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+<html><head><meta http-equiv="Content-Type" content="text/html; charset=UTF-8"><title>Feito com Creative Commons</title><meta name="generator" content="DocBook XSL Stylesheets Vsnapshot"></head><body bgcolor="white" text="black" link="#0000FF" vlink="#840084" alink="#0000FF"><div lang="pt_BR" class="book"><div class="titlepage"><div><div><h1 class="title"><a name="idm1"></a>Feito com Creative Commons</h1></div><div><div class="authorgroup"><div class="author"><h3 class="author"><span class="firstname">Paul</span> <span class="surname">Stacey</span></h3></div><div class="author"><h3 class="author"><span class="firstname">Sarah Hinchliff</span> <span class="surname">Pearson</span></h3></div></div></div><div><p class="copyright">Copyright © 2017 Creative Commons</p></div><div><div class="legalnotice"><a name="idm18"></a><p>
+ Este livro é publicado sob uma licença CC BY-SA, o que significa que você
+pode copiar, redistribuir, remixar, transformar e desenvolver o conteúdo
+para qualquer finalidade, mesmo comercialmente, desde que você dê o crédito
+apropriado, forneça um link para o licença e indicar se foram feitas
+alterações. Se você remixar, transformar ou desenvolver o material, deverá
+distribuir suas contribuições sob a mesma licença do original. Detalhes da
+licença: <a class="ulink" href="https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR" target="_top">https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR</a>
+ </p></div></div></div><hr></div><div class="dedication"><div class="titlepage"><div><div><h1 class="title"><a name="dedication"></a></h1></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>Não sei muito sobre jornalismo de não ficção... A maneira que penso sobre
+essas coisas e em termos do que posso fazer é... ensaios como esse são
+ocasiões para observar alguém razoavelmente brilhante, mas também
+razoavelmente mediano, prestar mais atenção e pensar muito mais longamente
+sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance
+de fazer em nossas vidas diárias.</p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{ David Foster Wallace }
+ \end{flushright}</td></tr></table></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="preface"><a href="#foreword">Prefácio</a></span></dt><dt><span class="preface"><a href="#introduction">Introdução</a></span></dt><dt><span class="part"><a href="#the-big-picture">I. O Quadro Geral</a></span></dt><dd><dl><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. 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>
+ Três anos atrás, logo depois de ser contratado como CEO da Creative Commons,
+me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como
+um dos proponentes mais conhecidos da CC – alguém que também teve uma
+carreira de sucesso como escritor que compartilha seu trabalho usando CC –
+eu disse a ele que achava que a CC tinha um papel na definição e promoção de
+modelos de negócios abertos. Ele discordou gentilmente e considerou a busca
+de modelos de negócios viáveis por meio da CC <span class="quote">“<span class="quote">uma pista
+falsa</span>”</span>.
+ </p><p>
+ Ele estava, de certa forma, completamente correto – aqueles que fazem coisas
+com Creative Commons têm segundas intenções, como Paul Stacey explica neste
+livro: <span class="quote">“<span class="quote">Independentemente do status legal, todos eles têm uma missão
+social. Sua principal razão de ser é tornar o mundo um lugar melhor, sem
+fins lucrativos. O dinheiro é um meio para um fim social, não o fim em
+si.</span>”</span>
+ </p><p>
+ No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as
+palavras de Cory em seu livro 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>
+ </p><p>
+ Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e
+quase ninguém ganha. O que eles não dizem é que, se você decidir
+compartilhar seu trabalho, o retorno pode ser significativo e
+duradouro. Este livro está repleto de histórias de pessoas que assumem
+riscos muito maiores do que os dois dólares que pagamos por um bilhete de
+loteria e, em vez disso, colhem as recompensas que advêm de perseguir suas
+paixões e viver seus valores.
+ </p><p>
+ Portanto, não se trata de dinheiro. Também: é. Encontrar os meios para
+continuar a criar e compartilhar geralmente requer alguma receita. Max
+Temkin, da Cards Against Humanity, diz isso melhor em seu estudo de caso:
+<span class="quote">“<span class="quote">Não fazemos piadas e jogos para ganhar dinheiro – ganhamos dinheiro
+para que possamos fazer mais piadas e jogos.</span>”</span>
+ </p><p>
+ O foco da Creative Commons é construir um commons vibrante e utilizável,
+movido pela colaboração e gratidão. Capacitar comunidades de colaboração
+está no centro de nossa estratégia. Com isso em mente, a Creative Commons
+iniciou o projeto deste livro. Liderado por Paul e Sarah, o projeto teve
+como objetivo definir e promover os melhores modelos de negócios
+abertos. Paul e Sarah eram os autores ideais para escrever Feito com
+Creative Commons.
