit, so they decided to put it up online as a free PDF. People started
+asking if they could pay to have the game printed for them, and eventually
+they decided to run a Kickstarter to fund the printing. They set their
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
+released in May 2011.
+ </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.
+ </p><p>
+ 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>
+ </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
+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, 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>
+ 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>
+ </p><p>
+ 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,
+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.
+ </p><p>
+ This remarkable trust they have in their customers is what inspired their
+decision to apply a Creative Commons license to the game. Trusting your
+customers to reuse and remix your work requires a leap of faith. Cards
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
+are lines even they do not want to cross. Before applying the license, Max
+said they worried that some fans would adapt the game to include all of the
+jokes they intentionally never made because they crossed that
+line. <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
+Creative Commons license gives fans of Cards Against Humanity the freedom to
+run with the game and copy, adapt, and promote their creations openly. Today
+there are thousands of fan expansions of the game.
+ </p><p>
+ 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>
+ </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
+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.
+ </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
+it is easy to write them, but it is actually a lot of work and
+quibbling.</span>”</span>
+ </p><p>
+ That means cocreation with their fans really doesn’t work. The company has a
+submission mechanism on their website, and they get thousands of
+suggestions, but it is very rare that a submitted card is adopted. Instead,
+the eight initial creators remain the primary authors of expansion decks and
+other new products released by the company. Interestingly, the creativity of
+their customer base is really only an asset to the company once their
+original work is created and published when people make their own
+adaptations of the game.
+ </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.
+ </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 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>
+ </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
+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>Capítulo 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.
+ </p><p>
+ <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
+(universities pay membership fees to have their faculties serve as writers),
+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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Andrew Jaspan spent years as an editor of major newspapers including the
+Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
+Australia. He experienced firsthand the decline of newspapers, including the
+collapse of revenues, layoffs, and the constant pressure to reduce
+costs. After he left the Age in 2005, his concern for the future journalism
+didn’t go away. Andrew made a commitment to come up with an alternative
+model.
+ </p><p>
+ Around the time he left his job as editor of the Melbourne Age, Andrew
+wondered where citizens would get news grounded in fact and evidence rather
+than opinion or ideology. He believed there was still an appetite for
+journalism with depth and substance but was concerned about the increasing
+focus on the sensational and sexy.
+ </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
+astrophysicist, a Nobel laureate, earth scientists, economists . . . These
+were the kind of smart people he wished were more involved in informing the
+world about what is going on and correcting the errors that appear in
+media. However, they were reluctant to engage with mass media. Often,
+journalists didn’t understand what they said, or unilaterally chose what
+aspect of a story to tell, putting out a version that these people felt was
+wrong or mischaracterized. Newspapers want to attract a mass
+audience. Scholars want to communicate serious news, findings, and
+insights. It’s not a perfect match. Universities are massive repositories of
+knowledge, research, wisdom, and expertise. But a lot of that stays behind a
+wall of their own making—there are the walled garden and ivory tower
+metaphors, and in more literal terms, the paywall. Broadly speaking,
+universities are part of society but disconnected from it. They are an
+enormous public resource but not that good at presenting their expertise to
+the wider public.
+ </p><p>
+ Andrew believed he could to help connect academics back into the public
+arena, and maybe help society find solutions to big problems. He thought
+about pairing professional editors with university and research experts,
+working one-on-one to refine everything from story structure to headline,
+captions, and quotes. The editors could help turn something that is
+academic into something understandable and readable. And this would be a key
+difference from traditional journalism—the subject matter expert would get a
+chance to check the article and give final approval before it is
+published. Compare this with reporters just picking and choosing the quotes
+and writing whatever they want.
+ </p><p>
+ The people he spoke to liked this idea, and Andrew embarked on raising money
+and support with the help of the Commonwealth Scientific and Industrial
+Research Organisation (CSIRO), the University of Melbourne, Monash
+University, the University of Technology Sydney, and the University of
+Western Australia. These founding partners saw the value of an independent
+information channel that would also showcase the talent and knowledge of the
+university and research sector. With their help, in 2011, the Conversation,
+was launched as an independent news site in Australia. Everything published
+in the Conversation is openly licensed with Creative Commons.
+ </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
+quality of public discourse. The Conversation sees itself as a source of
+trusted information dedicated to the public good. Their core mission is
+simple: to provide readers with a reliable source of evidence-based
+information.
+ </p><p>
+ Andrew worked hard to reinvent a methodology for creating reliable, credible
+content. He introduced strict new working practices, a charter, and codes of
+conduct.<a href="#ftn.idm1111" class="footnote" name="idm1111"><sup class="footnote">[114]</sup></a> These include fully disclosing
+who every author is (with their relevant expertise); who is funding their
+research; and if there are any potential or real conflicts of interest. Also
+important is where the content originates, and even though it comes from the
+university and research community, it still needs to be fully disclosed. The
+Conversation does not sit behind a paywall. Andrew believes access to
+information is an issue of equality—everyone should have access, like access
+to clean water. The Conversation is committed to an open and free
+Internet. Everyone should have free access to their content, and be able to
+share it or republish it.
+ </p><p>
+ Creative Commons help with these goals; articles are published with the
+Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+others to republish elsewhere as long as attribution is given and the
+content is not edited. Over five years, more than twenty-two thousand sites
+have republished their content. The Conversation website gets about 2.9
+million unique views per month, but through republication they have
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
+to everything the Conversation does.
+ </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 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
+company it should be. It quickly became clear to the founders of the
+Conversation that they wanted to create a public good rather than make money
+off of information. Most media companies are working to aggregate as many
+eyeballs as possible and sell ads. The Conversation founders didn’t want
+this model. It takes no advertising and is a not-for-profit venture.
+ </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
+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,
+corporates, institutions, and individual donations, but the Conversation is
+shifting toward paid memberships by universities and research institutions
+to sustain operations. This would safeguard the current service and help
+improve coverage and features.
+ </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.
+ </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
+get access to a large audience. Every author and member university has
+access to a special analytics dashboard where they can check the reach of an
+article. The metrics include what people are tweeting, the comments,
+countries the readership represents, where the article is being republished,
+and the number of readers per article.
+ </p><p>
+ The Conversation plans to expand the dashboard to show not just reach but
+impact. This tracks activities, behaviors, and events that occurred as a
+result of publication, including things like a scholar being asked to go on
+a show to discuss their piece, give a talk at a conference, collaborate,
+submit a journal paper, and consult a company on a topic.
+ </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.
+ </p><p>
+ 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 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.idm1111" class="footnote"><p><a href="#idm1111" 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>Capítulo 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}
+ \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
+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>
+ </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
+sharing it.
+ </p><p>
+ He is a science fiction writer, activist, blogger, and journalist.
+Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
+his work has been published under a Creative Commons license. Cory is
+coeditor of the popular CC-licensed site Boing Boing, where he writes about
+technology, politics, and intellectual property. He has also written several
+nonfiction books, including the most recent Information Doesn’t Want to Be
+Free, about the ways in which creators can make a living in the Internet
+age.
+ </p><p>
+ Cory primarily makes money by selling physical books, but he also takes on
+paid speaking gigs and is experimenting with pay-what-you-want models for
+his work.
+ </p><p>
+ While Cory’s extensive body of fiction work has a large following, he is
+just as well known for his activism. He is an outspoken opponent of
+restrictive copyright and digital-rights-management (DRM) technology used to
+lock up content because he thinks both undermine creators and the public
+interest. He is currently a special adviser at the Electronic Frontier
+Foundation, where he is involved in a lawsuit challenging the U.S. law that
+protects DRM. Cory says his political work doesn’t directly make him money,
+but if he gave it up, he thinks he would lose credibility and, more
+importantly, lose the drive that propels him to create. <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
+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
+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 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
+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.
+ </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
+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
+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>
+ </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
+book to break even. People often said he was only able to use CC licenses
+successfully at that time because he was just starting out. Now they say he
+can only do it because he is an established author.
+ </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
+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 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 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 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>
+ </p><p>
+ His first book was published under the most restrictive Creative Commons
+license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
+verbatim copying for noncommercial purposes. His later work is published
+under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
+gives people the right to adapt his work for noncommercial purposes but only
+if they share it back under the same license terms. Before releasing his
+work under a CC license that allows adaptations, he always sells the right
+to translate the book to other languages to a commercial publisher first. He
+wants to reach new potential buyers in other parts of the world, and he
+thinks it is more difficult to get people to pay for translations if there
+are fan translations already available for free.
+ </p><p>
+ 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
+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>
+ </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
+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>
+ </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
+continually looks for ways to reach his audience without relying upon major
+platforms that will try to take control over his work.
+ </p><p>
+ Cory says his e-book sales have been lower than those of his competitors,
+and he attributes some of that to the CC license making the work available
+for free. But he believes people are willing to pay for content they like,
+even when it is available for free, as long as it is easy to do. He was
+extremely successful using Humble Bundle, a platform that allows people to
+pay what they want for DRM-free versions of a bundle of a particular
+creator’s work. He is planning to try his own pay-what-you-want experiment
+soon.
+ </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
+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>
+ </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>
+ </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>Capítulo 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.
+ </p><p>
+ <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
+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}
+ \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
+improved dissemination, discoverability, and reusability of scholarly
+research. Figshare is a repository where users can make all the output of
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
+file format, which can then be previewed in a Web browser. Research output
+is disseminated in a way that the current scholarly-publishing model does
+not allow.
+ </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
+trusted? Answers have evolved over time.
+ </p><p>
+ Mark traces the origins of Figshare back to when he was a graduate student
+getting his PhD in stem cell biology. His research involved working with
+videos of stem cells in motion. However, when he went to publish his
+research, there was no way for him to also publish the videos, figures,
+graphs, and data sets. This was frustrating. Mark believed publishing his
+complete research would lead to more citations and be better for his career.
+ </p><p>
+ Mark does not consider himself an advanced software programmer.
+Fortunately, things like cloud-based computing and wikis had become
+mainstream, and he believed it ought to be possible to put all his research
+online and share it with anyone. So he began working on a solution.
+ </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
+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
+a series of numbers in the DOI name. Referring to an object by its DOI is
+more stable than referring to it by its URL, because the location of an
+object (the web page or URL) can often change. Mark partnered with DataCite
+for the provision of DOIs for research data.
+ </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
+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>
+ So Mark began using DOIs and Creative Commons for his own research work. He
+had a science blog where he wrote about it and made all his data
+open. People started commenting on his blog that they wanted to do the
+same. So he opened it up for them to use, too.
+ </p><p>
+ People liked the interface and simple upload process. People started asking
+if they could also share theses, grant proposals, and code. Inclusion of
+code raised new licensing issues, as Creative Commons licenses are not used
+for software. To allow the sharing of software code, Mark chose the MIT
+license, but GNU and Apache licenses can also be used.
+ </p><p>
+ Mark sought investment to make this into a scalable product. After a few
+unsuccessful funding pitches, UK-based Digital Science expressed interest
+but insisted on a more viable business model. They made an initial
+investment, and together they came up with a freemium-like business model.
+ </p><p>
+ Under the freemium model, academics upload their research to Figshare for
+storage and sharing for free. Each research object is licensed with Creative
+Commons and receives a DOI link. The premium option charges researchers a
+fee for gigabytes of private storage space, and for private online space
+designed for a set number of research collaborators, which is ideal for
+larger teams and geographically dispersed research groups. Figshare sums up
+its value proposition to researchers as <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
+Figshare. For example, researchers could quickly preview their research
+files within a browser without having to download them first or require
+third-party software. Journals who were still largely publishing articles as
+static noninteractive PDFs became interested in having Figshare provide that
+functionality for them.
+ </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 quality of the
+articles. Outsourcing this service to Figshare freed publishers from having
+to develop this functionality as part of their own
+infrastructure. Figshare-hosted data also provides a link back to the
+article, generating additional click-through and readership—a benefit to
+both journal publishers and researchers. Figshare now provides
+research-data infrastructure for a wide variety of publishers including
+Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
+convinced them to use Creative Commons licenses for the data.
+ </p><p>
+ Governments allocate significant public funds to research. In parallel with
+the launch of Figshare, governments around the world began requesting the
+research they fund be open and accessible. They mandated that researchers
+and academic institutions better manage and disseminate their research
+outputs. Institutions looking to comply with this new mandate became
+interested in Figshare. Figshare once again diversified its business model,
+adding services for institutions.
+ </p><p>
+ Figshare now offers a range of fee-based services to institutions, including
+their own minibranded Figshare space (called Figshare for Institutions) that
+securely hosts research data of institutions in the cloud. Services include
+not just hosting but data metrics, data dissemination, and user-group
+administration. Figshare’s workflow, and the services they offer for
+institutions, take into account the needs of librarians and administrators,
+as well as of the researchers.
+ </p><p>
+ As with researchers and publishers, Fig-share encouraged institutions to
+share their research with CC BY (Attribution) and their data with CC0 (into
+the public domain). Funders who require researchers and institutions to use
+open licensing believe in the social responsibilities and benefits of making
+research accessible to all. Publishing research in this open way has come to
+be called open access. But not all funders specify CC BY; some institutions
+want to offer their researchers a choice, including less permissive licenses
+like CC BY-NC (Attribution-NonCommercial), CC BY-SA
+(Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
+ </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
+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.
+ </p><p>
+ Mark is thinking of doing a Figshare study that tracks research
+dissemination according to Creative Commons license, and gathering metrics
+on views, citations, and downloads. You could see which license generates
+the biggest impact. If the data showed that CC BY is more impactful, Mark
+believes more and more researchers and institutions will make it their
+license of choice.
+ </p><p>
+ Figshare has an Application Programming Interface (API) that makes it
+possible for data to be pulled from Figshare and used in other
+applications. As an example, Mark shared a Figshare data set showing the
+journal subscriptions that higher-education institutions in the United
+Kingdom paid to ten major publishers.<a href="#ftn.idm1219" class="footnote" name="idm1219"><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.idm1222" class="footnote" name="idm1222"><sup class="footnote">[116]</sup></a>
+ </p><p>
+ The free version of Figshare has built a community of academics, who through
+word of mouth and presentations have promoted and spread awareness of
+Figshare. To amplify and reward the community, Figshare established an
+Advisor program, providing those who promoted Figshare with hoodies and
+T-shirts, early access to new features, and travel expenses when they gave
+presentations outside of their area. These Advisors also helped Mark on what
+license to use for software code and whether to offer universities an option
+of using Creative Commons licenses.
