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.
How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></dd><dt><span class="part"><a href="#the-case-studies">II. The Case Studies</a></span></dt><dd><dl><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></dd><dt><span class="appendix"><a href="#bibliography">A. Bibliography</a></span></dt><dt><span class="appendix"><a href="#acknowledgments">B. Acknowledgments</a></span></dt></dl></div><div class="list-of-figures"><p><b>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>
+ \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
si.</span>”</span>
</p><p>
No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
-palavras de Cory em seu livro Information Doesn’t Want to Be Free:
-<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>
+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
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.
How to Be Made with Creative Commons</a></span></dt><dt><span class="chapter"><a href="#the-creative-commons-licenses">3. The Creative Commons Licenses</a></span></dt></dl></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-new-world-of-digital-commons"></a>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">Our Case Studies</a></span></dt></dl></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>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
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.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+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
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.idm116" class="footnote" name="idm116"><sup class="footnote">[2]</sup></a> Os criadores, organizações e
+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.idm119" class="footnote" name="idm119"><sup class="footnote">[3]</sup></a> O compartilhamento é guiado
+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.
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.idm125" class="footnote" name="idm125"><sup class="footnote">[4]</sup></a>
+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.idm129" class="footnote" name="idm129"><sup class="footnote">[5]</sup></a> Outros fazem parte
+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></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.idm148" class="footnote" name="idm148"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
+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
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.idm176" class="footnote" name="idm176"><sup class="footnote">[7]</sup></a> Os criadores de recursos humanos produzidos podem
+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
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.idm192" class="footnote" name="idm192"><sup class="footnote">[8]</sup></a>
+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
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.idm199" class="footnote" name="idm199"><sup class="footnote">[9]</sup></a> As unidades consumidas se
+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>
</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.idm211" class="footnote" name="idm211"><sup class="footnote">[10]</sup></a> Não havia mercado, não havia economia global. O
+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
</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.idm224" class="footnote" name="idm224"><sup class="footnote">[11]</sup></a>
+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.idm228" class="footnote" name="idm228"><sup class="footnote">[12]</sup></a> Gradualmente, recursos
+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>
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.idm247" class="footnote" name="idm247"><sup class="footnote">[13]</sup></a>
+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
</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.idm253" class="footnote" name="idm253"><sup class="footnote">[14]</sup></a> O surgimento da tecnologia da informação e da
+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
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.idm277" class="footnote" name="idm277"><sup class="footnote">[15]</sup></a>
+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.
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.idm283" class="footnote" name="idm283"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
+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>
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.idm288" class="footnote" name="idm288"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
+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
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.idm295" class="footnote" name="idm295"><sup class="footnote">[18]</sup></a>
+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
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.idm303" class="footnote" name="idm303"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
+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>
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.idm309" class="footnote" name="idm309"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
+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>
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.idm316" class="footnote" name="idm316"><sup class="footnote">[21]</sup></a> Em todos
+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
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.idm323" class="footnote" name="idm323"><sup class="footnote">[22]</sup></a> Embora este sistema
+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.idm326" class="footnote" name="idm326"><sup class="footnote">[23]</sup></a>
+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.idm330" class="footnote" name="idm330"><sup class="footnote">[24]</sup></a>
+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.idm335" class="footnote" name="idm335"><sup class="footnote">[25]</sup></a> Seul e Amsterdã se autodenominam <span class="quote">“<span class="quote">cidades
+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.idm340" class="footnote" name="idm340"><sup class="footnote">[26]</sup></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
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.idm345" class="footnote" name="idm345"><sup class="footnote">[27]</sup></a> Embora nenhuma das
+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
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.idm349" class="footnote" name="idm349"><sup class="footnote">[28]</sup></a>
+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
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.idm354" class="footnote" name="idm354"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
+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>
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.idm359" class="footnote" name="idm359"><sup class="footnote">[30]</sup></a> Empresas de propriedade da comunidade, empresas de
+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.idm362" class="footnote" name="idm362"><sup class="footnote">[31]</sup></a>
+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.idm369" class="footnote" name="idm369"><sup class="footnote">[32]</sup></a>
+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.idm375" class="footnote" name="idm375"><sup class="footnote">[33]</sup></a> Essa tela em branco pode servir como uma ferramenta
+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.idm379" class="footnote" name="idm379"><sup class="footnote">[34]</sup></a> Essa tela aprimorada provou ser útil quando
+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
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.idm387" class="footnote" name="idm387"><sup class="footnote">[35]</sup></a> Não existe
+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
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.idm399" class="footnote" name="idm399"><sup class="footnote">[36]</sup></a> A inovação baseada 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.
recurso adicionado aos comuns fornece valor ao público e contribui para o
valor geral dos comuns.
</p><p>
- 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.
+ 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>
- 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.
- </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="our-case-studies"></a>Our Case Studies</h2></div></div></div><p>
- 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.
+ 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>
- 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.
+ 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>
- 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.
+ 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>
- 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.
+ 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>
- 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.
+ 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>
- 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.