+ </p><p>
+ Paul sonha com um futuro onde novos modelos de criatividade e inovação
+superem a desigualdade e a escassez que hoje definem as piores partes do
+capitalismo. Ele é movido pelo poder das conexões humanas entre comunidades
+de criadores. Ele tem uma visão mais ampla do que a maioria, e isso o tornou
+um melhor educador, um pesquisador perspicaz e também um jardineiro
+habilidoso. Ele tem uma voz calma e fria que transmite uma paixão que
+inspira seus colegas e a comunidade.
+ </p><p>
+ Sarah é o melhor tipo de advogada – uma verdadeira defensora que acredita no
+bem das pessoas e no poder dos atos coletivos para mudar o mundo. Durante o
+ano passado, vi Sarah lutar contra a mágoa que vem por investir tanto em uma
+campanha política que não terminou como ela esperava. Hoje, ela está mais
+determinada do que nunca a viver com seus valores na manga. Sempre posso
+contar com Sarah para empurrar a Creative Commons para focar em nosso
+impacto – para tornar a coisa principal a coisa principal. Ela é prática,
+orientada para os detalhes e inteligente. Não há ninguém na minha equipe com
+quem eu goste mais de debater.
+ </p><p>
+ Como co-autores, Paul e Sarah se complementam perfeitamente. Eles
+pesquisaram, analisaram, discutiram e trabalharam em equipe, às vezes juntos
+e às vezes de forma independente. Eles mergulharam na pesquisa e na escrita
+com paixão e curiosidade, e um profundo respeito pelo que é necessário para
+construir o bem comum e compartilhar com o mundo. Eles permaneceram abertos
+a novas ideias, incluindo a possibilidade de que suas teorias iniciais
+precisassem ser aprimoradas ou pudessem estar completamente erradas. Isso é
+corajoso e tornou-se um livro melhor, perspicaz, honesto e útil.
+ </p><p>
+ Desde o início, a CC quis desenvolver este projeto com os princípios e
+valores da colaboração aberta. O livro foi financiado, desenvolvido,
+pesquisado e escrito abertamente. Ele está sendo compartilhado abertamente
+sob uma licença CC BY-SA para qualquer pessoa usar, remixar ou adaptar com
+atribuição. É, por si só, um exemplo de modelo de negócio aberto.
+ </p><p>
+ Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma
+campanha Kickstarter para gerar o financiamento básico para o livro. O
+restante foi fornecido por generosos doadores e apoiadores do CC. No final,
+tornou-se um dos projetos de livro de maior sucesso no Kickstarter,
+superando dois objetivos extensos e envolvendo mais de 1.600 doadores – a
+maioria deles novos apoiadores da Creative Commons.
+ </p><p>
+ Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os
+planos, rascunhos, estudos de caso e análises, desde o início e com
+frequência, e envolveram comunidades em todo o mundo para ajudar a escrever
+este livro. Como suas opiniões divergiram e seus interesses entraram em
+foco, eles dividiram suas vozes e decidiram mantê-los separados no produto
+final. Trabalhar dessa maneira requer humildade e autoconfiança e, sem
+dúvida, tornou o Feito com Creative Commons um projeto melhor.
+ </p><p>
+ Aqueles que trabalham e compartilham dos bens comuns não são criadores
+típicos. Eles são parte de algo maior do que eles próprios, e o que eles
+oferecem a todos nós é um dom profundo. O que eles recebem em troca é
+gratidão e uma comunidade.
+ </p><p>
+ Jonathan Mann, cujo perfil é apresentado neste livro, escreve uma música por
+dia. Quando eu pedi a ele para escrever uma música para o nosso Kickstarter
+(e se oferecer como um benefício do Kickstarter), ele concordou
+imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a
+colaboração em seu núcleo, e a comunidade como um valor chave, e porque as
+licenças CC ajudaram muitos a compartilhar as formas que escolheram com um
+público global.
+ </p><p>
+ Sarah escreve, <span class="quote">“<span class="quote">Os esforços feitos com Creative Commons prosperam
+quando a comunidade é construída em torno do que eles fazem. Isso pode
+significar uma comunidade colaborando para criar algo novo, ou pode ser
+simplesmente um grupo de pessoas com ideias semelhantes que se conhecem e se
+unem em torno de interesses ou crenças comuns. Até certo ponto, simplesmente
+ser feito com Creative Commons traz automaticamente consigo algum elemento
+de comunidade, ajudando a conectá-lo a outras pessoas que reconhecem e são
+atraídas para os valores simbolizados pelo uso de CC</span>”</span>. Amanda Palmer,
+a outra música perfilada no livro, certamente acrescentaria isso de seu
+estudo de caso: <span class="quote">“<span class="quote">Não há objetivo final mais satisfatório do que ter
+alguém lhe dizendo que o que você faz é genuinamente valioso para
+eles.</span>”</span>
+ </p><p>
+ Este não é um livro de negócios típico. Para quem procura uma receita ou um
+roteiro, pode ficar desapontado. Mas para aqueles que buscam um objetivo
+social, construir algo grande por meio da colaboração ou se juntar a uma
+comunidade global poderosa e crescente, eles certamente ficarão
+satisfeitos. Feito com Creative Commons oferece um conjunto de valores e
+princípios claramente articulados para mudar o mundo, algumas ferramentas
+essenciais para explorar suas próprias oportunidades de negócios e duas
+dezenas de doses de pura inspiração.