+ </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 offers a comprehensive set of
+services to researchers, publishers, and institutions.<a href="#ftn.idm1227" class="footnote" name="idm1227"><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 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
+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
+the free service free and requiring the use of CC BY and CC0 from the
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
+sees new competitors coming forward who are just in it for money. If
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
+differentiator. Going forward, Mark sees Figshare not only as supporting
+open access to research but also enabling people to collaborate and make new
+discoveries.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1219" class="footnote"><p><a href="#idm1219" 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.idm1222" class="footnote"><p><a href="#idm1222" 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.idm1227" class="footnote"><p><a href="#idm1227" 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>Capítulo 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>
+ <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
+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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In the paper Harnessing the Economic and Social Power of Data presented at
+the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1246" class="footnote" name="idm1246"><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
+their families, their communities, their businesses, and their country. But
+there’s a big difference between availability and accessibility of
+information. Data is spread across thousands of sites and is held within
+databases and spreadsheets that require both time and skill to engage
+with. To use data when making a decision, you have to know what specific
+question to ask, identify a source that has collected the data, and
+manipulate complex tools to extract and visualize the information within the
+data set. Lillian established Figure.NZ to make data truly accessible to
+all, with a specific focus on New Zealand.
+ </p><p>
+ Lillian had the idea for Figure.NZ in February 2012 while working for the
+New Zealand Institute, a think tank concerned with improving economic
+prosperity, social well-being, environmental quality, and environmental
+productivity for New Zealand and New Zealanders. While giving talks to
+community and business groups, Lillian realized <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
+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
+could be easily understood and freely accessed. Initially launched as Wiki
+New Zealand, the original idea was that people could contribute their data
+and visuals via a wiki. However, few people had graphs that could be used
+and shared, and there were no standards or consistency around the data and
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+process of data aggregation, curation, and visual presentation in-house, and
+invested in the technology to help automate some of it. Wiki New Zealand
+became Figure.NZ, and efforts were reoriented toward providing services to
+those wanting to open their data and present it visually.
+ </p><p>
+ Here’s how it works. Figure.NZ sources data from other organizations,
+including corporations, public repositories, government departments, and
+academics. Figure.NZ imports and extracts that data, and then validates and
+standardizes it—all with a strong eye on what will be best for users. They
+then make the data available in a series of standardized forms, both human-
+and machine-readable, with rich metadata about the sources, the licenses,
+and data types. Figure.NZ has a chart-designing tool that makes simple bar,
+line, and area graphs from any data source. The graphs are posted to the
+Figure.NZ website, and they can also be exported in a variety of formats for
+print or online use. Figure.NZ makes its data and graphs available using
+the Attribution (CC BY) license. This allows others to reuse, revise, remix,
+and redistribute Figure.NZ data and graphs as long as they give attribution
+to the original source and to Figure.NZ.
+ </p><p>
+ Lillian characterizes the initial decision to use Creative Commons as
+naively fortunate. It was first recommended to her by a colleague. Lillian
+spent time looking at what Creative Commons offered and thought it looked
+good, was clear, and made common sense. It was easy to use and easy for
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
+an open-access and licensing framework called NZGOAL, which provides
+guidance for agencies when they release copyrighted and noncopyrighted work
+and material.<a href="#ftn.idm1254" class="footnote" name="idm1254"><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.
+ </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
+will see new and different models for business. Figure.NZ is set up as a
+nonprofit charity. It is purpose-driven but also strives to pay people well
+and thinks like a business. Lillian sees the charity-nonprofit status as an
+essential element for the mission and purpose of Figure.NZ. She believes
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+nonprofit status assures people who have data and people who want to use it
+that they can rely on Figure.NZ’s motives. People see them as a trusted
+wrangler and source.
+ </p><p>
+ Although Figure.NZ is a social enterprise that openly licenses their data
+and graphs for everyone to use for free, they have taken care not to be
+perceived as a free service all around the table. Lillian believes hundreds
+of millions of dollars are spent by the government and organizations to
+collect data. However, very little money is spent on taking that data and
+making it accessible, understandable, and useful for decision making.
+Government uses some of the data for policy, but Lillian believes that it is
+underutilized and the potential value is much larger. Figure.NZ is focused
+on solving that problem. They believe a portion of money allocated to
+collecting data should go into making sure that data is useful and generates
+value. If the government wants citizens to understand why certain decisions
+are being made and to be more aware about what the government is doing, why
+not transform the data it collects into easily understood visuals? It could
+even become a way for a government or any organization to differentiate,
+market, and brand itself.
+ </p><p>
+ Figure.NZ spends a lot of time seeking to understand the motivations of data
+collectors and to identify the channels where it can provide value. Every
+part of their business model has been focused on who is going to get value
+from the data and visuals.
+ </p><p>
+ Figure.NZ has multiple lines of business. They provide commercial services
+to organizations that want their data publicly available and want to use
+Figure.NZ as their publishing platform. People who want to publish open data
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+they can. Customers are encouraged to help their users find, use, and make
+things from the data they make available on Figure.NZ’s website. Customers
+control what is released and the license terms (although Figure.NZ
+encourages Creative Commons licensing). Figure.NZ also serves customers who
+want a specific collection of charts created—for example, for their website
+or annual report. Charging the organizations that want to make their data
+available enables Figure.NZ to provide their site free to all users, to
+truly democratize data.
+ </p><p>
+ Lillian notes that the current state of most data is terrible and often not
+well understood by the people who have it. This sometimes makes it difficult
+for customers and Figure.NZ to figure out what it would cost to import,
+standardize, and display that data in a useful way. To deal with this,
+Figure.NZ uses <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
+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
+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.idm1264" class="footnote" name="idm1264"><sup class="footnote">[120]</sup></a>
+ </p><p>
+ Figure.NZ also has patrons.<a href="#ftn.idm1268" class="footnote" name="idm1268"><sup class="footnote">[121]</sup></a> Patrons
+donate to topic areas they care about, directly enabling Figure.NZ to get
+data together to flesh out those areas. Patrons do not direct what data is
+included or excluded.
+ </p><p>
+ Figure.NZ also accepts philanthropic donations, which are used to provide
+more content, extend technology, and improve services, or are targeted to
+fund a specific effort or provide in-kind support. As a charity, donations
+are tax deductible.
+ </p><p>
+ Figure.NZ has morphed and grown over time. With data aggregation, curation,
+and visualizing services all in-house, Figure.NZ has developed a deep
+expertise in taking random styles of data, standardizing it, and making it
+useful. Lillian realized that Figure.NZ could easily become a warehouse of
+seventy people doing data. But for Lillian, growth isn’t always good. In her
+view, bigger often means less effective. Lillian set artificial constraints
+on growth, forcing the organization to think differently and be more
+efficient. Rather than in-house growth, they are growing and building
+external relationships.
+ </p><p>
+ Figure.NZ’s website displays visuals and data associated with a wide range
+of categories including crime, economy, education, employment, energy,
+environment, health, information and communications technology, industry,
+tourism, and many others. A search function helps users find tables and
+graphs. Figure.NZ does not provide analysis or interpretation of the data or
+visuals. Their goal is to teach people how to think, not think for them.
+Figure.NZ wants to create intuitive experiences, not user manuals.
+ </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
+users of their website want. They also get requests from social media and
+through email for them to share data for a specific topic—for example, can
+you share data for water quality? If they have the data, they respond
+quickly; if they don’t, they try and identify the organizations that would
+have that data and forge a relationship so they can be included on
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+people to be curious about, access, and interpret data on topics they are
+interested in.
+ </p><p>
+ Lillian has a deep and profound vision for Figure.NZ that goes well beyond
+simply providing open-data services. She says things are different now. "We
+used to live in a world where it was really hard to share information
+widely. And in that world, the best future was created by having a few great
+leaders who essentially had access to the information and made decisions on
+behalf of others, whether it was on behalf of a country or companies.
+ </p><p>
+ "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 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
+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
+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
+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>
+ </p><p>
+ 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
+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.idm1246" class="footnote"><p><a href="#idm1246" 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.idm1254" class="footnote"><p><a href="#idm1254" 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.idm1264" class="footnote"><p><a href="#idm1264" 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.idm1268" class="footnote"><p><a href="#idm1268" 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>Capítulo 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>
+ <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
+ </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}
+ \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
+innovation in the publishing industry for nearly forty years. She founded
+the UK-based Knowledge Unlatched with a mission to enable open access to
+scholarly books. For Frances, the current scholarly- book-publishing system
+is not working for anyone, and especially not for monographs in the
+humanities and social sciences. Knowledge Unlatched is committed to changing
+this and has been working with libraries to create a sustainable alternative
+model for publishing scholarly books, sharing the cost of making monographs
+(released under a Creative Commons license) and savings costs over the long
+term. Since its launch, Knowledge Unlatched has received several awards,
+including the IFLA/Brill Open Access award in 2014 and a Curtin University
+Commercial Innovation Award for Innovation in Education in 2015.
+ </p><p>
+ 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.
+ </p><p>
+ Not long after, she ran a project in Africa convincing publishers in Uganda
+and South Africa to put some of their content online for free using a
+Creative Commons license and to see what happened to print sales. Sales went
+up, not down.
+ </p><p>
+ In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
+United Kingdom, appointed her its founding publisher in London. As part of
+the launch, Frances convinced Bloomsbury to differentiate themselves by
+putting out monographs for free online under a Creative Commons license
+(BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
+Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
+cost for publishers is getting a book to the stage where it can be
+printed. If everyone read the online book for free, there would be no
+print-book sales at all, and the costs associated with getting the book to
+print would be lost. Surprisingly, Bloomsbury found that sales of the print
+versions of these books were 10 to 20 percent higher than normal. Frances
+found it intriguing that the Creative Commons–licensed free online book acts
+as a marketing vehicle for the print format.
+ </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
+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
+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
+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.
+ </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
+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
+but began talking about it and making presentations to see if there was
+interest. The more she talked about it, the more people agreed it had
+appeal. She offered a bottle of champagne to anyone who could come up with a
+good name for the idea. Her husband came up with Knowledge Unlatched, and
+after two years of generating interest, she decided to move forward and
+launch a community interest company (a UK term for not-for-profit social
+enterprises) in 2012.
+ </p><p>
+ She describes the business model in a paper called Knowledge Unlatched:
+Toward an Open and Networked Future for Academic Publishing:
+ </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
+ Publishers offer titles for sale reflecting origination costs only via
+Knowledge Unlatched.
+ </p></li><li class="listitem"><p>
+ Individual libraries select titles either as individual titles or as
+collections (as they do from library suppliers now).
+ </p></li><li class="listitem"><p>
+ Their selections are sent to Knowledge Unlatched specifying the titles to be
+purchased at the stated price(s).
+ </p></li><li class="listitem"><p>
+ The price, called a Title Fee (set by publishers and negotiated by Knowledge
+Unlatched), is paid to publishers to cover the fixed costs of publishing
+each of the titles that were selected by a minimum number of libraries to
+cover the Title Fee.
+ </p></li><li class="listitem"><p>
+ Publishers make the selected titles available Open Access (on a Creative
+Commons or similar open license) and are then paid the Title Fee which is
+the total collected from the libraries.
+ </p></li><li class="listitem"><p>
+ Publishers make print copies, e-Pub, and other digital versions of selected
+titles available to member libraries at a discount that reflects their
+contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1321" class="footnote" name="idm1321"><sup class="footnote">[122]</sup></a>
+ </p></li></ol></div><p>
+ The first round of this model resulted in a collection of twenty-eight
+current titles from thirteen recognized scholarly publishers being
+unlatched. The target was to have two hundred libraries participate. The
+cost of the package per library was capped at $1,680, which was an average
+price of sixty dollars per book, but in the end they had nearly three
+hundred libraries sharing the costs, and the price per book came in at just
+under forty-three dollars.
+ </p><p>
+ The open-access, Creative Commons versions of these twenty-eight books are
+still available online.<a href="#ftn.idm1326" class="footnote" name="idm1326"><sup class="footnote">[123]</sup></a> Most books have
+been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
+holder, not the publisher, and negotiate choice of license as part of the
+publishing agreement. Frances has found that most authors want to retain
+control over the commercial and remix use of their work. Publishers list the
+book in their catalogs, and the noncommercial restriction in the Creative
+Commons license ensures authors continue to get royalties on sales of
+physical copies.
+ </p><p>
+ There are three cost variables to consider for each round: the overall cost
+incurred by the publishers, total cost for each library to acquire all the
+books, and the individual price per book. The fee publishers charge for each
+title is a fixed charge, and Knowledge Unlatched calculates the total amount
+for all the books being unlatched at a time. The cost of an order for each
+library is capped at a maximum based on a minimum number of libraries
+participating. If the number of participating libraries exceeds the minimum,
+then the cost of the order and the price per book go down for each library.
+ </p><p>
+ The second round, recently completed, unlatched seventy-eight books from
+twenty-six publishers. For this round, Frances was experimenting with the
+size and shape of the offerings. Books were being bundled into eight small
+packages separated by subject (including Anthropology, History, Literature,
+Media and Communications, and Politics), of around ten books per package.
+Three hundred libraries around the world have to commit to at least six of
+the eight packages to enable unlatching. The average cost per book was just
+under fifty dollars. The unlatching process took roughly ten months. It
+started with a call to publishers for titles, followed by having a library
+task force select the titles, getting authors’ permissions, getting the
+libraries to pledge, billing the libraries, and finally, unlatching.
+ </p><p>
+ The longest part of the whole process is getting libraries to pledge and
+commit funds. It takes about five months, as library buy-in has to fit
+within acquisition cycles, budget cycles, and library-committee meetings.
+ </p><p>
+ Knowledge Unlatched informs and recruits libraries through social media,
+mailing lists, listservs, and library associations. Of the three hundred
+libraries that participated in the first round, 80 percent are also
+participating in the second round, and there are an additional eighty new
+libraries taking part. Knowledge Unlatched is also working not just with
+individual libraries but also library consortia, which has been getting even
+more libraries involved.
+ </p><p>
+ Knowledge Unlatched is scaling up, offering 150 new titles in the second
+half of 2016. It will also offer backlist titles, and in 2017 will start to
+make journals open access too.