+ 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>
- 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.
+ 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>
- 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.
- </p></div><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm111" class="footnote"><p><a href="#idm111" class="para"><sup class="para">[1] </sup></a>
+ 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.idm116" class="footnote"><p><a href="#idm116" class="para"><sup class="para">[2] </sup></a>
+ </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.idm119" class="footnote"><p><a href="#idm119" class="para"><sup class="para">[3] </sup></a>
+ </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.idm125" class="footnote"><p><a href="#idm125" class="para"><sup class="para">[4] </sup></a>
+ </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.idm129" class="footnote"><p><a href="#idm129" class="para"><sup class="para">[5] </sup></a>
+ </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.idm148" class="footnote"><p><a href="#idm148" class="para"><sup class="para">[6] </sup></a>
+ </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.idm176" class="footnote"><p><a href="#idm176" class="para"><sup class="para">[7] </sup></a>
+ </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.idm192" class="footnote"><p><a href="#idm192" class="para"><sup class="para">[8] </sup></a>
+ </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.idm199" class="footnote"><p><a href="#idm199" class="para"><sup class="para">[9] </sup></a>
+ </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.idm211" class="footnote"><p><a href="#idm211" class="para"><sup class="para">[10] </sup></a>
+ </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.idm224" class="footnote"><p><a href="#idm224" class="para"><sup class="para">[11] </sup></a>
+ </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.idm228" class="footnote"><p><a href="#idm228" class="para"><sup class="para">[12] </sup></a>
+ </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.idm247" class="footnote"><p><a href="#idm247" class="para"><sup class="para">[13] </sup></a>
+ </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.idm253" class="footnote"><p><a href="#idm253" class="para"><sup class="para">[14] </sup></a>
+ </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.idm277" class="footnote"><p><a href="#idm277" 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
+ </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.idm283" class="footnote"><p><a href="#idm283" class="para"><sup class="para">[16] </sup></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.idm288" class="footnote"><p><a href="#idm288" class="para"><sup class="para">[17] </sup></a>
+ </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.idm295" class="footnote"><p><a href="#idm295" class="para"><sup class="para">[18] </sup></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.idm303" class="footnote"><p><a href="#idm303" class="para"><sup class="para">[19] </sup></a><span class="quote">“<span class="quote">Licensing Considerations</span>”</span>, Creative Commons, acessado em 30 de
+ </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.idm309" class="footnote"><p><a href="#idm309" class="para"><sup class="para">[20] </sup></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.idm316" class="footnote"><p><a href="#idm316" class="para"><sup class="para">[21] </sup></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.idm323" class="footnote"><p><a href="#idm323" class="para"><sup class="para">[22] </sup></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.idm326" class="footnote"><p><a href="#idm326" class="para"><sup class="para">[23] </sup></a>
+ </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.idm330" class="footnote"><p><a href="#idm330" class="para"><sup class="para">[24] </sup></a>
+ </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.idm335" class="footnote"><p><a href="#idm335" class="para"><sup class="para">[25] </sup></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.idm340" class="footnote"><p><a href="#idm340" class="para"><sup class="para">[26] </sup></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.idm345" class="footnote"><p><a href="#idm345" class="para"><sup class="para">[27] </sup></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.idm349" class="footnote"><p><a href="#idm349" class="para"><sup class="para">[28] </sup></a>
+ </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.idm354" class="footnote"><p><a href="#idm354" class="para"><sup class="para">[29] </sup></a>
+ </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.idm359" class="footnote"><p><a href="#idm359" class="para"><sup class="para">[30] </sup></a>
+ </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.idm362" class="footnote"><p><a href="#idm362" class="para"><sup class="para">[31] </sup></a>
+ </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.idm369" class="footnote"><p><a href="#idm369" class="para"><sup class="para">[32] </sup></a>
+ </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.idm375" class="footnote"><p><a href="#idm375" class="para"><sup class="para">[33] </sup></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.idm379" class="footnote"><p><a href="#idm379" class="para"><sup class="para">[34] </sup></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.idm387" class="footnote"><p><a href="#idm387" class="para"><sup class="para">[35] </sup></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.idm399" class="footnote"><p><a href="#idm399" class="para"><sup class="para">[36] </sup></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.
How to Be Made with 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}
+ </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>
- 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.
- </p><p>
- 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.
- </p><p>
- 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.
- </p><p>
- 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.
- </p><p>
- According to the seminal handbook Business Model Generation, a business
-model <span class="quote">“<span class="quote">describes the rationale of how an organization creates,
-delivers, and captures value.</span>”</span><a href="#ftn.idm427" class="footnote" name="idm427"><sup class="footnote">[37]</sup></a>
-Thinking about sharing in terms of creating and capturing value always felt
-inappropriately transactional and out of place, something we heard time and
-time again in our interviews. And as Cory Doctorow told us in our interview
-with him, <span class="quote">“<span class="quote">Business model can mean anything you want it to
-mean.</span>”</span>
- </p><p>
- Eventually, we got it. Being Made with Creative Commons is more than a
-business model. While we will talk about specific revenue models as one
-piece of our analysis (and in more detail in the case studies), we scrapped
-that as our guiding rubric for the book.