+ </p><p>
+ Em um artigo de 1996 da Stanford Law Review <span class="quote">“<span class="quote">The Zones of
+Cyberspace</span>”</span>, o fundador do CC Lawrence Lessig escreveu, <span class="quote">“<span class="quote">O
+ciberespaço é um lugar. Pessoas moram lá. Elas experimentam todos os tipos
+de coisas que experimentam no espaço real, ali. Para alguns, elas
+experimentam mais. Elas vivenciam isso não como indivíduos isolados, jogando
+algum jogo de computador de alta tecnologia; elas experimentam isso em
+grupos, em comunidades, entre estranhos, entre pessoas que eles conhecem e
+às vezes gostam. </span>”</span>
+ </p><p>
+ Estou extremamente orgulhoso de que a Creative Commons seja capaz de
+publicar este livro para as muitas comunidades que conhecemos e
+gostamos. Sou grato a Paul e Sarah por sua criatividade e ideias, e às
+comunidades globais que nos ajudaram a trazer isso para você. Como
+frequentemente diz o membro do conselho da CC, Johnathan Nightingale,
+<span class="quote">“<span class="quote">É tudo feito de pessoas.</span>”</span>
+ </p><p>
+ Esse é o verdadeiro valor das coisas feitas com Creative Commons.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{ Ryan Merkley, CEO, Creative Commons}
+ \end{flushright}</td></tr></table></div></div><div class="preface"><div class="titlepage"><div><div><h1 class="title"><a name="introduction"></a>Introdução</h1></div></div></div><p>
+ Este livro mostra ao mundo como o compartilhamento pode ser bom para os
+negócios – mas com uma diferença.
+ </p><p>
+ Começamos o projeto com a intenção de explorar como criadores, organizações
+e empresas ganham dinheiro para sustentar o que fazem quando compartilham
+seus trabalhos usando licenças Creative Commons. Nosso objetivo não era
+identificar uma fórmula para modelos de negócios que usam Creative Commons,
+mas, em vez disso, reunir ideias novas e exemplos dinâmicos que geram
+modelos novos e inovadores e ajudam outros a seguir o exemplo, construindo
+sobre o que já funciona. No início, estruturamos nossa investigação em
+termos de negócios familiares. Criamos uma <span class="quote">“<span class="quote">tela de modelo de negócios
+aberto</span>”</span> em branco, uma ferramenta on-line interativa que ajudaria as
+pessoas a projetar e analisar seu modelo de negócios.
+ </p><p>
+ Por meio do generoso financiamento dos patrocinadores do Kickstarter,
+começamos este projeto primeiro identificando e – selecionando um grupo
+diverso de criadores, organizações e empresas que usam a Creative Commons de
+uma forma integral o que chamamos de ser Feito com Creative Commons. Nós os
+entrevistamos e escrevemos suas histórias. Analisamos o que ouvimos e nos
+aprofundamos na literatura.
+ </p><p>
+ Mas enquanto fazíamos nossa pesquisa, algo interessante aconteceu. Nossa
+maneira inicial de enquadrar o trabalho não combinava com as histórias que
+estávamos ouvindo.
+ </p><p>
+ Os entrevistados não eram empresas típicas que vendem para consumidores e
+buscam maximizar os lucros e os resultados financeiros. Em vez disso, eles
+estavam compartilhando para tornar o mundo um lugar melhor, criando
+relacionamentos e comunidade em torno das obras que estavam sendo
+compartilhadas e gerando receita não para um crescimento ilimitado, mas para
+sustentar a operação.
+ </p><p>
+ Muitas vezes eles não gostavam de ouvir o que eles faziam descrito como um
+modelo de negócios aberto. Seu esforço era algo mais do que isso. Algo
+diferente. Algo que gera não apenas valor econômico, mas também valor social
+e cultural. Algo que envolve conexão humana. Ser Feito com Creative Commons
+não é um <span class="quote">“<span class="quote">negócio de costume</span>”</span>.
+ </p><p>
+ Tivemos que repensar a forma como concebemos esse projeto. E isso não
+aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas
+ideias em postagens de blog no Medium e com atualizações regulares para
+nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de
+caso e análises com nossos cocriadores do Kickstarter, que forneceram
+edições, feedback e conselhos inestimáveis. Nosso pensamento mudou
+drasticamente ao longo de um ano e meio.