+ </p><p>
+ Knowledge Unlatched deliberately chose monographs as the initial type of
+book to unlatch. Monographs are foundational and important, but also
+problematic to keep going in the standard closed publishing model.
+ </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
+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
+range from zero dollars to 5 to 10 percent of receipts. The value to the
+author is the awareness it brings to them; when their book is being read, it
+increases their reputation. Open access through unlatching generates many
+more downloads and therefore awareness. (On the Knowledge Unlatched website,
+you can find interviews with the twenty-eight round-one authors describing
+their experience and the benefits of taking part.)<a href="#ftn.idm1337" class="footnote" name="idm1337"><sup class="footnote">[124]</sup></a>
+ </p><p>
+ Library budgets are constantly being squeezed, partly due to the inflation
+of journal subscriptions. But even without budget constraints, academic
+libraries are moving away from buying physical copies. An academic library
+catalog entry is typically a URL to wherever the book is hosted. Or if they
+have enough electronic storage space, they may download the digital file
+into their digital repository. Only secondarily do they consider getting a
+print book, and if they do, they buy it separately from the digital version.
+ </p><p>
+ Knowledge Unlatched offers libraries a compelling economic argument. Many of
+the participating libraries would have bought a copy of the monograph
+anyway, but instead of paying $95 for a print copy or $150 for a digital
+multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
+the book to not just the participating libraries, but to the world.
+ </p><p>
+ Not only do the economics make sense, but there is very strong alignment
+with library mandates. The participating libraries pay less than they would
+have in the closed model, and the open-access book is available to all
+libraries. While this means nonparticipating libraries could be seen as free
+riders, in the library world, wealthy libraries are used to paying more than
+poor libraries and accept that part of their money should be spent to
+support open access. <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
+grants. In the second round, they aim to demonstrate the model is
+sustainable. Libraries and publishers will each pay a 7.5 percent service
+charge that will go toward Knowledge Unlatched’s running costs. With plans
+to scale up in future rounds, Frances figures they can fully recover costs
+when they are unlatching two hundred books at a time. Moving forward,
+Knowledge Unlatched is making investments in technology and
+processes. Future plans include unlatching journals and older books.
+ </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,
+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.idm1321" class="footnote"><p><a href="#idm1321" 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.idm1326" class="footnote"><p><a href="#idm1326" 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.idm1337" class="footnote"><p><a href="#idm1337" 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>Capítulo 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>
+ <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services, grant funding
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Cofounded by open education visionary Dr. David Wiley and
+education-technology strategist Kim Thanos, Lumen Learning is dedicated to
+improving student success, bringing new ideas to pedagogy, and making
+education more affordable by facilitating adoption of open educational
+resources. In 2012, David and Kim partnered on a grant-funded project called
+the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1361" class="footnote" name="idm1361"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
+eight colleges predominantly serving at-risk students, with goals to
+dramatically reduce textbook costs and collaborate to improve the courses to
+help students succeed. David and Kim exceeded those goals: the cost of the
+required textbooks, replaced with OER, decreased to zero dollars, and
+average student-success rates improved by 5 to 10 percent when compared with
+previous years. After a second round of funding, a total of more than
+twenty-five institutions participated in and benefited from this project. It
+was career changing for David and Kim to see the impact this initiative had
+on low-income students. David and Kim sought further funding from the Bill
+and Melinda Gates Foundation, who asked them to define a plan to scale their
+work in a financially sustainable way. That is when they decided to create
+Lumen Learning.
+ </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
+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.
+ </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
+over what to do with the revenue and investment money; they could make
+decisions to invest the funds or use them differently based on the situation
+and shifting opportunities. In the end, they chose the for-profit status,
+with its different model for and approach to sustainability.
+ </p><p>
+ Right from the start, David and Kim positioned Lumen Learning as a way to
+help institutions engage in open educational resources, or OER. OER are
+teaching, learning, and research materials, in all different media, that
+reside in the public domain or are released under an open license that
+permits free use and repurposing by others.
+ </p><p>
+ Originally, Lumen did custom contracts for each institution. This was
+complicated and challenging to manage. However, through that process
+patterns emerged which allowed them to generalize a set of approaches and
+offerings. Today they don’t customize as much as they used to, and instead
+they tend to work with customers who can use their off-the-shelf
+options. Lumen finds that institutions and faculty are generally very good
+at seeing the value Lumen brings and are willing to pay for it. Serving
+disadvantaged learner populations has led Lumen to be very pragmatic; they
+describe what they offer in quantitative terms—with facts and figures—and in
+a way that is very student-focused. Lumen Learning helps colleges and
+universities—
+ </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;
+ </p></li><li class="listitem"><p>
+ measure improvements in student success with metrics like passing rates,
+persistence, and course completion; and
+ </p></li><li class="listitem"><p>
+ 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
+more than sixty-five subjects. All courses are freely and publicly available
+right off their website. They can be copied and used by others as long as
+they provide attribution to Lumen Learning following the terms of the
+Creative Commons license.
+ </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,
+and tracking of effectiveness. Candela courseware costs institutions ten
+dollars per enrolled student.
+ </p><p>
+ A second option is Waymaker, which offers the services of Candela but adds
+personalized learning technologies, such as study plans, automated messages,
+and assessments, and helps instructors find and support the students who
+need it most. Waymaker courses cost twenty-five dollars per enrolled
+student.
+ </p><p>
+ The third and emerging line of business for Lumen is providing guidance and
+support for institutions and state systems that are pursuing the development
+of complete OER degrees. Often called Z-Degrees, these programs eliminate
+textbook costs for students in all courses that make up the degree (both
+required and elective) by replacing commercial textbooks and other
+expensive resources with OER.
+ </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
+students. With projects they did prior to Lumen, David and Kim learned that
+students who have access to all course materials from day one have greater
+success. If students had to pay, Lumen would have to restrict access to
+those who paid. Right from the start, their stance was that they would not
+put their content behind a paywall. Lumen invests zero dollars in
+technologies and processes for restricting access—no digital rights
+management, no time bombs. While this has been a challenge from a
+business-model perspective, from an open-access perspective, it has
+generated immense goodwill in the community.
+ </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
+institution paying Lumen, but sometimes Lumen has to expand the team and
+contract faculty from other institutions. First, the faculty identifies all
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
+curates the best OER they can find that addresses those learning needs,
+which the faculty reviews.
+ </p><p>
+ Sometimes faculty like the existing OER but not the way it is presented. The
+open licensing of existing OER allows Lumen to pick and choose from images,
+videos, and other media to adapt and customize the course. Lumen creates new
+content as they discover gaps in existing OER. Test-bank items and feedback
+for students on their progress are areas where new content is frequently
+needed. Once a course is created, Lumen puts it on their platform with all
+the attributions and links to the original sources intact, and any of
+Lumen’s new content is given an Attribution (CC BY) license.
+ </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 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
+another. Some are licensed as Attribution (CC BY), others as
+Attribution-ShareAlike (CC BY-SA). If this information is put within the
+text of the course, faculty members sometimes try to edit it and students
+find it a distraction. Lumen dealt with this challenge by capturing the
+license and attribution information as metadata, and getting it to show up
+at the end of each page.
+ </p><p>
+ 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.
+ </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
+regions of the United States, watching out for things happening at the
+system level in a way that fits with what Lumen offers. A great example is
+the Virginia community college system, which is building out
+Z-Degrees. David and Kim say there are nine other U.S. states with similar
+system-level activity where Lumen is strategically focusing its
+efforts. Where there are projects that would require a lot of resources on
+Lumen’s part, they prioritize the ones that would impact the largest number
+of students.
+ </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
+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
+nonrivalrous. This represents several big challenges for the business model:
+Why should you invest in creating something that people will be reluctant to
+pay for? How do you ensure that the investment the diverse education
+community makes in OER is not exploited? Lumen thinks we all need to be
+clear about how we are benefiting from and contributing to the open
+community.
+ </p><p>
+ In the OER sector, there are examples of corporations, and even
+institutions, acting as free riders. Some simply take and use open resources
+without paying anything or contributing anything back. Others give back the
+minimum amount so they can save face. Sustainability will require those
+using open resources to give back an amount that seems fair or even give
+back something that is generous.
+ </p><p>
+ Lumen does track institutions accessing and using their free content. They
+proactively contact those institutions, with an estimate of how much their
+students are saving and encouraging them to switch to a paid model. Lumen
+explains the advantages of the paid model: a more interactive relationship
+with Lumen; integration with the institution’s learning-management system; a
+guarantee of support for faculty and students; and future sustainability
+with funding supporting the evolution and improvement of the OER they are
+using.
+ </p><p>
+ Lumen works hard to be a good corporate citizen in the OER community. For
+David and Kim, a good corporate citizen gives more than they take, adds
+unique value, and is very transparent about what they are taking from
+community, what they are giving back, and what they are monetizing. Lumen
+believes these are the building blocks of a sustainable model and strives
+for a correct balance of all these factors.
+ </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
+structure for their value-add and how to package it in a way that is
+understandable and repeatable.
+ </p><p>
+ As of the fall 2016 term, Lumen had eighty-six different open courses,
+working relationships with ninety-two institutions, and more than
+seventy-five thousand student enrollments. Lumen received early start-up
+funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
+and the Shuttleworth Foundation. Since then, Lumen has also attracted
+investment funding. Over the last three years, Lumen has been roughly 60
+percent grant funded, 20 percent revenue earned, and 20 percent funded with
+angel capital. Going forward, their strategy is to replace grant funding
+with revenue.
+ </p><p>
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
+they never imagined, and there is still a lot of learning taking place. For
+them, open business models are an emerging field where we are all learning
+through sharing. Their biggest recommendations for others wanting to pursue
+the open model are to make your commitment to open resources public, let
+people know where you stand, and don’t back away from it. It really is about
+trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1361" class="footnote"><p><a href="#idm1361" 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>Capítulo 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.
+ </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}
+ \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
+money. The bulk of his income comes from writing songs under commission for
+people and companies, but he has a wide variety of income sources. He has
+supporters on the crowdfunding site Patreon. He gets advertising revenue
+from YouTube and Bandcamp, where he posts all of his music. He gives paid
+speaking engagements about creativity and motivation. He has been hired by
+major conferences to write songs summarizing what speakers have said in the
+conference sessions.
+ </p><p>
+ His entrepreneurial spirit is coupled with a willingness to take action
+quickly. A perfect illustration of his ability to act fast happened in 2010,
+when he read that Apple was having a conference the following day to address
+a snafu related to the iPhone 4. He decided to write and post a song about
+the iPhone 4 that day, and the next day he got a call from the public
+relations people at Apple wanting to use and promote his video at the Apple
+conference. The song then went viral, and the experience landed him in Time
+magazine.
+ </p><p>
+ 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>
+ </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
+supposed to create a piece of art every day for thirty-one days straight. He
+was in need of a new project, so he decided to give it a try by writing and
+posting a song each day. He added a video component to the songs because he
+knew people were more likely to watch video online than simply listening to
+audio files.
+ </p><p>
+ He had a really good time doing the thirty-one-day challenge, so he decided
+to see if he could continue it for one year. He never stopped. He has
+written and posted a new song literally every day, seven days a week, since
+he began the project in 2009. When he isn’t writing songs that he is hired
+to write by clients, he writes songs about whatever is on his mind that
+day. His songs are catchy and mostly lighthearted, but they often contain at
+least an undercurrent of a deeper theme or meaning. Occasionally, they are
+extremely personal, like the song he cowrote with his exgirlfriend
+announcing their breakup. Rain or shine, in sickness or health, Jonathan
+posts and writes a song every day. If he is on a flight or otherwise
+incapable of getting Internet access in time to meet the deadline, he will
+prepare ahead and have someone else post the song for him.
+ </p><p>
+ Over time, the song-a-day gig became the basis of his livelihood. In the
+beginning, he made money one of two ways. The first was by entering a wide
+variety of contests and winning a handful. The second was by having the
+occasional song and video go some varying degree of viral, which would bring
+more eyeballs and mean that there were more people wanting him to write
+songs for them. Today he earns most of his money this way.
+ </p><p>
+ 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
+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,
+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
+sense. It seems like such an obvious thing that you would want your work to
+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>
+ </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
+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 process of creating a secure password in a silly, simple
+song. He was hired to write the song by a client who handed him a long
+technical blog post from which to draw the information. Like a good (and
+rare) journalist, he translated the technical concepts into something
+understandable.
+ </p><p>
+ When he is hired by a client to write a song, he first asks them to send a
+list of talking points and other information they want to include in the
+song. He puts all of that into a text file and starts moving things around,
+cutting and pasting until the message starts to come together. The first
+thing he tries to do is grok the core message and develop the chorus. Then
+he looks for connections or parts he can make rhyme. The entire process
+really does resemble good journalism, but of course the final product of his
+work is a song rather than news. <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
+business model is about capitalizing on his strengths as a songwriter, and
+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
+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
+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
+grit. Conventional wisdom about creative productivity, including advice in
+books like the best-seller The Creative Habit by Twyla Tharp, routinely
+emphasizes the importance of ritual and action. No amount of planning can
+replace the value of simple practice and just doing. Jonathan Mann’s work is
+a living embodiment of these principles.
+ </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.
+ </p><p>
+ Jonathan seems to have this mentality about his career more generally. He is
+constantly experimenting with ways to make a living while sharing his work
+as widely as possible, seeing what sticks. While he has major
+accomplishments he is proud of, like being in the Guinness World Records or
+having his song used by Steve Jobs, he says he never truly feels successful.
+ </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>Capítulo 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.
+ </p><p>
+ <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
+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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The Noun Project creates and shares visual language. There are millions who
+use Noun Project symbols to simplify communication 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 always done a lot
+of sketches and started to draw what used to fascinate him as a child, like
+trains, sequoias, and bulldozers. He began thinking how great it would be
+if he had a simple image or small icon of every single object or concept on
+the planet.
+ </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
+provide them. Perhaps his idea for creating a library of icons could
+actually help people in similar situations.
+ </p><p>
+ With his partner, Sofya Polyakov, he began collecting symbols for a website
+and writing a business plan. Inspiration came from the book Professor and
+the Madman, which chronicles the use of crowdsourcing to create the Oxford
+English Dictionary in 1870. Edward began to imagine crowdsourcing icons and
+symbols from volunteer designers around the world.