- </p><p>
- 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.
- </p><p>
- 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.
- </p><p>
- 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.
- </p><p>
- 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.
- </p><p>
- Whether the public makes use of the opportunity to copy and adapt your work,
-sharing with a Creative Commons license is a symbol of how you want to
-interact with the people who consume your work. Whenever you create
-something, <span class="quote">“<span class="quote">all rights reserved</span>”</span> under copyright is automatic,
-so the copyright symbol (©) on the work does not necessarily come across as
-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.
- </p><p>
- 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.
- </p><p>
- The driving motivation varies depending on the type of endeavor. For
-individual creators, it is most often about personal inspiration. In some
-ways, this is nothing new. As Doctorow has written, <span class="quote">“<span class="quote">Creators usually
-start doing what they do for love.</span>”</span><a href="#ftn.idm441" class="footnote" name="idm441"><sup class="footnote">[38]</sup></a> But when you share your creative work under a CC license, that
-dynamic is even more pronounced. Similarly, for technological innovators, it
-is often less about creating a specific new thing that will make you rich
-and more about solving a specific problem you have. The creators of Arduino
-told us that the key question when creating something is <span class="quote">“<span class="quote">Do you as
-the creator want to use it? It has to have personal use and meaning.</span>”</span>
- </p><p>
- Many that are Made with Creative Commons have an express social mission that
-underpins everything they do. In many cases, sharing with Creative Commons
-expressly advances that social mission, and using the licenses can be the
-difference between legitimacy and hypocrisy. Noun Project co-founder Edward
-Boatman told us they could not have stated their social mission of sharing
-with a straight face if they weren’t willing to show the world that it was
-OK to share their content using a Creative Commons license.
- </p><p>
- This dynamic is probably one reason why there are so many nonprofit examples
-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.
- </p><p>
- Even if profit isn’t the end goal, you have to bring in money to be
-successfully Made with Creative Commons. At a bare minimum, you have to make
-enough money to keep the lights on.
- </p><p>
- 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, <span class="quote">“<span class="quote">If analog dollars have
-turned into digital dimes (as the critics of ad-supported media have it),
-there is the fact that it’s possible to run a business that gets the same
-amount of advertising as its forebears at a fraction of the price.</span>”</span>
- </p><p>
- Some creation costs are the same as they always were. It takes the same
-amount of time and money to write a peer-reviewed journal article or paint a
-painting. Technology can’t change that. But other costs are dramatically
-reduced by technology, particularly in production-heavy domains like
-filmmaking.<a href="#ftn.idm450" class="footnote" name="idm450"><sup class="footnote">[39]</sup></a> CC-licensed content and
-content in the public domain, as well as the work of volunteer
-collaborators, can also dramatically reduce costs if they’re being used as
-resources to 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.
- </p><p>
- Distributing content is almost universally cheaper than ever. Once content
-is created, the costs to distribute copies digitally are essentially
-zero.<a href="#ftn.idm453" class="footnote" name="idm453"><sup class="footnote">[40]</sup></a> 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.
- </p><p>
- It’s important to recognize that the biggest impact of technology on
-creative endeavors is that creators can now foot the costs of creation and
-distribution themselves. People now often have a direct route to their
-potential public without necessarily needing intermediaries like record
-labels and book publishers. Doctorow wrote, <span class="quote">“<span class="quote">If you’re a creator who
-never got the time of day from one of the great imperial powers, this is
-your time. Where once you had no means of reaching an audience without the
-assistance of the industry-dominating megacompanies, now you have hundreds
-of ways to do it without them.</span>”</span><a href="#ftn.idm457" class="footnote" name="idm457"><sup class="footnote">[41]</sup></a>
-Previously, distribution of creative work involved the costs associated with
-sustaining a monolithic entity, now creators can do the work
-themselves. That means the financial needs of creative endeavors can be a
-lot more modest.
- </p><p>
- Whether for an individual creator or a larger endeavor, it usually isn’t
-enough to break even if you want to make what you’re doing a livelihood. You
-need to build in some support for the general operation. This extra bit
-looks different for everyone, but importantly, in nearly all cases for those
-Made with Creative Commons, the definition of <span class="quote">“<span class="quote">enough money</span>”</span>
-looks a lot different than it does in the world of venture capital and stock
-options. It is more about sustainability and less about unlimited growth and
-profit. SparkFun founder Nathan Seidle told us, <span class="quote">“<span class="quote">Business model is a
-really grandiose word for it. It is really just about keeping the operation
-going day to day.</span>”</span>
- </p><p>
- This book is a testament to the notion that it is possible to make money
-while using CC licenses and CC-licensed content, but we are still very much
-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.