+ </p><p>
+ Ao longo do processo, nós dois frequentemente tínhamos maneiras muito
+diferentes de compreender e descrever o que estávamos aprendendo. Aprender
+um com o outro foi uma das grandes alegrias deste trabalho e, esperamos,
+algo que tornou o produto final muito mais rico do que jamais poderia ter
+sido se qualquer um de nós empreendesse este projeto sozinho. Nós
+preservamos nossas vozes por toda parte, e você será capaz de sentir nossas
+abordagens diferentes, mas complementares, enquanto lê nossas diferentes
+seções.
+ </p><p>
+ Embora recomendamos que você leia o livro do início ao fim, cada seção é
+lida de forma mais ou menos independente. O livro está estruturado em duas
+partes principais.
+ </p><p>
+ A parte um, a visão geral, começa com uma estrutura geral escrita por
+Paul. Ele fornece algum contexto histórico para os bens comuns digitais,
+descrevendo as três maneiras como a sociedade administrou recursos e
+compartilhou riqueza – os bens comuns, o mercado e o estado. Ele defende
+pensar além dos negócios e dos termos de mercado e eloquentemente defende o
+compartilhamento e a ampliação dos bens comuns digitais.
+ </p><p>
+ A visão geral continua com o capítulo de Sarah, enquanto ela considera o que
+significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro
+seja uma parte do bolo, há também um conjunto de valores voltados para o
+público e o tipo de conexões humanas que tornam o compartilhamento
+verdadeiramente significativo. Esta seção descreve as maneiras como os
+criadores, organizações e empresas que entrevistamos geram receita, como
+promovem o interesse público e vivem seus valores e como promovem conexões
+com as pessoas com quem compartilham.
+ </p><p>
+ E para encerrar a primeira parte, temos uma pequena seção que explica as
+diferentes licenças Creative Commons. Falamos sobre o equívoco de que as
+licenças mais restritivas – aquelas que estão mais próximas do modelo com
+todos os direitos reservados do direito autoral tradicional – são as únicas
+maneiras de ganhar dinheiro.
+ </p><p>
+ A segunda parte do livro é composta pelas vinte e quatro histórias dos
+criadores, empresas e organizações que entrevistamos. Enquanto nós dois
+participamos das entrevistas, dividimos a redação desses perfis.
+ </p><p>
+ Obviamente, temos o prazer de disponibilizar o livro usando uma licença
+Creative Commons Atribuição-CompartilhaIgual. Copie, distribua, traduza,
+localize e desenvolva esta obra.
+ </p><p>
+ Escrever este livro nos transformou e nos inspirou. A maneira como agora
+olhamos e pensamos sobre o que significa ser Feito com Creative Commons
+mudou irrevogavelmente. Esperamos que este livro inspire você e sua empresa
+a usar o Creative Commons e, assim, contribuir para a transformação de nossa
+economia e do mundo para melhor.
+ </p><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p></p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{ Paul e Sarah }
+ \end{flushright}</td></tr></table></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-big-picture"></a>Parte I. O Quadro Geral</h1></div></div></div><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#the-new-world-of-digital-commons">1. O Novo Mundo dos Comuns Digitais</a></span></dt><dt><span class="chapter"><a href="#how-to-be-made-with-creative-commons">2. 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}
+ \textit{ Paul Stacey}
+ \end{flushright}</td></tr></table></div><p>
+ Jonathan Rowe descreve eloquentemente os comuns como <span class="quote">“<span class="quote">o ar e os
+oceanos, a teia de espécies, a natureza selvagem e a água corrente – todos
+são partes dos bens comuns. Assim como a linguagem e o conhecimento, as
+calçadas e praças públicas, as histórias da infância e os processos de
+democracia. Algumas partes dos comuns são dádivas da natureza, outras são o
+produto do esforço humano. Alguns são novos, como a Internet; outros são tão
+antigos quanto o solo e a caligrafia.</span>”</span> <a href="#ftn.idm111" class="footnote" name="idm111"><sup class="footnote">[1]</sup></a>
+ </p><p>
+ Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns
+digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum
+abrange uma ampla gama de áreas, incluindo patrimônio cultural, educação,
+pesquisa, tecnologia, arte, design, literatura, entretenimento, negócios e
+dados. As obras produzidas pelo homem em todas essas áreas são cada vez mais
+digitais. A Internet é uma espécie de comum digital global. Os indivíduos,
+organizações e empresas cujo perfil temos em nossos estudos de caso usam
+Creative Commons para compartilhar seus recursos online pela Internet.