+ </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.idm1464" class="footnote" name="idm1464"><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.
+ </p><p>
+ 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.
+ </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 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
+Radical Price, which introduced Edward to the idea that you could build a
+business model around free content.
+ </p><p>
+ Edward knew he wanted to offer a free visual language while still providing
+some protection and reward for its contributors. There is a tension between
+those two goals, but for Edward, Creative Commons licenses bring this
+idealism and business opportunity together elegantly. He chose the
+Attribution (CC BY) license, which means people can download the icons for
+free and modify them and even use them commercially. The requirement to give
+attribution to the original creator ensures that the creator can build a
+reputation and get global recognition for their work. And if they simply
+want to offer an icon that people can use without having to give credit,
+they can use CC0 to put the work into the public domain.
+ </p><p>
+ 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>
+ </p><p>
+ 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
+subscription component, where there would be a monthly fee to access a
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
+similar icons to see which worked best before eventually choosing the one
+they wanted to use. So the Noun Project moved to an unlimited model, whereby
+users have unlimited access to the whole library for a flat monthly
+fee. This service is called NounPro and costs $9.99 per month. Edward says
+this model is working well—good for customers, good for creators, and good
+for the platform.
+ </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 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 with your application, but full
+implementation will require you to purchase the API Pro version.
+ </p><p>
+ The Noun Project shares revenue with its international designers. For
+one-off purchases, the revenue is split 70 percent to the designer and 30
+percent to Noun Project.
+ </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
+for that month. For each download, the revenue is split 40 percent to the
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
+providing more service to the user.
+ </p><p>
+ The Noun Project tries to be completely transparent about their royalty
+structure.<a href="#ftn.idm1481" class="footnote" name="idm1481"><sup class="footnote">[127]</sup></a> They tend to over
+communicate with creators about it because building trust is the top
+priority.
+ </p><p>
+ For most creators, contributing to the Noun Project is not a full-time job
+but something they do on the side. Edward categorizes monthly earnings for
+creators into three broad categories: enough money to buy beer; enough to
+pay the bills; and most successful of all, enough to pay the rent.
+ </p><p>
+ Recently the Noun Project launched a new app called Lingo. Designers can
+use Lingo to organize not just their Noun Project icons and symbols but also
+their photos, illustrations, UX designs, et cetera. You simply drag any
+visual item directly into Lingo to save it. Lingo also works for teams so
+people can share visuals with each other and search across their combined
+collections. Lingo is free for personal use. A pro version for $9.99 per
+month lets you add guests. A team version for $49.95 per month allows up to
+twenty-five team members to collaborate, and to view, use, edit, and add new
+assets to each other’s collections. And if you subscribe to NounPro, you
+can access Noun Project from within Lingo.
+ </p><p>
+ The Noun Project gives a ton of value away for free. A very large percentage
+of their roughly one million members have a free account, but there are
+still lots of paid accounts coming from digital designers, advertising and
+design agencies, educators, and others who need to communicate ideas
+visually.
+ </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 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
+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
+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
+community around your product or your business. They are going to go to bat
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
+building a great community and tapping into a really awesome community that
+comes with it. But you need to continue to foster that community through
+other initiatives and continue to nurture it.</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 features their full collection. Users can also
+search the icons by the creator’s name.
+ </p><p>
+ The Noun Project also builds community through Iconathons—hackathons for
+icons.<a href="#ftn.idm1495" class="footnote" name="idm1495"><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. The
+results are vectorized, and added to the Noun Project using 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 build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
+creating services and content that are a strategic mix of free and paid
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
+been key to that goal.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1464" class="footnote"><p><a href="#idm1464" 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.idm1481" class="footnote"><p><a href="#idm1481" 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.idm1495" class="footnote"><p><a href="#idm1495" 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>Capítulo 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>
+ <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
+funding, charging for custom services, donations
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
+London-based Open Data Institute (ODI) offers data-related training, events,
+consulting services, and research. For ODI, Creative Commons licenses are
+central to making their own business model and their customers’ open. CC BY
+(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
+public domain) all play a critical role in ODI’s mission to help people
+around the world innovate with data.
+ </p><p>
+ Data underpins planning and decision making across all aspects of
+society. Weather data helps farmers know when to plant their crops, flight
+time data from airplane companies helps us plan our travel, data on local
+housing informs city planning. When this data is not only accurate and
+timely, but open and accessible, it opens up new possibilities. Open data
+can be a resource businesses use to build new products and services. It can
+help governments measure progress, improve efficiency, and target
+investments. It can help citizens improve their lives by better
+understanding what is happening around them.
+ </p><p>
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
+vision to establish itself as a world-leading center and to research and be
+innovative with the opportunities created by the UK government’s open data
+policy. (The government was an early pioneer in open policy and open-data
+initiatives.) It goes on to say that the ODI wants to—
+ </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;
+ </p></li><li class="listitem"><p>
+ develop the economic benefits case and business models for open data;
+ </p></li><li class="listitem"><p>
+ help UK businesses use open data; and
+ </p></li><li class="listitem"><p>
+ show how open data can improve public services.<a href="#ftn.idm1524" class="footnote" name="idm1524"><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
+revenue.
+ </p><p>
+ 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
+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
+establishes some stability, but also keeps them motivated to go out and
+generate these matching funds in response to market needs.
+ </p><p>
+ On the commercial side, ODI generates funding through memberships, training,
+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
+on ODI training courses and the annual summit, and they can display an
+ODI-supporter badge on their website. Commercial membership is divided into
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
+members have greater opportunities to connect and collaborate, explore the
+benefits of open data, and unlock new business opportunities. (All members
+are listed on their website.)<a href="#ftn.idm1534" class="footnote" name="idm1534"><sup class="footnote">[130]</sup></a>
+ </p><p>
+ ODI provides standardized open data training courses in which anyone can
+enroll. The initial idea was to offer an intensive and academically oriented
+diploma in open data, but it quickly became clear there was no market for
+that. Instead, they offered a five-day-long public training course, which
+has subsequently been reduced to three days; now the most popular course is
+one day long. The fee, in addition to the time commitment, can be a barrier
+for participation. Jeni says, <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>
+ ODI customizes training for clients as well, for which there is more
+demand. Custom training usually emerges through an established relationship
+with an organization. The training program is based on a definition of
+open-data knowledge as applicable to the organization and on the skills
+needed by their high-level executives, management, and technical staff. The
+training tends to generate high interest and commitment.
+ </p><p>
+ Education about open data is also a part of ODI’s annual summit event, where
+curated presentations and speakers showcase the work of ODI and its members
+across the entire ecosystem. Tickets to the summit are available to the
+public, and hundreds of people and organizations attend and participate. In
+2014, there were four thematic tracks and over 750 attendees.
+ </p><p>
+ In addition to memberships and training, ODI provides advisory services to
+help with technical-data support, technology development, change management,
+policies, and other areas. ODI has advised large commercial organizations,
+small businesses, and international governments; the focus at the moment is
+on government, but ODI is working to shift more toward commercial
+organizations.
+ </p><p>
+ On the commercial side, the following value propositions seem to resonate:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ Data-driven insights. Businesses need data from outside their business to
+get more insight. Businesses can generate value and more effectively pursue
+their own goals if they open up their own data too. Big data is a hot topic.
+ </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 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.
+ </p></li><li class="listitem"><p>
+ Corporate social responsibility. While this resonates with businesses, ODI
+cautions against having it be the sole reason for making data open. If a
+business is just thinking about open data as a way to be transparent and
+accountable, they can miss out on efficiencies and opportunities.
+ </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
+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>
+ </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
+but are part of the global network. Each ODI node adopts the charter, a set
+of guiding principles and rules under which ODI operates. They develop and
+deliver training, connect people and businesses through membership and
+events, and communicate open-data stories from their part of the
+world. There are twenty-seven different nodes across nineteen countries. ODI
+nodes are charged a small fee to be part of the network and to use the
+brand.
+ </p><p>
+ ODI also runs programs to help start-ups in the UK and across Europe develop
+a sustainable business around open data, offering mentoring, advice,
+training, and even office space.<a href="#ftn.idm1554" class="footnote" name="idm1554"><sup class="footnote">[131]</sup></a>
+ </p><p>
+ A big part of ODI’s business model revolves around community
+building. Memberships, training, summits, consulting services, nodes, and
+start-up programs create an ever-growing network of open-data users and
+leaders. (In fact, ODI even operates something called an Open Data Leaders
+Network.) For ODI, community is key to success. They devote significant time
+and effort to build it, not just online but through face-to-face events.
+ </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
+globally recognized mark that signals that their open data is useful,
+reliable, accessible, discoverable, and supported.<a href="#ftn.idm1560" class="footnote" name="idm1560"><sup class="footnote">[132]</sup></a>
+ </p><p>
+ Separate from commercial activities, the ODI generates funding through
+research grants. Research includes looking at evidence on the impact of open
+data, development of open-data tools and standards, and how to deploy open
+data at scale.
+ </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.
+ </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 world so they can innovate with
+data. Disseminating stories, research, guidance, and code under an open
+license is essential for achieving that mission. It also demonstrates that
+it is perfectly possible to generate sustainable revenue streams that do not
+rely on restrictive licensing of content, data, or code. People pay to have
+ODI experts provide training to them, not for the content of the training;
+people pay for the advice ODI gives them, not for the methodologies they
+use. Producing open content, data, and source code helps establish
+credibility and creates leads for the paid services that they
+offer. According to Jeni, <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
+are a few metrics as of April 27, 2016:
+ </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
+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
+ </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 Open Data Certificates created: 151,000
+ </p></li><li class="listitem"><p>
+ Total number of people trained by ODI and its nodes since ODI began:
+5,080<a href="#ftn.idm1582" class="footnote" name="idm1582"><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.idm1524" class="footnote"><p><a href="#idm1524" 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.idm1534" class="footnote"><p><a href="#idm1534" 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.idm1554" class="footnote"><p><a href="#idm1554" 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.idm1560" class="footnote"><p><a href="#idm1560" 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.idm1582" class="footnote"><p><a href="#idm1582" 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>Capítulo 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>
+ <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Opendesk is an online platform that connects furniture designers around the
+world not just with customers but also with local registered makers who
+bring the designs to life. Opendesk and the designer receive a portion of
+every sale that is made by a maker.
+ </p><p>
+ Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
+architects together. They also made goods. Their first client was Mint
+Digital, who had an interest in open licensing. Nick and Joni were exploring
+digital fabrication, and Mint’s interest in open licensing got them to
+thinking how the open-source world may interact and apply to physical
+goods. They sought to design something for their client that was also
+reproducible. As they put it, they decided to <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 ultimately went on separate paths,
+with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
+company.
+ </p><p>
+ When Nick and Joni set out to create Opendesk, there were a lot of questions
+about the viability of distributed manufacturing. No one was doing it in a
+way that was even close to realistic or competitive. The design community
+had the intent, but fulfilling this vision was still a long way away.
+ </p><p>
+ And now this sector is emerging, and Nick and Joni are highly interested in
+the commercialization aspects of it. As part of coming up with a business
+model, they began investigating intellectual property and licensing
+options. It was a thorny space, especially for designs. Just what aspect of
+a design is copyrightable? What is patentable? How can allowing for digital
+sharing and distribution be balanced against the designer’s desire to still
+hold ownership? In the end, they decided there was no need to reinvent the
+wheel and settled on using Creative Commons.
+ </p><p>
+ When designing the Opendesk system, they had two goals. They wanted anyone,
+anywhere in the world, to be able to download designs so that they could be
+made locally, and they wanted a viable model that benefited designers when
+their designs were sold. Coming up with a business model was going to be
+complex.
+ </p><p>
+ 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 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 designers.<a href="#ftn.idm1608" class="footnote" name="idm1608"><sup class="footnote">[134]</sup></a>
+ </p><p>
+ While designers are largely OK with personal sharing, there is a concern
+that someone will take the design and manufacture the furniture in bulk,
+with the designer not getting any benefits. So most Opendesk designers
+choose the Attribution-NonCommercial license (CC BY-NC).
+ </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
+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
+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
+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
+hundreds of makers in countries all around the world.<a href="#ftn.idm1615" class="footnote" name="idm1615"><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:
+ </p><p>
+ When customers buy an Opendesk product directly from a registered maker,
+they pay:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ the manufacturing cost as set by the maker (this covers material and labour
+costs for the product to be manufactured and any extra assembly costs
+charged by the maker)
+ </p></li><li class="listitem"><p>
+ a design fee for the designer (a design fee that is paid to the designer
+every time their design is used)
+ </p></li><li class="listitem"><p>
+ a percentage fee to the Opendesk platform (this supports the infrastructure
+and ongoing development of the platform that helps us build out our
+marketplace)
+ </p></li><li class="listitem"><p>
+ 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)
+ </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
+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.idm1635" class="footnote" name="idm1635"><sup class="footnote">[136]</sup></a>
+ </p></li></ul></div><p>
+ 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,
+Opendesk platform fee and channel fees. If a customer opts to buy by getting
+in touch directly with a registered local maker using a downloaded Opendesk
+file, the maker is responsible for ensuring the design fee, Opendesk
+platform fee and channel fees are included in any quote at the time of
+sale. Percentage fees are always based on the underlying manufacturing cost
+and are typically apportioned as follows:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ manufacturing cost: fabrication, finishing and any other costs as set by the
+maker (excluding any services like delivery or on-site assembly)
+ </p></li><li class="listitem"><p>
+ design fee: 8 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ platform fee: 12 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ channel fee: 18 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ 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
+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 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,
+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
+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>
+ </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
+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 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.idm1660" class="footnote" name="idm1660"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
+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
+take one of their design files and make and sell infinite number of pieces
+of furniture with it. As a consequence, most Opendesk designers choose the
+Attribution-NonCommercial license (CC BY-NC).