- </p><p>
- There are, however, plenty of ways in which CC licensing can be good for
-business in fairly predictable ways. The first is how it helps solve
-<span class="quote">“<span class="quote">problem zero.</span>”</span>
+ 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.idm469" class="footnote" name="idm469"><sup class="footnote">[42]</sup></a> There isn’t any magic to
+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
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.idm473" class="footnote" name="idm473"><sup class="footnote">[43]</sup></a> We are no longer limited
+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
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.idm477" class="footnote" name="idm477"><sup class="footnote">[44]</sup></a> Anderson wrote, <span class="quote">“<span class="quote">The
+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.idm480" class="footnote" name="idm480"><sup class="footnote">[45]</sup></a> To top it all off, you
+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.idm483" class="footnote" name="idm483"><sup class="footnote">[46]</sup></a> Somehow, some way, you have to get noticed by the
+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
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.idm486" class="footnote" name="idm486"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+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
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.idm491" class="footnote" name="idm491"><sup class="footnote">[48]</sup></a>
+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
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.idm496" class="footnote" name="idm496"><sup class="footnote">[49]</sup></a>
+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
</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.idm502" class="footnote" name="idm502"><sup class="footnote">[50]</sup></a>
+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
</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.idm506" class="footnote" name="idm506"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
+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
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.idm516" class="footnote" name="idm516"><sup class="footnote">[52]</sup></a>
+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
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.idm519" class="footnote" name="idm519"><sup class="footnote">[53]</sup></a> This is, in part, because we simply have a tendency to engage in
+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.idm521" class="footnote" name="idm521"><sup class="footnote">[54]</sup></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
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.idm526" class="footnote" name="idm526"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
+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
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.idm536" class="footnote" name="idm536"><sup class="footnote">[56]</sup></a> Free can
+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
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.idm543" class="footnote" name="idm543"><sup class="footnote">[57]</sup></a> Adaptation is more game
+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.
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.idm547" class="footnote" name="idm547"><sup class="footnote">[58]</sup></a> If even the tiny act of volition of paying one
+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.idm549" class="footnote" name="idm549"><sup class="footnote">[59]</sup></a> We know that people will pay more for products they
-had a part in creating.<a href="#ftn.idm551" class="footnote" name="idm551"><sup class="footnote">[60]</sup></a> And we know
+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.idm553" class="footnote" name="idm553"><sup class="footnote">[61]</sup></a>
+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.idm557" class="footnote" name="idm557"><sup class="footnote">[62]</sup></a>
+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>
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.idm562" class="footnote" name="idm562"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+creators, often at the expense of the creator’s best interest.<a href="#ftn.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
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.idm569" class="footnote" name="idm569"><sup class="footnote">[64]</sup></a> But in many
+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
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.idm575" class="footnote" name="idm575"><sup class="footnote">[65]</sup></a>
+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
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.idm581" class="footnote" name="idm581"><sup class="footnote">[66]</sup></a> By definition, if you are Made with Creative Commons, the content
+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.idm583" class="footnote" name="idm583"><sup class="footnote">[67]</sup></a>
+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
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.idm586" class="footnote" name="idm586"><sup class="footnote">[68]</sup></a> If people can easily find your
+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
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.idm592" class="footnote" name="idm592"><sup class="footnote">[69]</sup></a>
+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
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.idm602" class="footnote" name="idm602"><sup class="footnote">[70]</sup></a> This can be anything
+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.idm609" class="footnote" name="idm609"><sup class="footnote">[71]</sup></a>
+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
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.idm620" class="footnote" name="idm620"><sup class="footnote">[72]</sup></a> Access to your audience
+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.idm626" class="footnote" name="idm626"><sup class="footnote">[73]</sup></a> The Internet has made this
+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.idm628" class="footnote" name="idm628"><sup class="footnote">[74]</sup></a> Nonetheless, it remains a viable revenue stream for
+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
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.idm639" class="footnote" name="idm639"><sup class="footnote">[75]</sup></a> Curation
+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
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.idm657" class="footnote" name="idm657"><sup class="footnote">[76]</sup></a> We
+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.idm659" class="footnote" name="idm659"><sup class="footnote">[77]</sup></a>
+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
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.idm692" class="footnote" name="idm692"><sup class="footnote">[78]</sup></a> But the further
+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
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.idm696" class="footnote" name="idm696"><sup class="footnote">[79]</sup></a>
+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
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.idm703" class="footnote" name="idm703"><sup class="footnote">[80]</sup></a> But it can’t be a
+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,
<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.idm710" class="footnote" name="idm710"><sup class="footnote">[81]</sup></a> It isn’t about
+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.idm712" class="footnote" name="idm712"><sup class="footnote">[82]</sup></a>
+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.idm715" class="footnote" name="idm715"><sup class="footnote">[83]</sup></a> Instead, it can be as simple as asking for input and then giving
+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.idm717" class="footnote" name="idm717"><sup class="footnote">[84]</sup></a> But when you get it right, it can guarantee the type of diversity
+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.idm722" class="footnote" name="idm722"><sup class="footnote">[85]</sup></a> Any
+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.idm724" class="footnote" name="idm724"><sup class="footnote">[86]</sup></a> Being Made with Creative
+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
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.idm730" class="footnote" name="idm730"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+better than neoclassical economics would predict.</span>”</span><a href="#ftn.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>
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.idm734" class="footnote" name="idm734"><sup class="footnote">[88]</sup></a> And most often, they do.