+ </p><p>
+ O comum não se trata apenas de recursos compartilhados, no entanto. É também
+sobre as práticas sociais e os valores que os gerem. Um recurso é um
+substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um
+verbo.<a href="#ftn.idm116" class="footnote" name="idm116"><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
+por um conjunto de valores e normas que equilibram os custos e benefícios da
+empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e
+sustentabilidade equitativos.
+ </p><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-commons-the-market-and-the-state"></a>Os Comuns, o Mercado e o Estado</h2></div></div></div><p>
+ Historicamente, houve três maneiras de gerenciar recursos e compartilhar
+riqueza: os comuns (administrados coletivamente), o estado (ou seja, o
+governo) e o mercado – com os dois últimos sendo as formas dominantes
+hoje.<a href="#ftn.idm125" class="footnote" name="idm125"><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
+do mercado ou estado, dependendo deles para a sustentabilidade
+financeira. Todos operam como híbridos, mesclando as normas dos comuns com
+as do mercado ou do estado.
+ </p><p>
+ A fig. <a class="xref" href="#fig-1" title="Figura 1.1. Engajamento empresarial com comuns, estado e mercado.">1.1</a> é uma representação
+de como uma empresa pode ter vários níveis de envolvimento com comuns,
+estado e mercado.
+ </p><p>
+ Alguns de nossos estudos de caso são simplesmente comuns e empresas de
+mercado com pouco ou nenhum envolvimento com o estado. Uma descrição desses
+estudos de caso mostraria a esfera do estado como pequena ou até
+ausente. Outros estudos de caso são principalmente baseados no mercado, com
+apenas um pequeno envolvimento com os comuns. Uma descrição desses estudos
+de caso mostraria a esfera do mercado tão grande e a esfera dos comuns tão
+pequena. A extensão em que uma empresa se considera primariamente de um tipo
+ou de outro afeta o equilíbrio das normas pelas quais opera.
+ </p><p>
+ Todos os nossos estudos de caso geram dinheiro como meio de subsistência e
+sustentabilidade. O dinheiro é principalmente do mercado. Encontrar maneiras
+de gerar receita enquanto se mantém fiel aos valores essenciais dos comuns
+(geralmente expressos em declarações de missão) é um desafio. Gerenciar a
+interação e o engajamento entre os comuns e o mercado exige um toque hábil,
+um forte senso de valores e a capacidade de combinar o melhor de ambos.
+ </p><p>
+ O estado tem um papel importante a desempenhar na promoção do uso e adoção
+dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente
+para construir os comuns. Além do dinheiro, as leis e regulamentos relativos
+à propriedade, direitos autorais, negócios e finanças podem ser projetados
+para promover os comuns.
+ </p><div class="figure"><a name="fig-1"></a><p class="title"><b>Figura 1.1. Engajamento empresarial com comuns, estado e mercado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000008000000045C30360249076453E6.png" width="100%" alt="Engajamento empresarial com comuns, estado e mercado."></td></tr></table></div></div></div><br class="figure-break"><p>
+ É útil entender como os comuns, o mercado e o estado gerenciam os recursos
+de maneira diferente, e não apenas para aqueles que se consideram
+principalmente como comuns. Para empresas ou organizações governamentais que
+desejam se envolver e usar os comuns, saber como os comuns funciona os
+ajudará a compreender a melhor forma de fazer isso. Participar e usar os
+comuns da mesma forma que você faz com o mercado ou estado não é uma
+estratégia para o sucesso.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-four-aspects-of-a-resource"></a>Os Quatro Aspectos de um Recurso</h2></div></div></div><p>
+ Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu
+uma estrutura para analisar como os recursos naturais são gerenciados em um
+comum.<a href="#ftn.idm148" class="footnote" name="idm148"><sup class="footnote">[6]</sup></a> Sua estrutura considerou coisas
+como as características biofísicas de recursos comuns, os atores da
+comunidade e as interações que ocorrem entre eles, regras em uso e
+resultados. Essa estrutura foi simplificada e generalizada para se aplicar
+aos comuns, ao mercado e ao estado neste capítulo.
+ </p><p>
+ Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o
+estado funcionam, vamos considerar quatro aspectos da gestão de recursos:
+características dos recursos, as pessoas envolvidas e o processo que usam,
+as normas e regras que desenvolvem para governar o uso e, finalmente, uso de
+recursos junto com os resultados desse uso (ver Fig. <a class="xref" href="#fig-2" title="Figura 1.2. Quatro aspectos da gestão de recursos">1.2</a>).
+ </p><div class="figure"><a name="fig-2"></a><p class="title"><b>Figura 1.2. Quatro aspectos da gestão de recursos</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000007D0000007D0ACF13F8B71EAF0B9.png" width="100%" alt="Quatro aspectos da gestão de recursos"></td></tr></table></div></div></div><br class="figure-break"><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="characteristics"></a>Características</h3></div></div></div><p>
+ Os recursos têm características ou atributos específicos que afetam a
+maneira como podem ser usados. Alguns recursos são naturais; outros são
+produzidos pelo homem. E – significativamente para o comum de hoje – os
+recursos podem ser físicos ou digitais, o que afeta o potencial inerente de
+um recurso.