+ </p><p>
+ Opendesk established a set of principles for what their community considers
+commercial and noncommercial use. Their website states:
+ </p><p>
+ It is unambiguously commercial use when anyone:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ charges a fee or makes a profit when making an Opendesk
+ </p></li><li class="listitem"><p>
+ sells (or bases a commercial service on) an Opendesk
+ </p></li></ul></div><p>
+ It follows from this that noncommercial use is when you make an Opendesk
+yourself, with no intention to gain commercial advantage or monetary
+compensation. For example, these qualify as noncommercial:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ you are an individual with your own CNC machine, or access to a shared CNC
+machine, and will personally cut and make a few pieces of furniture yourself
+ </p></li><li class="listitem"><p>
+ you are a student (or teacher) and you use the design files for educational
+purposes or training (and do not intend to sell the resulting pieces)
+ </p></li><li class="listitem"><p>
+ you work for a charity and get furniture cut by volunteers, or by employees
+at a fab lab or maker space
+ </p></li></ul></div><p>
+ Whether or not people technically are doing things that implicate IP, Nick
+and Joni have found that people tend to comply with the wishes of creators
+out of a sense of fairness. They have found that behavioral economics can
+replace some of the thorny legal issues. In their business model, Nick and
+Joni are trying to suspend the focus on IP and build an open business model
+that works for all stakeholders—designers, channels, manufacturers, and
+customers. For them, the value Opendesk generates hangs off
+<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
+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
+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.idm1608" class="footnote"><p><a href="#idm1608" 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.idm1615" class="footnote"><p><a href="#idm1615" 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.idm1635" class="footnote"><p><a href="#idm1635" 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.idm1660" class="footnote"><p><a href="#idm1660" 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>Capítulo 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>
+ <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
+for custom services, charging for physical copies (textbook sales)
+ </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}
+ \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
+Electrical and Computer Engineering at Rice University in Houston,
+Texas. Frustrated by the limitations of traditional textbooks and courses,
+Dr. Baraniuk wanted to provide authors and learners a way to share and
+freely adapt educational materials such as courses, books, and
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+best libraries of customizable educational materials, all licensed with
+Creative Commons and available to anyone, anywhere, anytime—for free.
+ </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
+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 critically important if you
+want to scale easily. Books have to have logical scope and sequence, they
+have to exist as a whole and not in pieces, and they have to be easy to
+find. The working hypothesis for the launch of OpenStax was to
+professionally produce a turnkey textbook by investing effort up front, with
+the expectation that this would lead to rapid growth through easy downstream
+adoptions by faculty and students.
+ </p><p>
+ In 2012, OpenStax College launched as a nonprofit with the aim of producing
+high-quality, peer-reviewed full-color textbooks that would be available for
+free for the twenty-five most heavily attended college courses in the
+nation. Today they are fast approaching that number. There is data that
+proves the success of their original hypothesis on how many students they
+could help and how much money they could help save.<a href="#ftn.idm1700" class="footnote" name="idm1700"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
+with no sales force!
+ </p><p>
+ OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
+is available as a PDF, an e-book, or web pages. Those who want a physical
+copy can buy one for an affordable price. Given the cost of education and
+student debt in North America, free or very low-cost textbooks are very
+appealing. OpenStax encourages students to talk to their professor and
+librarians about these textbooks and to advocate for their use.
+ </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
+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.
+ </p><p>
+ Any teacher can post corrections, suggest examples for difficult concepts,
+or volunteer as an editor or author. As many teachers also want supplemental
+material to accompany a textbook, OpenStax also provides slide
+presentations, test banks, answer keys, and so on.
+ </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
+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.idm1707" class="footnote" name="idm1707"><sup class="footnote">[139]</sup></a>
+ </p><p>
+ 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.
+ </p><p>
+ Up-front funding of a professionally produced all-color turnkey textbook is
+expensive. For this part of their model, OpenStax relies on
+philanthropy. They have initially been funded by the William and Flora
+Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
+Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
+Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
+develop additional titles and supporting technology is probably still going
+to require philanthropic investment.
+ </p><p>
+ However, ongoing operations will not rely on foundation grants but instead
+on funds received through an ecosystem of over forty partners, whereby a
+partner takes core content from OpenStax and adds features that it can
+create revenue from. For example, WebAssign, an online homework and
+assessment tool, takes the physics book and adds algorithmically generated
+physics problems, with problem-specific feedback, detailed solutions, and
+tutorial support. WebAssign resources are available to students for a fee.
+ </p><p>
+ Another example is Odigia, who has turned OpenStax books into interactive
+learning experiences and created additional tools to measure and promote
+student engagement. Odigia licenses its learning platform to
+institutions. Partners like Odigia and WebAssign give a percentage of the
+revenue they earn back to OpenStax, as mission-support fees. OpenStax has
+already published revisions of their titles, such as Introduction to
+Sociology 2e, using these funds.
+ </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
+textbook content, freeing them up from those development costs and letting
+them focus on what they do best. With OpenStax textbooks available at no
+cost, they can provide their services at a lower cost—not free, but still
+saving students money. OpenStax benefits not only by receiving
+mission-support fees but through free publicity and marketing. OpenStax
+doesn’t have a sales force; partners are out there showcasing their
+materials.
+ </p><p>
+ OpenStax’s cost of sales to acquire a single student is very, very low and
+is a fraction of what traditional players in the market face. This year,
+Tyton Partners is actually evaluating the costs of sales for an OER effort
+like OpenStax in comparison with incumbents. David looks forward to sharing
+these findings with the community.
+ </p><p>
+ While OpenStax books are available online for free, many students still want
+a print copy. Through a partnership with a print and courier company,
+OpenStax offers a complete solution that scales. OpenStax sells tens of
+thousands of print books. The price of an OpenStax sociology textbook is
+about twenty-eight dollars, a fraction of what sociology textbooks usually
+cost. OpenStax keeps the prices low but does aim to earn a small margin on
+each book sold, which also contributes to ongoing operations.
+ </p><p>
+ Campus-based bookstores are part of the OpenStax solution. OpenStax
+collaborates with NACSCORP (the National Association of College Stores
+Corporation) to provide print versions of their textbooks in the
+stores. While the overall cost of the textbook is significantly less than a
+traditional textbook, bookstores can still make a profit on sales. Sometimes
+students take the savings they have from the lower-priced book and use it to
+buy other things in the bookstore. And OpenStax is trying to break the
+expensive behavior of excessive returns by having a no-returns policy. This
+is working well, since the sell-through of their print titles is virtually a
+hundred percent.
+ </p><p>
+ 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 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
+right from the start. This requires a bigger investment up front but pays
+off through wide geographic adoption. The OER 2.0 process for OpenStax
+involves two development models. The first is what David calls the
+acquisition model, where OpenStax purchases the rights from a publisher or
+author for an already published book and then extensively revises it. The
+OpenStax physics textbook, for example, was licensed from an author after
+the publisher released the rights back to the authors. The second model is
+to develop a book from scratch, a good example being their biology book.
+ </p><p>
+ The process is similar for both models. First they look at the scope and
+sequence of existing textbooks. They ask questions like what does the
+customer need? Where are students having challenges? Then they identify
+potential authors and put them through a rigorous evaluation—only one in ten
+authors make it through. OpenStax selects a team of authors who come
+together to develop a template for a chapter and collectively write the
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+books with just a single author as David says it risks the project going
+longer than scheduled.) The draft is peer-reviewed with no less than three
+reviewers per chapter. A second draft is generated, with artists producing
+illustrations and visuals to go along with the text. The book is then
+copyedited to ensure grammatical correctness and a singular voice. Finally,
+it goes into production and through a final proofread. The whole process is
+very time-consuming.
+ </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
+might make more money under the traditional publishing model, but that is
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+all authors do better under the OER 2.0 model, as there is no risk to them
+and they earn all the money up front.
+ </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
+their textbooks in innovative ways without having to ask for permission. It
+frees up the whole market and has been central to OpenStax being able to
+bring on partners. OpenStax sees a lot of customization of their
+materials. By enabling frictionless remixing, CC BY gives teachers control
+and academic freedom.
+ </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
+from making copies and heavily invest in digital rights management to ensure
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+with digital rights management and its costs. OpenStax books can be copied
+and shared over and over again. CC BY changes the rules of engagement and
+takes advantage of traditional market inefficiencies.
+ </p><p>
+ As of September 16, 2016, OpenStax has achieved some impressive
+results. From the OpenStax at a Glance fact sheet from their recent press
+kit:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ Books published: 23
+ </p></li><li class="listitem"><p>
+ Students who have used OpenStax: 1.6 million
+ </p></li><li class="listitem"><p>
+ Money saved for students: $155 million
+ </p></li><li class="listitem"><p>
+ Money saved for students in the 2016/17 academic year: $77 million
+ </p></li><li class="listitem"><p>
+ Schools that have used OpenStax: 2,668 (This number reflects all
+institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
+are two-year colleges, 835 four-year colleges and universities, and 344
+colleges and universities outside the U.S.)
+ </p></li></ul></div><p>
+ While OpenStax has to date been focused on the United States, there is
+overseas adoption especially in the science, technology, engineering, and
+math (STEM) fields. Large scale adoption in the United States is seen as a
+necessary precursor to international interest.
+ </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 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>
+ Finally, for OpenStax success is not just about the adoption of their
+textbooks and student savings. There is a human aspect to the work that is
+hard to quantify but incredibly important. They get emails from students
+saying how OpenStax saved them from making difficult choices like buying
+food or a textbook. OpenStax would also like to assess the impact their
+books have on learning efficiency, persistence, and completion. By building
+an open business model based on Creative Commons, OpenStax is making it
+possible for every student who wants access to education to get it.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1700" class="footnote"><p><a href="#idm1700" 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.idm1707" class="footnote"><p><a href="#idm1707" 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>Capítulo 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>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
+(subscription-based), pay-what-you-want, charging for physical copies (book
+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}
+ \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
+new ways to sustain her creative work.<a href="#ftn.idm1754" class="footnote" name="idm1754"><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
+. . . 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>
+ </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>
+ </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
+crates, and hand out flowers to strangers as part of a silent dramatic
+performance. She collected money in a hat. Most people walked by her without
+stopping, but an essential few stopped to watch and drop some money into her
+hat to show their appreciation. Rather than dwelling on the majority of
+people who ignored her, she felt thankful for those who stopped. <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>
+ </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
+Dolls, Amanda tried the traditional path of signing with a record label. It
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
+making music for the masses was never what Amanda and the Dresden Dolls set
+out to do.
+ </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
+live performances and merchandise sales. Eventually, in 2012 she decided to
+try her hand at the sort of crowdfunding we know so well today. Her
+Kickstarter project started with a goal of $100,000, and she made $1.2
+million. It remains one of the most successful Kickstarter projects of all
+time.
+ </p><p>
+ Today, Amanda has switched gears away from crowdfunding for specific
+projects to instead getting consistent financial support from her fan base
+on Patreon, a crowdfunding site that allows artists to get recurring
+donations from fans. More than eight thousand people have signed up to
+support her so she can create music, art, and any other creative
+<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>
+ Making her music and art available under Creative Commons licensing
+undoubtedly limits her options for how she makes a living. But sharing her
+work has been part of her model since the beginning of her career, even
+before she discovered Creative Commons. Amanda says the Dresden Dolls used
+to get ten emails per week from fans asking if they could use their music
+for different projects. They said yes to all of the requests, as long as it
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <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
+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
+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.
+ </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 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
+Asking.
+ </p><p>
+ Even though her fan base is now huge and global, she continues to seek this
+sort of human connection with her fans. She seeks out face-to-face contact
+with her fans every chance she can get. Her hugely successful Kickstarter
+featured fifty concerts at house parties for backers. She spends hours in
+the signing line after shows. It helps that Amanda has the kind of dynamic,
+engaging personality that instantly draws people to her, but a big component
+of her ability to connect with people is her willingness to
+listen. <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
+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
+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 otherwise. But my experience has shown me that the
+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
+her use of Creative Commons licenses. Because that is what you do with 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, 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
+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>
+ </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>
+ </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 with which her fans use and adapt her
+work, but she intentionally does not involve them at the first stage of
+creating her artistic work. And, of course, the songs and music are what
+initially draw people to Amanda Palmer. It is only once she has connected to
+people through her music that she can then begin to build ties with them on
+a more personal level, both in person and online. In her book, Amanda
+describes it as casting a net. It starts with the art and then the bond
+strengthens with human connection.
+ </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 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>
+ </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 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.idm1754" class="footnote"><p><a href="#idm1754" 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>Capítulo 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>
+ <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
+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}
+ \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 text of their papers freely available
+immediately or within six months. Although tens of thousands signed the
+petition, most did not follow through. In August 2001, Patrick and Michael
+announced that they would start their own nonprofit publishing operation to
+do just what the petition promised. With start-up grant support from the
+Gordon and Betty Moore Foundation, PLOS was launched to provide new
+open-access journals for biomedicine, with research articles being released
+under Attribution (CC BY) licenses.
+ </p><p>
+ Traditionally, academic publishing begins with an author submitting a
+manuscript to a publisher. After in-house technical and ethical
+considerations, the article is then peer-reviewed to determine if the
+quality of the work is acceptable for publishing. Once accepted, the
+publisher takes the article through the process of copyediting, typesetting,
+and eventual publishing in a print or online publication. Traditional
+journal publishers recover costs and earn profit by charging a subscription
+fee to libraries or an access fee to users wanting to read the journal or
+article.
+ </p><p>
+ For Louise Page, the current publisher of PLOS, this traditional model
+results in inequity. Access is restricted to those who can pay. Most
+research is funded through government-appointed agencies, that is, with
+public funds. It’s unjust that the public who funded the research would be
+required to pay again to access the results. Not everyone can afford the
+ever-escalating subscription fees publishers charge, especially when library
+budgets are being reduced. Restricting access to the results of scientific
+research slows the dissemination of this research and advancement of the
+field. It was time for a new model.
+ </p><p>
+ That new model became known as open access. That is, free and open
+availability on the Internet. Open-access research articles are not behind a
+paywall and do not require a login. A key benefit of open access is that it
+allows people to freely use, copy, and distribute the articles, as they are
+primarily published under an Attribution (CC BY) license (which only
+requires the user to provide appropriate attribution). And more importantly,
+policy makers, clinicians, entrepreneurs, educators, and students around the
+world have free and timely access to the latest research immediately on
+publication.
+ </p><p>
+ However, open access requires rethinking the business model of research
+publication. Rather than charge a subscription fee to access the journal,
+PLOS decided to turn the model on its head and charge a publication fee,
+known as an article-processing charge. This up-front fee, generally paid by
+the funder of the research or the author’s institution, covers the expenses
+such as editorial oversight, peer-review management, journal production,
+online hosting, and support for discovery. Fees are per article and are
+billed upon acceptance for publishing. There are no additional charges based
+on word length, figures, or other elements.