+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.idm740" class="footnote" name="idm740"><sup class="footnote">[89]</sup></a> Even if you happen to be
+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.idm742" class="footnote" name="idm742"><sup class="footnote">[90]</sup></a>
+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
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.idm746" class="footnote" name="idm746"><sup class="footnote">[91]</sup></a> Platforms that
+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.idm748" class="footnote" name="idm748"><sup class="footnote">[92]</sup></a>
+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
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.idm755" class="footnote" name="idm755"><sup class="footnote">[93]</sup></a> It attracts committed
+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.idm760" class="footnote" name="idm760"><sup class="footnote">[94]</sup></a> To a certain extent, simply
+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.
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.idm765" class="footnote" name="idm765"><sup class="footnote">[95]</sup></a> For organizations like
+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.idm768" class="footnote" name="idm768"><sup class="footnote">[96]</sup></a>
+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
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.idm772" class="footnote" name="idm772"><sup class="footnote">[97]</sup></a> Building true community
+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.idm774" class="footnote" name="idm774"><sup class="footnote">[98]</sup></a> If
+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>
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.idm781" class="footnote" name="idm781"><sup class="footnote">[99]</sup></a> As Lisa Gansky put it in her book The Mesh, the
+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.idm785" class="footnote" name="idm785"><sup class="footnote">[100]</sup></a> That is not sharing.
+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
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.idm788" class="footnote" name="idm788"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
+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>
</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.idm796" class="footnote" name="idm796"><sup class="footnote">[102]</sup></a> But to make collaboration work,
+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.idm798" class="footnote" name="idm798"><sup class="footnote">[103]</sup></a> This is easier to facilitate for some types of
+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.idm800" class="footnote" name="idm800"><sup class="footnote">[104]</sup></a>
+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
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.idm803" class="footnote" name="idm803"><sup class="footnote">[105]</sup></a>
+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
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.idm807" class="footnote" name="idm807"><sup class="footnote">[106]</sup></a> The
+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
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.idm809" class="footnote" name="idm809"><sup class="footnote">[107]</sup></a>
+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.idm813" class="footnote" name="idm813"><sup class="footnote">[108]</sup></a> And it
+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.idm815" class="footnote" name="idm815"><sup class="footnote">[109]</sup></a>
+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.idm818" class="footnote" name="idm818"><sup class="footnote">[110]</sup></a> What that looks like
+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.idm820" class="footnote" name="idm820"><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.idm427" class="footnote"><p><a href="#idm427" class="para"><sup class="para">[37] </sup></a>
- Alex Osterwalder and Yves Pigneur, Business Model Generation (Hoboken, NJ:
-John Wiley and Sons, 2010), 14. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
- </p></div><div id="ftn.idm441" class="footnote"><p><a href="#idm441" class="para"><sup class="para">[38] </sup></a>
- Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet
-Age (San Francisco, CA: McSweeney’s, 2014) 68.
- </p></div><div id="ftn.idm450" class="footnote"><p><a href="#idm450" class="para"><sup class="para">[39] </sup></a>
+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.idm453" class="footnote"><p><a href="#idm453" class="para"><sup class="para">[40] </sup></a>
- Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving
-Something for Nothing, reprint with new preface (New York: Hyperion, 2010),
-224.
- </p></div><div id="ftn.idm457" class="footnote"><p><a href="#idm457" class="para"><sup class="para">[41] </sup></a>
- Doctorow, Information Doesn’t Want to Be Free, 44.