+ </p><p>
+ Os recursos físicos existem em oferta limitada. Se eu tenho um recurso
+físico e dou a você, não o tenho mais. Quando um recurso é removido e usado,
+o suprimento se torna escasso ou esgotado. A escassez pode resultar em
+rivalidade competitiva pelo recurso. As empresas feitas com Creative Commons
+geralmente são baseadas em formato digital, mas alguns de nossos estudos de
+caso também produzem recursos na forma física. Os custos de produção e
+distribuição de um bem físico geralmente exigem que elas se envolvam com o
+mercado.
+ </p><p>
+ Os recursos físicos são esgotáveis, exclusivos e rivais. Os recursos
+digitais, por outro lado, são não esgotáveis, não exclusivos e não
+rivais. Se eu compartilhar um recurso digital com você, ambos teremos o
+recurso. Dar a você não significa que eu não o tenha mais. Os recursos
+digitais podem ser armazenados, copiados e distribuídos infinitamente sem se
+esgotarem e com custo próximo a zero. Abundância, em vez de escassez, é uma
+característica inerente aos recursos digitais.
+ </p><p>
+ A natureza não esgotável, não exclusiva e não rival dos recursos digitais
+significa que as regras e normas para gerenciá-los podem (e devem) ser
+diferentes de como os recursos físicos são gerenciados. No entanto, nem
+sempre é esse o caso. Os recursos digitais são frequentemente tornados
+artificialmente escassos. Colocar recursos digitais nos comuns os torna
+livre e abundantes.
+ </p><p>
+ Nossos estudos de caso gerenciam frequentemente recursos híbridos, que
+começam como digitais com a possibilidade de se tornarem um recurso
+físico. O arquivo digital de um livro pode ser impresso em papel e
+transformado em livro físico. Um projeto de mobília renderizado por
+computador pode ser fisicamente fabricado em madeira. Essa conversão do
+digital para o físico invariavelmente tem custos. Muitas vezes, os recursos
+digitais são gerenciados de forma livre e aberta, mas o dinheiro é cobrado
+para converter um recurso digital em físico.
+ </p><p>
+ Além dessa ideia de físico versus digital, os comuns, o mercado e o estado
+concebem os recursos de maneira diferente (veja Fig. <a class="xref" href="#fig-3" title="Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.">1.3</a>). O mercado vê os recursos como
+bens privados – mercadorias para venda – dos quais o valor é extraído. O
+estado vê os recursos como bens públicos que fornecem valor aos cidadãos do
+estado. Os comuns vêem os recursos como comuns, proporcionando uma riqueza
+comum que se estende além das fronteiras do estado, a ser repassada de forma
+inalterada ou aprimorada para as gerações futuras.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="people-and-processes"></a>Pessoas e processos</h3></div></div></div><p>
+ Nos comuns, no mercado e no estado, diferentes pessoas e processos são
+usados para gerenciar os recursos. Os processos usados definem quem tem uma
+palavra a dizer e como um recurso é gerenciado.
+ </p><p>
+ No estado, um governo de funcionários eleitos é responsável por administrar
+os recursos em nome do público. Os cidadãos que produzem e usam esses
+recursos não estão diretamente envolvidos; em vez disso, essa
+responsabilidade é entregue ao governo. Ministérios e departamentos
+estaduais com funcionários públicos definem orçamentos, implementam
+programas e administram recursos com base nas prioridades e procedimentos do
+governo.
+ </p><p>
+ No mercado, as pessoas envolvidas são produtores, compradores, vendedores e
+consumidores. As empresas atuam como intermediários entre aqueles que
+produzem recursos e aqueles que os consomem ou usam. Os processos de mercado
+procuram extrair o máximo de valor monetário possível dos recursos. No
+mercado, os recursos são administrados como mercadorias, frequentemente
+produzidos em massa e vendidos aos consumidores com base em uma transação em
+dinheiro.
+ </p><p>
+ Em contraste com o estado e o mercado, os recursos em um comum são
+gerenciados mais diretamente pelas pessoas envolvidas.<a href="#ftn.idm176" class="footnote" name="idm176"><sup class="footnote">[7]</sup></a> Os criadores de recursos humanos produzidos podem
+colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do
+mercado é necessária. Qualquer um pode participar dos comuns e determinar
+por si mesmo até que ponto deseja se envolver – como contribuidor, usuário
+ou gerente. As pessoas envolvidas incluem não apenas aqueles que criam e
+usam os recursos, mas também aqueles afetados pelo resultado do uso. Quem
+você é afeta a sua opinião, as ações que você pode tomar e a extensão da
+tomada de decisão. Nos comuns, a comunidade como um todo gerencia os
+recursos. Os recursos colocados nos comuns usando Creative Commons exigem
+que os usuários dêem crédito ao criador original. Conhecer a pessoa por trás
+de um recurso torna os comuns menos anônimos e mais pessoais.