+ </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,
+genetics, computational biology, neglected tropical diseases, and pathogens,
+the article-processing charge ranges from $2,250 to
+$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
+are just under $1,500.
+ </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
+article-processing charges.
+ </p><p>
+ Louise identifies marketing as one area of big difference between PLOS and
+traditional journal publishers. Traditional journals have to invest heavily
+in staff, buildings, and infrastructure to market their journal and convince
+customers to subscribe. Restricting access to subscribers means that tools
+for managing access control are necessary. They spend millions of dollars on
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
+articles are free, open, and accessible to all upon
+publication. Additionally, traditional publishers tend to spend more on
+marketing to libraries, who ultimately pay the subscription fees. PLOS
+provides a better service for authors by promoting their research directly
+to the research community and giving the authors exposure. And this
+encourages other authors to submit their work for publication.
+ </p><p>
+ For Louise, PLOS would not exist without the Attribution license (CC
+BY). This makes it very clear what rights are associated with the content
+and provides a safe way for researchers to make their work available while
+ensuring they get recognition (appropriate attribution). For PLOS, all of
+this aligns with how they think research content should be published and
+disseminated.
+ </p><p>
+ PLOS also has a broad open-data policy. To get their research paper
+published, PLOS authors must also make their data available in a public
+repository and provide a data-availability statement.
+ </p><p>
+ Business-operation costs associated with the open-access model still largely
+follow the existing publishing model. PLOS journals are online only, but the
+editorial, peer-review, production, typesetting, and publishing stages are
+all the same as for a traditional publisher. The editorial teams must be top
+notch. PLOS has to function as well as or better than other premier
+journals, as researchers have a choice about where to publish.
+ </p><p>
+ Researchers are influenced by journal rankings, which reflect the place of a
+journal within its field, the relative difficulty of being published in that
+journal, and the prestige associated with it. PLOS journals rank high, even
+though they are relatively new.
+ </p><p>
+ The promotion and tenure of researchers are partially based how many times
+other researchers cite their articles. Louise says when researchers want to
+discover and read the work of others in their field, they go to an online
+aggregator or search engine, and not typically to a particular journal. The
+CC BY licensing of PLOS research articles ensures easy access for readers
+and generates more discovery and citations for authors.
+ </p><p>
+ Louise believes that open access has been a huge success, progressing from a
+movement led by a small cadre of researchers to something that is now
+widespread and used in some form by every journal publisher. PLOS has had a
+big impact. In 2012 to 2014, they published more open-access articles than
+BioMed Central, the original open-access publisher, or anyone else.
+ </p><p>
+ PLOS further disrupted the traditional journal-publishing model by
+pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
+in 2006, is an open-access peer-reviewed academic journal that is much
+larger than a traditional journal, publishing thousands of articles per year
+and benefiting from economies of scale. PLOS ONE has a broad scope, covering
+science and medicine as well as social sciences and the humanities. The
+review and editorial process is less subjective. Articles are accepted for
+publication based on whether they are technically sound rather than
+perceived importance or relevance. This is very important in the current
+debate about the integrity and reproducibility of research because negative
+or null results can then be published as well, which are generally rejected
+by traditional journals. PLOS ONE, like all the PLOS journals, is online
+only with no print version. PLOS passes on the financial savings accrued
+through economies of scale to researchers and the public by lowering the
+article-processing charges, which are below that of other journals. PLOS ONE
+is the biggest journal in the world and has really set the bar for
+publishing academic journal articles on a large scale. Other publishers see
+the value of the PLOS ONE model and are now offering their own
+multidisciplinary forums for publishing all sound science.
+ </p><p>
+ Louise outlined some other aspects of the research-journal business model
+PLOS is experimenting with, describing each as a kind of slider that could
+be adjusted to change current practice.
+ </p><p>
+ One slider is time to publication. Time to publication may shorten as
+journals get better at providing quicker decisions to authors. However,
+there is always a trade-off with scale, as the bigger the volume of
+articles, the more time the approval process inevitably takes.
+ </p><p>
+ Peer review is another part of the process that could change. It’s possible
+to redefine what peer review actually is, when to review, and what
+constitutes the final article for publication. Louise talked about the
+potential to shift to an open-review process, placing the emphasis on
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
+reviewing their paper and for the reviewer to know their review will be
+public. An open-review process can also ensure everyone gets credit; right
+now, credit is limited to the publisher and author.
+ </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
+the research wheel gets reinvented around the world.
+ </p><p>
+ Another adjustable practice is the sharing of articles at early preprint
+stages. Publication of research in a peer-reviewed journal can take a long
+time because articles must undergo extensive peer review. The need to
+quickly circulate current results within a scientific community has led to a
+practice of distributing pre-print documents that have not yet undergone
+peer review. Preprints broaden the peer-review process, allowing authors to
+receive early feedback from a wide group of peers, which can help revise and
+prepare the article for submission. Offsetting the advantages of preprints
+are author concerns over ensuring their primacy of being first to come up
+with findings based on their research. Other researches may see findings the
+preprint author has not yet thought of. However, preprints help researchers
+get their discoveries out early and establish precedence. A big challenge is
+that researchers don’t have a lot of time to comment on preprints.
+ </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
+online open up new possibilities, such as a living document evolving over
+time, inclusion of audio and video, and interactivity, like discussion and
+recommendations. Even the size of what gets published could change. With
+these changes the current form factor for what constitutes a research
+article would undergo transformation.
+ </p><p>
+ As journals scale up, and new journals are introduced, more and more
+information is being pushed out to readers, making the experience feel like
+drinking from a fire hose. To help mitigate this, PLOS aggregates and
+curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1832" class="footnote" name="idm1832"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
+Metrics, which helps users assess research most relevant to the field
+itself, based on indicators like usage, citations, social bookmarking and
+dissemination activity, media and blog coverage, discussions, and
+ratings.<a href="#ftn.idm1835" class="footnote" name="idm1835"><sup class="footnote">[142]</sup></a> Louise believes that the
+journal model could evolve to provide a more friendly and interactive user
+experience, including a way for readers to communicate with authors.
+ </p><p>
+ The big picture for PLOS going forward is to combine and adjust these
+experimental practices in ways that continue to improve accessibility and
+dissemination of research, while ensuring its integrity and reliability. The
+ways they interlink are complex. The process of change and adjustment is
+not linear. PLOS sees itself as a very flexible publisher interested in
+exploring all the permutations research-publishing can take, with authors
+and readers who are open to experimentation.
+ </p><p>
+ For PLOS, success is not about revenue. Success is about proving that
+scientific research can be communicated rapidly and economically at scale,
+for the benefit of researchers and society. The CC BY license makes it
+possible for PLOS to publish in a way that is unfettered, open, and fast,
+while ensuring that the authors get credit for their work. More than two
+million scientists, scholars, and clinicians visit PLOS every month, with
+more than 135,000 quality articles to peruse for free.
+ </p><p>
+ 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.idm1832" class="footnote"><p><a href="#idm1832" 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.idm1835" class="footnote"><p><a href="#idm1835" 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>Capítulo 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>
+ <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
+funding, charging for in-person version (museum admission), selling
+merchandise
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The Rijksmuseum, a national museum in the Netherlands dedicated to art and
+history, has been housed in its current building since 1885. The monumental
+building enjoyed more than 125 years of intensive use before needing a
+thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
+was found in the roof, and although the museum was scheduled to be closed
+for only three to four years, renovations ended up taking ten years. During
+this time, the collection was moved to a different part of Amsterdam, which
+created a physical distance with the curators. Out of necessity, they
+started digitally photographing the collection and creating metadata
+(information about each object to put into a database). With the renovations
+going on for so long, the museum became largely forgotten by the public. Out
+of these circumstances emerged a new and more open model for the museum.
+ </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
+representing just 1 percent. Staff began exploring ways to express
+themselves, to have something to show for all of the work they had been
+doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
+a way for the museum provide benefit to the public while it was closed? They
+began thinking about sharing Rijksmuseum’s collection using information
+technology. And they put up a card-catalog like database of the entire
+collection online.
+ </p><p>
+ It was effective but a bit boring. It was just data. A hackathon they were
+invited to got them to start talking about events like that as having
+potential. They liked the idea of inviting people to do cool stuff with
+their collection. What about giving online access to digital representations
+of the one hundred most important pieces in the Rijksmuseum collection? That
+eventually led to why not put the whole collection online?
+ </p><p>
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+library, museum, and archive for cultural heritage.<a href="#ftn.idm1858" class="footnote" name="idm1858"><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
+people could use to identify works as free of known copyright. Europeana was
+the first major adopter, using CC0 to release metadata about their
+collection and the public domain mark for millions of digital works in their
+collection. Lizzy says the Rijksmuseum initially found this change in
+business practice a bit scary, but at the same time it stimulated even more
+discussion on whether the Rijksmuseum should follow suit.
+ </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 restrictive licensing
+terms they currently had in place. For example, many copies and versions of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
+them of very poor quality. They could spend time and money policing its use,
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
+down people who use the Rijksmuseum collection. And anyway, restricting
+access meant the people they were frustrating the most were schoolkids.
+ </p><p>
+ In 2011 the Rijksmuseum began making their digital photos of works known to
+be free of copyright available online, using Creative Commons CC0 to place
+works in the public domain. A medium-resolution image was offered for free,
+but a high-resolution version cost forty euros. People started paying, but
+Lizzy says getting the money was frequently a nightmare, especially from
+overseas customers. The administrative costs often offset revenue, and
+income above costs was relatively low. In addition, having to pay for an
+image of a work in the public domain from a collection owned by the Dutch
+government (i.e., paid for by the public) was contentious and frustrating
+for some. Lizzy says they had lots of fierce debates about what to do.
+ </p><p>
+ In 2013 the Rijksmuseum changed its business model. They Creative Commons
+licensed their highest-quality images and released them online for
+free. Digitization still cost money, however; they decided to define
+discrete digitization projects and find sponsors willing to fund each
+project. This turned out to be a successful strategy, generating high
+interest from sponsors and lower administrative effort for the
+Rijksmuseum. They started out making 150,000 high-quality images of their
+collection available, with the goal to eventually have the entire collection
+online.
+ </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
+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
+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
+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 is primarily publicly funded, receiving roughly 70 percent of
+its operating budget from the government. But like many museums, it must
+generate the rest of the funding through other means. The admission fee has
+long been a way to generate revenue generation, including for the
+Rijksmuseum.
+ </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
+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.
+ </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
+addition to redesigning their main website to be mobile friendly and
+responsive to devices like the iPad, the Rijksmuseum also created the
+Rijksstudio, where users and artists could use and do various things with
+the Rijksmuseum collection.<a href="#ftn.idm1870" class="footnote" name="idm1870"><sup class="footnote">[144]</sup></a>
+ </p><p>
+ 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
+personal favorites, and you can share them with friends or download them
+free of charge. All the images in the Rijksstudio are copyright and royalty
+free, and users are encouraged to use them as they like, for private or even
+commercial purposes.
+ </p><p>
+ Users have created over 276,000 Rijksstudios, generating their own themed
+virtual exhibitions on a wide variety of topics ranging from tapestries to
+ugly babies and birds. Sets of images have also been created for educational
+purposes including use for school exams.
+ </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
+by copyright. The Rijksmuseum does encourage contemporary artists to use a
+Creative Commons license for their works, usually a CC BY-SA license
+(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
+want to preclude commercial use. That way, their works can be made available
+to the public, but within limits the artists have specified.
+ </p><p>
+ The Rijksmuseum believes that art stimulates entrepreneurial activity. The
+line between creative and commercial can be blurry. As Lizzy says, even
+Rembrandt was commercial, making his livelihood from selling his
+paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
+images in Rijksstudio. 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
+Threatened Swan.<a href="#ftn.idm1878" class="footnote" name="idm1878"><sup class="footnote">[145]</sup></a>
+ </p><p>
+ In 2013 the Rijksmuseum organized their first high-profile design
+competition, known as the Rijksstudio Award.<a href="#ftn.idm1882" class="footnote" name="idm1882"><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
+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
+art.<a href="#ftn.idm1887" class="footnote" name="idm1887"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
+with the results. Entries range from the fun to the weird to the
+inspirational. The third international edition of the Rijksstudio Award
+started in September 2016.
+ </p><p>
+ For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
+upload tool, for people to upload their own works of art, and enhanced
+social elements so users can interact with each other more.
+ </p><p>
+ 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
+increased visits to their website from thirty-five thousand visits per month
+to three hundred thousand.
+ </p><p>
+ The Rijksmuseum has been experimenting with other ways to invite the public
+to look at and interact with their collection. On an international day
+celebrating animals, they ran a successful bird-themed event. The museum put
+together a showing of two thousand works that featured birds and invited
+bird-watchers to identify the birds depicted. Lizzy notes that while museum
+curators know a lot about the works in their collections, they may not know
+about certain details in the paintings such as bird species. Over eight
+hundred different birds were identified, including a specific species of
+crane bird that was unknown to the scientific community at the time of the
+painting.
+ </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,
+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
+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 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1858" class="footnote"><p><a href="#idm1858" 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.idm1870" class="footnote"><p><a href="#idm1870" 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.idm1878" class="footnote"><p><a href="#idm1878" 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.idm1882" class="footnote"><p><a href="#idm1882" 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.idm1887" class="footnote"><p><a href="#idm1887" 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>Capítulo 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>Revenue model</strong></span>: grant funding,
+crowdfunding (project-based), donations, sponsorships
+ </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}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ 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
+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
+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>
+ </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
+have been able to weather the criticism that Airbnb and Uber are getting
+now.</span>”</span>
+ </p><p>
+ 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
+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.
+ </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
+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
+believed sharing could be central to solving some of the major problems
+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
+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 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
+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. 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
+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 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
+people through a formal and informal network of republishers 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>
+ </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 their website.
+ </p><p>
+ In 2016, Shareable self-published a book of curated Shareable stories called
+How to: Share, Save Money and Have Fun. The book was available for sale, but
+a PDF version of the book was available for free. Shareable plans to offer
+the book in upcoming fund-raising campaigns.