- </p></div><div id="ftn.idm469" class="footnote"><p><a href="#idm469" class="para"><sup class="para">[42] </sup></a>
+ </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.idm473" class="footnote"><p><a href="#idm473" class="para"><sup class="para">[43] </sup></a>
+ </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.idm477" class="footnote"><p><a href="#idm477" class="para"><sup class="para">[44] </sup></a>
+ </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.idm480" class="footnote"><p><a href="#idm480" class="para"><sup class="para">[45] </sup></a>
+ </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.idm483" class="footnote"><p><a href="#idm483" class="para"><sup class="para">[46] </sup></a>
+ </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.idm486" class="footnote"><p><a href="#idm486" class="para"><sup class="para">[47] </sup></a>
+ </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.idm491" class="footnote"><p><a href="#idm491" class="para"><sup class="para">[48] </sup></a>
+ </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.idm496" class="footnote"><p><a href="#idm496" class="para"><sup class="para">[49] </sup></a>
+ </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.idm502" class="footnote"><p><a href="#idm502" class="para"><sup class="para">[50] </sup></a>
+ </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.idm506" class="footnote"><p><a href="#idm506" class="para"><sup class="para">[51] </sup></a>
+ </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.idm516" class="footnote"><p><a href="#idm516" class="para"><sup class="para">[52] </sup></a>
+ </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.idm519" class="footnote"><p><a href="#idm519" class="para"><sup class="para">[53] </sup></a>
+ </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.idm521" class="footnote"><p><a href="#idm521" class="para"><sup class="para">[54] </sup></a>
+ </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.idm526" class="footnote"><p><a href="#idm526" class="para"><sup class="para">[55] </sup></a>
+ </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.idm536" class="footnote"><p><a href="#idm536" class="para"><sup class="para">[56] </sup></a>
+ </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.idm543" class="footnote"><p><a href="#idm543" class="para"><sup class="para">[57] </sup></a>
+ </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.idm547" class="footnote"><p><a href="#idm547" class="para"><sup class="para">[58] </sup></a>
+ </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.idm549" class="footnote"><p><a href="#idm549" class="para"><sup class="para">[59] </sup></a>
+ </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.idm551" class="footnote"><p><a href="#idm551" class="para"><sup class="para">[60] </sup></a>
+ </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.idm553" class="footnote"><p><a href="#idm553" class="para"><sup class="para">[61] </sup></a>
+ </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.idm557" class="footnote"><p><a href="#idm557" class="para"><sup class="para">[62] </sup></a>
+ </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.idm562" class="footnote"><p><a href="#idm562" class="para"><sup class="para">[63] </sup></a>
+ </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.idm569" class="footnote"><p><a href="#idm569" class="para"><sup class="para">[64] </sup></a>
+ </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.idm575" class="footnote"><p><a href="#idm575" class="para"><sup class="para">[65] </sup></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.idm581" class="footnote"><p><a href="#idm581" class="para"><sup class="para">[66] </sup></a>
+ </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.idm583" class="footnote"><p><a href="#idm583" class="para"><sup class="para">[67] </sup></a>
+ </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.idm586" class="footnote"><p><a href="#idm586" class="para"><sup class="para">[68] </sup></a>
+ </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.idm592" class="footnote"><p><a href="#idm592" class="para"><sup class="para">[69] </sup></a>
+ </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.idm602" class="footnote"><p><a href="#idm602" class="para"><sup class="para">[70] </sup></a>
+ </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.idm609" class="footnote"><p><a href="#idm609" class="para"><sup class="para">[71] </sup></a>
+ </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.idm620" class="footnote"><p><a href="#idm620" class="para"><sup class="para">[72] </sup></a>
+ </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.idm626" class="footnote"><p><a href="#idm626" class="para"><sup class="para">[73] </sup></a>
+ </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.idm628" class="footnote"><p><a href="#idm628" class="para"><sup class="para">[74] </sup></a>
+ </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.idm639" class="footnote"><p><a href="#idm639" class="para"><sup class="para">[75] </sup></a>
+ </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.idm657" class="footnote"><p><a href="#idm657" class="para"><sup class="para">[76] </sup></a>
+ </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.idm659" class="footnote"><p><a href="#idm659" class="para"><sup class="para">[77] </sup></a>
+ </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.idm692" class="footnote"><p><a href="#idm692" class="para"><sup class="para">[78] </sup></a>
+ </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.idm696" class="footnote"><p><a href="#idm696" class="para"><sup class="para">[79] </sup></a>
+ </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.idm703" class="footnote"><p><a href="#idm703" class="para"><sup class="para">[80] </sup></a>
+ </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.idm710" class="footnote"><p><a href="#idm710" class="para"><sup class="para">[81] </sup></a>
+ </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.idm712" class="footnote"><p><a href="#idm712" class="para"><sup class="para">[82] </sup></a>
+ </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.idm715" class="footnote"><p><a href="#idm715" class="para"><sup class="para">[83] </sup></a>
+ </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.idm717" class="footnote"><p><a href="#idm717" class="para"><sup class="para">[84] </sup></a>
+ </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.idm722" class="footnote"><p><a href="#idm722" class="para"><sup class="para">[85] </sup></a>
+ </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.idm724" class="footnote"><p><a href="#idm724" class="para"><sup class="para">[86] </sup></a>
+ </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.idm730" class="footnote"><p><a href="#idm730" class="para"><sup class="para">[87] </sup></a>
+ </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.idm734" class="footnote"><p><a href="#idm734" class="para"><sup class="para">[88] </sup></a>
+ </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.idm740" class="footnote"><p><a href="#idm740" class="para"><sup class="para">[89] </sup></a>
+ </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.idm742" class="footnote"><p><a href="#idm742" class="para"><sup class="para">[90] </sup></a>
+ </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.idm746" class="footnote"><p><a href="#idm746" class="para"><sup class="para">[91] </sup></a>
+ </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.idm748" class="footnote"><p><a href="#idm748" class="para"><sup class="para">[92] </sup></a>
+ </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.idm755" class="footnote"><p><a href="#idm755" class="para"><sup class="para">[93] </sup></a>
+ </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.idm760" class="footnote"><p><a href="#idm760" class="para"><sup class="para">[94] </sup></a>