+ </p><div class="figure"><a name="fig-3"></a><p class="title"><b>Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C40000065D9EC4F530BD4DFBE0.png" width="100%" alt="Como o mercado, os bens comuns e o estado geram recursos."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="norms-and-rules"></a>Normas e regras</h3></div></div></div><p>
+ As interações sociais entre as pessoas e os processos usados pelo estado,
+mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e
+regras definem permissões, alocam direitos e resolvem disputas.
+ </p><p>
+ A autoridade do estado é governada pelas constituições nacionais. As normas
+relacionadas a prioridades e tomada de decisões são definidas por
+funcionários eleitos e procedimentos parlamentares. As regras estaduais são
+expressas por meio de políticas, regulamentos e leis. O estado influencia as
+normas e regras do mercado e dos comuns por meio das regras que passa.
+ </p><p>
+ As normas de mercado são influenciadas pela economia e pela competição por
+recursos escassos. As regras do mercado seguem as leis de propriedade,
+negócios e financeiras definidas pelo estado.
+ </p><p>
+ Tal como acontece com o mercado, um comum pode ser influenciado por
+políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum
+são amplamente definidas pela comunidade. Elas pesam os custos e benefícios
+individuais em relação aos custos e benefícios para toda a comunidade. A
+consideração é dada não apenas à eficiência econômica, mas também à equidade
+e sustentabilidade.<a href="#ftn.idm192" class="footnote" name="idm192"><sup class="footnote">[8]</sup></a>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="goals"></a>Objetivos</h3></div></div></div><p>
+ A combinação dos aspectos que discutimos até agora – as características
+inerentes do recurso, pessoas e processos, e normas e regras – moldam como
+os recursos são usados. O uso também é influenciado pelos diferentes
+objetivos que o estado, o mercado e os comuns têm.
+ </p><p>
+ No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos
+pelos bens que consumimos é visto como uma medida objetiva da utilidade que
+eles fornecem. A meta então passa a ser maximizar o valor monetário total na
+economia.<a href="#ftn.idm199" class="footnote" name="idm199"><sup class="footnote">[9]</sup></a> As unidades consumidas se
+traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras
+de medir as metas do mercado.
+ </p><p>
+ O estado visa usar e administrar os recursos de uma forma que equilibre a
+economia com as necessidades sociais e culturais de seus cidadãos. Saúde,
+educação, empregos, meio ambiente, transporte, segurança, patrimônio e
+justiça são facetas de uma sociedade saudável, e o estado aplica seus
+recursos para esses objetivos. Metas estaduais são refletidas em medidas de
+qualidade de vida.
+ </p><p>
+ Nos comuns, a meta é maximizar o acesso, equidade, distribuição,
+participação, inovação e sustentabilidade. Você pode medir o sucesso
+observando quantas pessoas acessam e usam um recurso; como os usuários são
+distribuídos por gênero, renda e localização; se uma comunidade para
+estender e aumentar os recursos está sendo formada; e se os recursos estão
+sendo usados de maneiras inovadoras para o bem pessoal e social.
+ </p><p>
+ Como combinações híbridas de comuns com o mercado ou estado, o sucesso e a
+sustentabilidade de todas as nossas empresas de estudo de caso dependem de
+sua capacidade de utilizar e equilibrar estrategicamente esses diferentes
+aspectos de gerenciamento de recursos.
+ </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="a-short-history-of-the-commons"></a>Uma Breve História dos Comuns</h2></div></div></div><p>
+ Usar os comuns para gerenciar recursos faz parte de um longo continuum
+histórico. No entanto, na sociedade contemporânea, o mercado e o Estado
+dominam o discurso sobre como os recursos são mais bem
+administrados. Raramente os comuns são considerados uma opção. Os comuns
+desapareceram amplamente da consciência e da consideração. Não há notícias
+ou discursos sobre os comuns.
+ </p><p>
+ Mas os mais de 1,1 bilhão de recursos licenciados com Creative Commons em
+todo o mundo são indicações de um movimento de base em direção aos
+comuns. Os comuns estão ressurgindo. Para entender a resiliência dos comuns
+e sua renovação atual, é útil saber um pouco de sua história.