+ </p><p>
+ This recent book is one of many fund-raising experiments Shareable has
+conducted in recent years. Currently, Shareable is primarily funded by
+grants from foundations, but they are actively moving toward a more
+diversified model. They have organizational sponsors and are working to
+expand their base of individual donors. Ideally, they will eventually be a
+hundred percent funded by their audience. Neal believes being fully
+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
+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>
+ </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
+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>
+ For Neal, this symbolized how so much of success comes down to
+relationships. Over time, Shareable has invested time and energy into the
+relationships they have forged with their readers and supporters. They have
+also invested resources into building relationships between their readers
+and supporters.
+ </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
+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
+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
+three years ago. Going forward, Shareable is focusing the network on
+creating and distributing content meant to spur local action. For instance,
+Shareable will publish a new CC-licensed book in 2017 filled with ideas for
+their network to implement.
+ </p><p>
+ Neal says Shareable stumbled upon this strategy, but it seems to perfectly
+encapsulate just how the commons is supposed to work. Rather than a
+one-size-fits-all approach, Shareable puts the tools out there for people
+take the ideas and adapt them to their own communities.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Capítulo 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.
+ </p><p>
+ <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for 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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Openness is a key principle for Siyavula. They believe that every learner
+and teacher should have access to high-quality educational resources, as
+this forms the basis for long-term growth and development. Siyavula has been
+a pioneer in creating high-quality open textbooks on mathematics and science
+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
+times. Siyavula has significantly shifted 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 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.idm1960" class="footnote" name="idm1960"><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.
+ </p><p>
+ 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
+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
+the printing and distribution options. A few sponsors came on board but not
+enough to meet the need.
+ </p><p>
+ In 2007, Shuttleworth and the Open Society Institute convened a group of
+open-education activists for a small but lively meeting 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.idm1966" class="footnote" name="idm1966"><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 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 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
+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
+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
+were safe to share and free from legal repercussions.
+ </p><p>
+ 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
+Connexions.<a href="#ftn.idm1972" class="footnote" name="idm1972"><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 ownership over it as a Shuttleworth fellow.
+ </p><p>
+ Mark and his team experimented with several different strategies. They
+tried creating an authoring and hosting platform called Full Marks so that
+teachers could share assessment items. They tried creating a service called
+Open Press, where teachers could ask for open educational resources to be
+aggregated into a package and printed for them. These services never really
+panned out.
+ </p><p>
+ Then the South African government approached Siyavula with an interest in
+printing out the original six Free High School Science Texts (math and
+physical-science textbooks for grades 10 to 12) for all high school
+students in South Africa. Although at this point Siyavula was a bit
+discouraged by open educational resources, they saw this as a big
+opportunity.
+ </p><p>
+ They began to conceive of the six books as having massive marketing
+potential for Siyavula. Printing Siyavula books for every kid in South
+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.
+ </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 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
+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.
+ </p><p>
+ The costs for using Intelligent Practice were set very low, making it
+accessible even to those with limited financial means. Siyavula was going
+for large volumes and wide-scale use rather than an expensive product
+targeting only the high end of the market.
+ </p><p>
+ The government distributed the books to 1.5 million students, but there was
+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
+Practice service inadvertently became low-income learners.
+ </p><p>
+ 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
+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.
+ </p><p>
+ 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
+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
+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,
+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 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 from every grade available for that subject. Lower
+subscription rates are provided when there are over two hundred students,
+and big schools have a price cap. A 40 percent discount is offered to
+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
+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.
+ </p><p>
+ Based on the success of this effort, Siyavula decided to substantially
+increase the production of open educational resources so they could provide
+the Intelligent Practice service for a wider range of books. Grades 10 to 12
+math and science books were reworked each year, and new books created for
+grades 4 to 6 and later grades 7 to 9.
+ </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.idm1991" class="footnote" name="idm1991"><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
+nailed the production model. It cost roughly $150,000 to produce a book in
+two languages. Sponsors liked the social-benefit aspect of textbooks
+unlocked via a Creative Commons license. They also liked the exposure their
+brand got. For roughly $150,000, their logo would be visible on books
+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
+cannot be modified. Non-government-branded books are available under an
+Attribution license (CC BY), allowing others to modify and redistribute the
+books.
+ </p><p>
+ 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
+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 government said no.
+ </p><p>
+ Using Siyavula books generated huge savings for the government. Providing
+students with a traditionally published grade 12 science or math textbook
+costs around 250 rand per book (about US$18). Providing the Siyavula
+version cost around 36 rand (about $2.60), a savings of over 200 rand per
+book. But none of those savings were passed on to Siyavula. In retrospect,
+Mark thinks this may have turned out in their favor as it allowed them to
+remain independent from the government.
+ </p><p>
+ 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
+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 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
+Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
+today.
+ </p><p>
+ Mark says sales are way up, and they are really nailing Intelligent
+Practice. Schools continue to use their open textbooks. The
+government-announced policy that there would be only one textbook per
+subject turned out to be highly contentious and is in limbo.
+ </p><p>
+ Siyavula is exploring a range of enhancements to their business model. These
+include charging a small amount for assessment services provided over the
+phone, diversifying their market to all English-speaking countries in
+Africa, and setting up a consortium that makes Intelligent Practice free to
+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
+Siyavula, including stipulations that content always 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 educational resources openly licensed with Creative Commons
+means they can fulfill their social mission, on top of which they can build
+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.idm1960" class="footnote"><p><a href="#idm1960" 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.idm1966" class="footnote"><p><a href="#idm1966" 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.idm1972" class="footnote"><p><a href="#idm1972" 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.idm1991" class="footnote"><p><a href="#idm1991" 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>Capítulo 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>
+ <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+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}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ SparkFun founder and former CEO Nathan Seidle has a picture of himself
+holding up a clone of a SparkFun product in an electronics 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 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>
+ </p><p>
+ This worldview runs through everything SparkFun does. SparkFun is an
+electronics manufacturer. The company sells its products directly to the
+public online, and it bundles them with educational tools to sell to schools
+and teachers. SparkFun applies Creative Commons licenses to all of its
+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
+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
+comfy and rest on your laurels. It gives you a safety 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 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>
+ </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>
+ </p><p>
+ 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 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.
+ </p><p>
+ 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. 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
+also partner with Arduino (also profiled in this book) by manufacturing
+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
+parts. Because SparkFun has always been dedicated to 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 goal is to affect the
+lives of three hundred and fifty thousand high school students by
+2020.</span>”</span>
+ </p><p>
+ 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
+content as long as they provide credit and make any adaptations available
+under the same licensing terms.
+ </p><p>
+ From the beginning, Nathan has tried to create a work environment at
+SparkFun that he himself would want to work in. The result is what appears
+to be a pretty fun workplace. The U.S. company is based in Boulder,
+Colorado. They have an eighty-thousand-square-foot facility (approximately
+seventy-four-hundred square meters), where they design and manufacture their
+products. They offer public tours of the space several times a week, and
+they open their doors to the public for a competition once a year.
+ </p><p>
+ The public event, called the Autonomous Vehicle Competition, brings in a
+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
+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
+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 get some of the brightest and most amazing employees because
+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
+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
+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>
+ </p><p>
+ However, this sort of customer engagement does not always 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>
+ </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>
+Nathan said.
+ </p><p>
+ Obviously, opening up the design of their products is a necessary step if
+their goal is to empower the public. Nathan also firmly believes it makes
+them more money because it requires them to focus on how to provide maximum
+value. Rather than designing a new product and protecting it in order to
+extract as much money as possible from it, they release the keys necessary
+for others to build it themselves and then spend company time and resources
+on innovation and service. From a short-term perspective, SparkFun 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>Capítulo 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>
+ <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
+ </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}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ TeachAIDS is an unconventional media company with a conventional revenue
+model. Like most media companies, they are subsidized by
+advertising. Corporations pay to have their logos appear on the educational
+materials TeachAIDS distributes.
+ </p><p>
+ But unlike most media companies, Teach-AIDS is a nonprofit organization with
+a purely social mission. TeachAIDS is dedicated to educating the global
+population about HIV and AIDS, particularly in parts of the world where
+education efforts have been historically unsuccessful. Their educational
+content is conveyed through interactive software, using methods based on the
+latest research about how people learn. TeachAIDS serves content in more
+than eighty countries around the world. In each instance, the content is
+translated to the local language and adjusted to conform to local norms and
+customs. All content is free and made available under a Creative Commons
+license.
+ </p><p>
+ TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
+salary of one dollar per year from the nonprofit. The project grew out of
+research she was doing while pursuing her doctorate at Stanford
+University. She was reading reports about India, noting it would be the next
+hot zone of people living with HIV. Despite international and national
+entities pouring in hundreds of millions of dollars on HIV-prevention
+efforts, the reports showed knowledge levels were still low. People were
+unaware of whether the virus could be transmitted through coughing and
+sneezing, for instance. Supported by an interdisciplinary team of experts at
+Stanford, Piya conducted similar studies, which corroborated the previous
+research. They found that the primary cause of the limited understanding was
+that HIV, and issues relating to it, were often considered too taboo to
+discuss comprehensively. The other major problem was that most of the
+education on this topic was being taught through television advertising,
+billboards, and other mass-media campaigns, which meant people were only
+receiving bits and pieces of information.
+ </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
+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 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.
+ </p><p>
+ 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>
+ Given their educational mission, TeachAIDS had an obvious interest in seeing
+the materials as widely shared as possible. But they also needed to preserve
+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
+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>
+ </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>
+ </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
+researches cultural icons that would best resonate with their target
+audiences and recruits them to donate their likenesses and voices for use in
+the animated software. The celebrities involved vary for each localized
+version of the materials.
+ </p><p>
+ Localization is probably the single-most important aspect of the way
+TeachAIDS creates its content. While each regional version builds from the
+same core scientific materials, they pour a lot of resources into
+customizing the content for a particular population. Because they use a CC
+license that does not allow the public to adapt the content, TeachAIDS
+retains careful control over the localization process. The content is
+translated into the local language, but there are also changes in substance
+and format to reflect cultural differences. This process results in minor
+changes, like choosing different idioms based on the local language, and
+significant changes, like creating gendered versions for places where people
+are more likely to accept information from someone of the same gender.
+ </p><p>
+ The localization process relies heavily on volunteers. Their volunteer base
+is deeply committed to the cause, and the organization has had better luck
+controlling the quality of the materials when they tap volunteers instead of
+using paid translators. For quality control, TeachAIDS has three separate
+volunteer teams translate the materials from English to the local language
+and customize the content based on local customs and norms. Those three
+versions are then analyzed and combined into a single master
+translation. TeachAIDS has additional teams of volunteers then translate
+that version back into English to see how well it lines up with the original
+materials. They repeat this process until they reach a translated version
+that meets their standards. For the Tibetan version, they went through this
+cycle eleven times.
+ </p><p>
+ TeachAIDS employs full-time employees, contractors, and volunteers, all in
+different capacities and organizational configurations. They are careful to
+use people from diverse backgrounds to create the materials, including
+teachers, students, and doctors, as well as individuals experienced in
+working in the NGO space. This diversity and breadth of knowledge help
+ensure their materials resonate with people from all walks of life.
+Additionally, TeachAIDS works closely with film writers and directors to
+help keep the concepts entertaining and easy to understand. The inclusive,
+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>
+ </p><p>
+ 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
+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>
+ </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
+the advertising compromise their credibility or undermine the heavy
+investment they put into creating quality content. Sponsors of the content
+have no ability to influence the substance of the content, and they cannot
+even create advertising content. Sponsors only get the right to have their
+logo appear before and after the educational content. All of the content
+remains branded as TeachAIDS.
+ </p><p>
+ TeachAIDS is careful not to seek funding to cover the costs of a specific
+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
+could get sponsorships, we would only have materials for wealthier
+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
+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 channels. The audience for TeachAIDS content also tends to skew
+young, which is often a desirable demographic for brands. Unlike traditional
+advertising, the content is not time-sensitive, so an investment in a
+sponsorship can benefit a brand for many years to come.
+ </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
+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 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>Capítulo 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>
+ <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
+ </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}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In the early 2000s, Hessel van Oorschot was an entrepreneur running a
+business where he coached other midsize entrepreneurs how to create an
+online business. He also coauthored a number of workbooks for small- to
+medium-size enterprises to use to optimize their business for the
+Web. Through this early work, Hessel became familiar with the principles of
+open licensing, including the use of open-source software and Creative
+Commons.
+ </p><p>
+ In 2005, Hessel and Sandra Brandenburg launched a niche video-production
+initiative. Almost immediately, they ran into issues around finding and
+licensing music tracks. All they could find was standard, cold
+stock-music. They thought of looking up websites where you could license
+music directly from the musician without going through record labels or
+agents. But in 2005, the ability to directly license music from a rights
+holder was not readily available.
+ </p><p>
+ 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>
+So after some more research, in early 2008, Hessel and Sandra decided to
+build a platform.
+ </p><p>
+ Building a platform posed a real chicken-and-egg problem. The platform had
+to build an online community of music-rights holders and, at the same time,
+provide the community with information and ideas about how the new economy
+works. Community willingness to try new music business models requires a
+trust relationship.
+ </p><p>
+ In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
+musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
+limited part of their repertoire. The two entrepreneurs wanted to take the
+pain away for media makers who wanted to license music and solve the
+problems the two had personally experienced finding this music.
+ </p><p>
+ As they were growing the community, Hessel got a phone call from a company
+that made in-store music playlists asking if they had enough music licensed
+with Creative Commons that they could use. Stores need quality,
+good-listening music but not necessarily hits, a bit like a radio show
+without the DJ. This opened a new opportunity for Tribe of Noise. They
+started their In-store Music Service, using music (licensed with CC BY-SA)
+uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2126" class="footnote" name="idm2126"><sup class="footnote">[152]</sup></a>
+ </p><p>
+ In most countries, artists, authors, and musicians join a collecting society
+that manages the licensing and helps collect the royalties. Copyright
+collecting societies in the European Union usually hold monopolies in their
+respective national markets. In addition, they require their members to
+transfer exclusive administration rights to them of all of their works.
+This complicates the picture for Tribe of Noise, who wants to represent
+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
+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>
+ </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
+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 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
+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:
+ </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 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
+month.<a href="#ftn.idm2135" class="footnote" name="idm2135"><sup class="footnote">[153]</sup></a>
+ </p><p>
+ Tribe of Noise has another model that does not involve Creative Commons. In
+a survey with members, most said they liked the exposure using Creative
+Commons gets them and the way it lets them reach out to others to share and
+remix. However, they had a bit of a mental struggle with Creative Commons
+licenses being perpetual. A lot of musicians have the mind-set that one day
+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
+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 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
+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
+upload only to Tribe of Noise Pro, which has a smaller repertoire of music
+than the community area.