+ </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.idm765" class="footnote"><p><a href="#idm765" class="para"><sup class="para">[95] </sup></a>
+ </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.idm768" class="footnote"><p><a href="#idm768" class="para"><sup class="para">[96] </sup></a>
+ </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.idm772" class="footnote"><p><a href="#idm772" class="para"><sup class="para">[97] </sup></a>
+ </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.idm774" class="footnote"><p><a href="#idm774" class="para"><sup class="para">[98] </sup></a>
+ </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.idm781" class="footnote"><p><a href="#idm781" class="para"><sup class="para">[99] </sup></a>
+ </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.idm785" class="footnote"><p><a href="#idm785" class="para"><sup class="para">[100] </sup></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.idm788" class="footnote"><p><a href="#idm788" class="para"><sup class="para">[101] </sup></a>
+ </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.idm796" class="footnote"><p><a href="#idm796" class="para"><sup class="para">[102] </sup></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.idm798" class="footnote"><p><a href="#idm798" class="para"><sup class="para">[103] </sup></a>
+ </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.idm800" class="footnote"><p><a href="#idm800" class="para"><sup class="para">[104] </sup></a>
+ </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.idm803" class="footnote"><p><a href="#idm803" class="para"><sup class="para">[105] </sup></a>
+ </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.idm807" class="footnote"><p><a href="#idm807" class="para"><sup class="para">[106] </sup></a>
+ </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.idm809" class="footnote"><p><a href="#idm809" class="para"><sup class="para">[107] </sup></a>
+ </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.idm813" class="footnote"><p><a href="#idm813" class="para"><sup class="para">[108] </sup></a>
+ </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.idm815" class="footnote"><p><a href="#idm815" class="para"><sup class="para">[109] </sup></a>
+ </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.idm818" class="footnote"><p><a href="#idm818" class="para"><sup class="para">[110] </sup></a>
+ </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.idm820" class="footnote"><p><a href="#idm820" class="para"><sup class="para">[111] </sup></a>
+ </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>
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.idm915" class="footnote" name="idm915"><sup class="footnote">[112]</sup></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
<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.idm925" class="footnote" name="idm925"><sup class="footnote">[113]</sup></a>
+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
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.idm9
15" class="footnote"><p><a href="#idm915" 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.idm925" class="footnote"><p><a href="#idm925" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm9
20" 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>
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.idm1106" class="footnote" name="idm1106"><sup class="footnote">[114]</sup></a> These include fully disclosing
+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
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.idm11
06" class="footnote"><p><a href="#idm1106" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm11
11" 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>
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.idm1214" class="footnote" name="idm1214"><sup class="footnote">[115]</sup></a>
+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.idm1217" class="footnote" name="idm1217"><sup class="footnote">[116]</sup></a>
+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
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.idm1222" class="footnote" name="idm1222"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
+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
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.idm121
4" class="footnote"><p><a href="#idm1214" 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.idm1217" class="footnote"><p><a href="#idm1217" 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.idm1222" class="footnote"><p><a href="#idm1222" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm121
9" 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.
}
\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.idm1241" class="footnote" name="idm1241"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
+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
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.idm1249" class="footnote" name="idm1249"><sup class="footnote">[119]</sup></a> It aims to standardize
+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
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.idm1259" class="footnote" name="idm1259"><sup class="footnote">[120]</sup></a>
+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.idm1263" class="footnote" name="idm1263"><sup class="footnote">[121]</sup></a> Patrons
+ 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.
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.idm124
1" class="footnote"><p><a href="#idm1241" 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.idm1249" class="footnote"><p><a href="#idm1249" 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.idm1259" class="footnote"><p><a href="#idm1259" 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.idm1263" class="footnote"><p><a href="#idm1263" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm124
6" 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></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.idm1316" class="footnote" name="idm1316"><sup class="footnote">[122]</sup></a>
+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
under forty-three dollars.
</p><p>
The open-access, Creative Commons versions of these twenty-eight books are
-still available online.<a href="#ftn.idm1321" class="footnote" name="idm1321"><sup class="footnote">[123]</sup></a> Most books have
+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
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.idm1332" class="footnote" name="idm1332"><sup class="footnote">[124]</sup></a>
+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
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.idm13
16" class="footnote"><p><a href="#idm1316" 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.idm1321" class="footnote"><p><a href="#idm1321" 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.idm1332" class="footnote"><p><a href="#idm1332" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm13
21" 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>
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.idm1356" class="footnote" name="idm1356"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
+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
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.idm13
56" class="footnote"><p><a href="#idm1356" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm13
61" 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>
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.idm1459" class="footnote" name="idm1459"><sup class="footnote">[126]</sup></a> They thought it’d
+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.
providing more service to the user.
</p><p>
The Noun Project tries to be completely transparent about their royalty
-structure.<a href="#ftn.idm1476" class="footnote" name="idm1476"><sup class="footnote">[127]</sup></a> They tend to over
+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>
search the icons by the creator’s name.