+ </p><p>
+ Hessel sees the two as complementary. Both are needed for the model to
+work. With a whole generation of musicians interested in the sharing
+economy, the community area of Tribe of Noise is where they can build trust,
+create exposure, and generate money. And after that, musicians may become
+more interested in exploring other models like Tribe of Noise Pro.
+ </p><p>
+ Every musician who joins Tribe of Noise gets their own home page and free
+unlimited Web space to upload as much of their own music as they like. Tribe
+of Noise is also a social network; fellow musicians and professionals can
+vote for, comment on, and like your music. Community managers interact with
+and support members, and music supervisors pick and choose from the uploaded
+songs for in-store play or to promote them to media producers. Members
+really like having people working for the platform who truly engage with
+them.
+ </p><p>
+ Another way Tribe of Noise creates community and interest is with contests,
+which are organized in partnership with Tribe of Noise clients. The client
+specifies what they want, and any member can submit a song. Contests usually
+involve prizes, exposure, and money. In addition to building member
+engagement, contests help members learn how to work with clients: listening
+to them, understanding what they want, and creating a song to meet that
+need.
+ </p><p>
+ Tribe of Noise now has twenty-seven thousand members from 192 countries, and
+many are exploring do-it-yourself models for generating revenue. Some came
+from music labels and publishers, having gone through the traditional way of
+music licensing and now seeing if this new model makes sense for
+them. Others are young musicians, who grew up with a DIY mentality and see
+little reason to sign with a third party or hand over some of the
+control. Still a small but growing group of Tribe members are pursuing a
+hybrid model by licensing some of their songs under CC BY-SA and opting in
+others with collecting societies like ASCAP or BMI.
+ </p><p>
+ 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
+only some of your tracks, whereas in many countries in Europe, a collecting
+society prefers to represent your entire repertoire (although the European
+Commission is making some changes). Tribe of Noise deals with this issue all
+the time and gives you a warning whenever you upload a song. If collecting
+societies are willing to be open and flexible and do the most they can for
+their members, then they can consider organizations like Tribe of Noise as a
+nice add-on, generating more exposure and revenue for the musicians they
+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
+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.idm2126" class="footnote"><p><a href="#idm2126" 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.idm2135" class="footnote"><p><a href="#idm2135" 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>Capítulo 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>
+ <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
+ </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}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Nearly every person with an online presence knows Wikipedia.
+ </p><p>
+ In many ways, it is the preeminent open project: The online encyclopedia is
+created entirely by volunteers. Anyone in the world can edit the
+articles. All of the content is available for free to anyone online. All of
+the content is released under a Creative Commons license that enables people
+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.
+ </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
+sites like Wikidata and Wikimedia Commons. The foundation employs about two
+hundred and eighty people, who all work to support the projects it
+hosts. But the true heart of Wikipedia and its sister projects is its
+community. The numbers of people in the community are variable, but about
+seventy-five thousand volunteers edit and improve Wikipedia articles every
+month. Volunteers are organized in a variety of ways across the globe,
+including formal Wikimedia chapters (mostly national), 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 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
+Creative Commons more generally. With Wikipedia, everything just happens at
+an unprecedented scale.
+ </p><p>
+ The story of Wikipedia has been told many times. For our purposes, it is
+enough to know the experiment started in 2001 at a small scale, inspired by
+the crazy notion that perhaps a truly open, collaborative project could
+create something meaningful. At this point, Wikipedia is so ubiquitous and
+ingrained in our digital lives that the fact of its existence seems less
+remarkable. But outside of software, Wikipedia is perhaps the single most
+stunning example of successful community cocreation. Every day, seven
+thousand new articles are created on Wikipedia, and nearly fifteen 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 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
+of their systems, but generally speaking, there are very few exceptions to
+the rule that anyone can edit any article, even without an account on their
+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
+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.
+ </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, 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
+time, people want to do the right thing.
+ </p><p>
+ Wikipedia not only relies on good behavior within its community and on its
+sites, but also by everyone else once the content leaves Wikipedia. All of
+the text of Wikipedia is available under an Attribution-ShareAlike license
+(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
+Wikipedia bigger and stronger. The desire to protect 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 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
+editor of the English Wikipedia edition who has corrected a single
+grammatical error in articles more than forty-eight thousand
+times.<a href="#ftn.idm2181" class="footnote" name="idm2181"><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>
+ </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
+donations, with about $15 as the average. Because Wikipedia is one of the
+ten most popular websites in terms of total page views, donations from a
+small portion of that audience can translate into a lot of money. In the
+2015-16 fiscal year, they received more than $77 million from more than five
+million donors.
+ </p><p>
+ The foundation has a fund-raising team that works year-round to raise money,
+but the bulk of their revenue comes in during the December campaign in
+Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
+States. They engage in extensive user testing and research to maximize the
+reach of their fund-raising campaigns. Their basic fund-raising message is
+simple: We provide our readers and the world immense value, so give
+back. Every little bit helps. With enough eyeballs, they are right.
+ </p><p>
+ The vision of the Wikimedia Foundation is a world in which every single
+human being can freely share in the sum of all knowledge. They work to
+realize this vision by empowering people around the globe to create
+educational content made freely available under an open license or in the
+public domain. Stephen and Luis said the mission, which is rooted in the
+same philosophy behind Creative Commons, drives everything the foundation
+does.
+ </p><p>
+ The philosophy behind the endeavor also enables the foundation to be
+financially sustainable. It instills trust in their readership, which is
+critical for a revenue strategy that relies on reader donations. It also
+instills trust in their community.
+ </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.
+ </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,
+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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2181" class="footnote"><p><a href="#idm2181" 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>
+ 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
+Something for Nothing, reprint with new preface. New York: Hyperion, 2010.
+ </p><p>
+ ———. 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.
+ </p><p>
+ Bacon, Jono. The Art of Community. 2nd ed. Sebastopol, CA: O’Reilly Media,
+2012.
+ </p><p>
+ Benkler, Yochai. The Wealth of Networks: How Social Production Transforms
+Markets and Freedom. New Haven: Yale University Press, 2006. <a class="ulink" href="http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf" target="_top">http://www.benkler.org/Benkler_Wealth_Of_Networks.pdf</a> (licensed
+under CC BY-NC-SA).
+ </p><p>
+ Benyayer, Louis-David, ed. Open Models: Business Models of the Open
+Economy. Cachan, France: Without Model, 2016. <a class="ulink" href="http://www.slideshare.net/WithoutModel/open-models-book-64463892" target="_top">http://www.slideshare.net/WithoutModel/open-models-book-64463892</a>
+(licensed under CC BY-SA).
+ </p><p>
+ Bollier, David. Commoning as a Transformative Social Paradigm. Paper
+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
+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.
+<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
+Collaborative Consumption. New York: Harper Business, 2010.
+ </p><p>
+ Boyle, James. The Public Domain: Enclosing the Commons of the Mind. New
+Haven: Yale University Press, 2008.
+ </p><p><a class="ulink" href="http://www.thepublicdomain.org/download/" target="_top">http://www.thepublicdomain.org/download/</a> (licensed under CC
+BY-NC-SA).
+ </p><p>
+ Capra, Fritjof, and Ugo Mattei. The Ecology of Law: Toward a Legal System in
+Tune with Nature and Community. Oakland, CA: Berrett-Koehler, 2015.
+ </p><p>
+ 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
+Technology. Boston: Harvard Business Review Press, 2006.
+ </p><p>
+ City of Bologna. Regulation on Collaboration between Citizens and the City
+for the Care and Regeneration of Urban Commons. Translated by LabGov
+(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,
+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.
+ </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>.
+ </p><p>
+ Elliott, Patricia W., and Daryl H. Hepting, eds. (2015). Free Knowledge:
+Confronting the Commodification of Human Discovery. Regina, SK: University
+of Regina Press, 2015. <a class="ulink" href="http://uofrpress.ca/publications/Free-Knowledge" target="_top">http://uofrpress.ca/publications/Free-Knowledge</a> (licensed under CC
+BY-NC-ND).
+ </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 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
+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
+Resources. New York: Oxford University Press, 2012.
+ </p><p>
+ Frischmann, Brett M., Michael J. Madison, and Katherine J. Strandburg,
+eds. Governing Knowledge Commons. New York: Oxford 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
+Frischmann, Madison, and Strandburg, Governing Knowledge Commons.
+ </p><p>
+ Gansky, Lisa. The Mesh: Why the Future of Business Is Sharing. Reprint with
+new epilogue. New York: Portfolio, 2012.
+ </p><p>
+ Grant, Adam. Give and Take: Why Helping Others Drives Our Success. New
+York: Viking, 2013.
+ </p><p>
+ Haiven, Max. Crises of Imagination, Crises of Power: Capitalism, Creativity
+and the Commons. New York: Zed Books, 2014.
+ </p><p>
+ Harris, Malcom, ed. Share or Die: Voices of the Get Lost Generation in the
+Age of Crisis. With Neal Gorenflo. Gabriola Island, BC: New Society, 2012.
+ </p><p>
+ Hermida, Alfred. Tell Everyone: Why We Share and Why It Matters. Toronto:
+Doubleday Canada, 2014.
+ </p><p>
+ 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
+Books edition. New York: Vintage Books, 2007.
+ </p><p>
+ Kelley, Tom, and David Kelley. Creative Confidence: Unleashing the Potential
+within Us All. New York: Crown, 2013.
+ </p><p>
+ Kelly, Marjorie. Owning Our Future: The Emerging Ownership Revolution;
+Journeys to a Generative Economy. San Francisco: Berrett-Koehler, 2012.
+ </p><p>
+ 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
+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>
+ </p><p>
+ Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
+Economy. New York: Penguin Press, 2008.
+ </p><p>
+ Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
+Manifesto. Gabriola Island, BC: New Society, 2014.
+ </p><p>
+ Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
+and Giroux, 2015.
+ </p><p>
+ 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><p>
+ Osterwalder, Alex, 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><p>
+ Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value
+Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
+book is available at <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.
+ </p><p>
+ Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
+Available Their Highest Quality Material without Restrictions, and What Are
+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>
+(licensed under CC BY-SA).
+ </p><p>
+ 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> <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
+Innovation to Create Radically Successful Businesses. New York: Crown
+Business, 2011.
+ </p><p>
+ Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
+Collaborative Commons, and the Eclipse of Capitalism. New York: Palgrave
+Macmillan, 2014.
+ </p><p>
+ Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
+ </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
+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
+Books, 2015.
+ </p><p>
+ Stephany, Alex. The Business of Sharing: Making in the New Sharing
+Economy. New York: Palgrave Macmillan, 2015.
+ </p><p>
+ Stepper, John. Working Out Loud: For a Better Career and Life. New York:
+Ikigai Press, 2015.
+ </p><p>
+ Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
+Complex World. Boston: Houghton Mifflin Harcourt, 2015.
+ </p><p>
+ Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
+of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
+ </p><p>
+ Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
+ </p><p>
+ Tapscott, Don, and Alex Tapscott. Blockchain Revolution: How the Technology
+Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
+Portfolio, 2016.
+ </p><p>
+ Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
+Reiter. New York: Simon and Schuster, 2006.
+ </p><p>
+ Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
+University of Chicago Press, 2015.
+ </p><p>
+ Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open
+Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
+with Creative Commons Netherlands; Premsela, the Netherlands Institute for
+Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
+ </p><p>
+ Van den Hoff, Ronald. Mastering the Global Transition on Our Way to Society
+3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014. <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
+ </p><p>
+ Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005. <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
+BY-NC-ND).
+ </p><p>
+ Whitehurst, Jim. The Open Organization: Igniting Passion and
+Performance. Boston: Harvard Business Review Press, 2015.
+ </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
+ We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
+Commons Board, and all of our Creative Commons colleagues for
+enthusiastically supporting our work. Special gratitude to the William and
+Flora Hewlett Foundation for the initial seed funding that got us started on
+this project.
+ </p><p>
+ Huge appreciation to all the Made with Creative Commons interviewees for
+sharing their stories with us. You make the commons come alive. Thanks for
+the inspiration.
+ </p><p>
+ We interviewed more than the twenty-four organizations profiled in this
+book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
+for sharing their stories with us. While not featured as case studies in
+this book, you all are equally interesting, and we encourage our readers to
+visit your sites and explore your work.
+ </p><p>
+ This book was made possible by the generous support of 1,687 Kickstarter
+backers listed below. We especially acknowledge our many Kickstarter
+co-editors who read early drafts of our work and provided invaluable
+feedback. Heartfelt thanks to all of you.
+ </p><p>
+ Co-editor Kickstarter backers (alphabetically by first name): 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,
+Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
+Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
+Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
+Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
+Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
+Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
+Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
+Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
+Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
+Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
+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
+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
+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 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 Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
+Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, 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, 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>
+ All other Kickstarter backers (alphabetically by first name): 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
+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
+Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo 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, 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
+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
+Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
+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,
+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
+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,
+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
+Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
+Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
+Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
+Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
+Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
+Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
+Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
+Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
+@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
+Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
+Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
+Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
+Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
+(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
+Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
+Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
+Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
+Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
+Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
+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
+Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
+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,
+Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
+Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
+Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
+Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
+Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
+Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
+Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
+Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
+Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
+David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
+Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
+Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah
+Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
+Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
+K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
+Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
+Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio 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 Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
+Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
+Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
+Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
+Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
+Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
+Hellman, Eric Steuer, Erica Fletcher, Erik 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, 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
+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,
+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,
+Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
+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,
+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
+Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
+Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
+Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
+Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
+Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
+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,
+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,
+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 LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
+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
+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
+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, Julie Harboe, Julien Brossoit, Julien
+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,
+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
+Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
+Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
+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
+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
+Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
+Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
+Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
+Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
+leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
+Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
+Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
+Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
+Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
+Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
+Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
+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
+Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, 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, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
+Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
+Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
+Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
+Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
+Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
+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
+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
+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 Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
+Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, 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 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
+Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
+<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,
+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,
+Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
+Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
+Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
+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,
+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 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,
+Peter Langmar, 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 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,
+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, 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,
+Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
+Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
+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
+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
+Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
+Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
+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
+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
+Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
+VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
+Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
+Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
+Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
+Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
+Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
+Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
+Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
+Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
+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,
+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,
+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 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 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 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
+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
+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
+Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
+de Haan, ZeMarmot Open Movie
+ </p></div></body></html>
projects / text-madewithcc.git / commitdiff