</p><p>
The Noun Project also builds community through Iconathons—hackathons for
-icons.<a href="#ftn.idm1490" class="footnote" name="idm1490"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
+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
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.idm14
59" class="footnote"><p><a href="#idm1459" 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.idm1476" class="footnote"><p><a href="#idm1476" 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.idm1490" class="footnote"><p><a href="#idm1490" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm14
64" 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></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.idm1519" class="footnote" name="idm1519"><sup class="footnote">[129]</sup></a>
+ 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
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.idm1529" class="footnote" name="idm1529"><sup class="footnote">[130]</sup></a>
+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
</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.idm1549" class="footnote" name="idm1549"><sup class="footnote">[131]</sup></a>
+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
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.idm1555" class="footnote" name="idm1555"><sup class="footnote">[132]</sup></a>
+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
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.idm1577" class="footnote" name="idm1577"><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.idm15
19" class="footnote"><p><a href="#idm1519" 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.idm1529" class="footnote"><p><a href="#idm1529" 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.idm1549" class="footnote"><p><a href="#idm1549" 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.idm1555" class="footnote"><p><a href="#idm1555" 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.idm1577" class="footnote"><p><a href="#idm1577" 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>
+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.idm15
24" 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.
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.idm1603" class="footnote" name="idm1603"><sup class="footnote">[134]</sup></a>
+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,
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.idm1610" class="footnote" name="idm1610"><sup class="footnote">[135]</sup></a>
+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
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.idm1630" class="footnote" name="idm1630"><sup class="footnote">[136]</sup></a>
+ 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>
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.idm1655" class="footnote" name="idm1655"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
+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
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.idm160
3" class="footnote"><p><a href="#idm1603" 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.idm1610" class="footnote"><p><a href="#idm1610" 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.idm1630" class="footnote"><p><a href="#idm1630" 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.idm1655" class="footnote"><p><a href="#idm1655" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm160
8" 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.
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.idm1695" class="footnote" name="idm1695"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
+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
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.idm1702" class="footnote" name="idm1702"><sup class="footnote">[139]</sup></a>
+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
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.idm1
695" class="footnote"><p><a href="#idm1695" 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.idm1702" class="footnote"><p><a href="#idm1702" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1
700" 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>
\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.idm1749" class="footnote" name="idm1749"><sup class="footnote">[140]</sup></a>
+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
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.idm17
49" class="footnote"><p><a href="#idm1749" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm17
54" 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.
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.idm1827" class="footnote" name="idm1827"><sup class="footnote">[141]</sup></a> It also offers something called Article-Level
+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.idm1830" class="footnote" name="idm1830"><sup class="footnote">[142]</sup></a> Louise believes that the
+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>
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.idm18
27" class="footnote"><p><a href="#idm1827" 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.idm1830" class="footnote"><p><a href="#idm1830" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm18
32" 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>
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.idm1853" class="footnote" name="idm1853"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
+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
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.idm1865" class="footnote" name="idm1865"><sup class="footnote">[144]</sup></a>
+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
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.idm1873" class="footnote" name="idm1873"><sup class="footnote">[145]</sup></a>
+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.idm1877" class="footnote" name="idm1877"><sup class="footnote">[146]</sup></a> With the call to action Make Your Own Masterpiece, the competition
+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.idm1882" class="footnote" name="idm1882"><sup class="footnote">[147]</sup></a> The Rijksmuseum has been thrilled
+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.
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.idm185
3" class="footnote"><p><a href="#idm1853" 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.idm1865" class="footnote"><p><a href="#idm1865" 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.idm1873" class="footnote"><p><a href="#idm1873" 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.idm1877" class="footnote"><p><a href="#idm1877" 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
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm185
8" 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.idm188
2" class="footnote"><p><a href="#idm1882" 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>
+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.idm188
7" 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>
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.idm1955" class="footnote" name="idm1955"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+Foundation’s GNU Free Documentation License.<a href="#ftn.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.
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.idm1961" class="footnote" name="idm1961"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
+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>
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.idm1967" class="footnote" name="idm1967"><sup class="footnote">[150]</sup></a> Siyavula trained many
+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>
</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.idm1986" class="footnote" name="idm1986"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+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
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.idm19
55" class="footnote"><p><a href="#idm1955" 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.idm1961" class="footnote"><p><a href="#idm1961" 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.idm1967" class="footnote"><p><a href="#idm1967" 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.idm1986" class="footnote"><p><a href="#idm1986" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm19
60" 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>
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.idm2121" class="footnote" name="idm2121"><sup class="footnote">[152]</sup></a>
+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
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.idm2130" class="footnote" name="idm2130"><sup class="footnote">[153]</sup></a>
+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
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.idm212
1" class="footnote"><p><a href="#idm2121" 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.idm2130" class="footnote"><p><a href="#idm2130" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm212
6" 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>
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.idm2176" class="footnote" name="idm2176"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
+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
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.idm21
76" class="footnote"><p><a href="#idm2176" 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>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm21
81" 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.
projects / text-madewithcc.git / commitdiff