+ </p><p>
+ Durante séculos, povos indígenas e sociedades pré-industrializadas
+administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes,
+caça selvagem e muitas outras coisas coletivamente como comuns.<a href="#ftn.idm211" class="footnote" name="idm211"><sup class="footnote">[10]</sup></a> Não havia mercado, não havia economia global. O
+estado na forma de governantes influenciou os bens comuns, mas de forma
+alguma os controlou. A participação social direta em um comum era a
+principal maneira pela qual os recursos eram administrados e as necessidades
+atendidas. (Fig. <a class="xref" href="#fig-4" title="Figura 1.4. Na sociedade pré-industrializada.">1.4</a> ilustra os
+comuns em relação ao Estado e ao mercado.)
+ </p><div class="figure"><a name="fig-4"></a><p class="title"><b>Figura 1.4. Na sociedade pré-industrializada.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005153EACBD62F00F6BA9.png" width="100%" alt="Na sociedade pré-industrializada."></td></tr></table></div></div></div><br class="figure-break"><p>
+ Isso é seguido por uma longa história do Estado (uma monarquia ou
+governante) assumindo o controle dos comuns para seus próprios fins. Isso é
+chamado de cerco dos comuns.<a href="#ftn.idm224" class="footnote" name="idm224"><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
+tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo
+qual os recursos eram administrados. (Veja Fig. <a class="xref" href="#fig-5" title="Figura 1.5. O comum é gradualmente substituído pelo Estado.">1.5</a>).
+ </p><p>
+ Propriedades de terra, água e caça foram distribuídas para famílias
+governantes e nomeados políticos. Plebeus deslocados da terra migraram para
+as cidades. Com o surgimento da revolução industrial, a terra e os recursos
+tornaram-se mercadorias vendidas a empresas para apoiar a produção. As
+monarquias evoluíram para parlamentos eleitos. Os plebeus tornaram-se
+trabalhadores que ganham dinheiro operando a maquinaria da indústria. As
+leis financeiras, comerciais e de propriedade foram revisadas pelos governos
+para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o
+acesso imediato aos bens produzidos no mercado resultou em um padrão de vida
+em elevação, saúde melhorada e educação. A Fig. <a class="xref" href="#fig-6" title="Figura 1.6. Como o mercado, o estado e os comuns são hoje.">1.6</a> mostra como hoje o mercado é o
+principal meio pelo qual os recursos são gerenciados.
+ </p><div class="figure"><a name="fig-5"></a><p class="title"><b>Figura 1.5. O comum é gradualmente substituído pelo Estado.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C4000005150F069409C1CC12F0.png" width="100%" alt="O comum é gradualmente substituído pelo Estado."></td></tr></table></div></div></div><br class="figure-break"><p>
+ No entanto, o mundo hoje está passando por tempos turbulentos. Os benefícios
+do mercado foram compensados pela distribuição desigual e superexploração.
+ </p><p>
+ A superexploração foi o tópico do influente ensaio de Garrett Hardin
+<span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>, publicado na Science em
+1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho
+pessoal e continuarão a fazê-lo mesmo quando os limites de os bens comuns
+são alcançados. O comum é então tragicamente esgotado a ponto de não poder
+mais sustentar ninguém. O ensaio de Hardin tornou-se amplamente aceito como
+um truísmo econômico e uma justificativa para a propriedade privada e os
+mercados livres.
+ </p><p>
+ No entanto, há uma falha séria em <span class="quote">“<span class="quote">The Tragedy of the Commons</span>”</span>
+de Hardin – é uma ficção. Hardin não estudou realmente como funcionam os
+comuns reais. Elinor Ostrom ganhou o Prêmio Nobel de Economia em 2009 por
+seu trabalho ao estudar diferentes áreas comuns em todo o mundo. O trabalho
+de Ostrom mostra que os recursos naturais comuns podem ser administrados com
+sucesso pelas comunidades locais, sem qualquer regulamentação das
+autoridades centrais ou sem privatização. Governo e privatização não são as
+únicas opções. Existe uma terceira via: gestão pelas pessoas, onde aqueles
+que são diretamente impactados estão diretamente envolvidos. Com recursos
+naturais, existe uma localidade regional. As pessoas da região são as mais
+familiarizadas com o recurso natural, têm com ele a relação e a história
+mais direta e, portanto, estão em melhor posição para gerenciá-lo. A
+abordagem de Ostrom para a governança dos recursos naturais rompeu com as
+convenções; ela reconheceu a importância dos comuns como uma alternativa ao
+mercado ou estado para resolver problemas de ação coletiva.<a href="#ftn.idm247" class="footnote" name="idm247"><sup class="footnote">[13]</sup></a>
+ </p><p>
+ Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo
+pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse
+próprio, sem interação ou consideração pelos outros. Mas, como Ostrom
+descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma
+comunidade e incentiva o discurso. Isso naturalmente gera normas e regras
+que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum
+sustentável. Paradoxalmente, embora o ensaio de Hardin seja chamado, em
+inglês, de A Tragédia dos Comuns, pode ser mais precisamente intitulado A
+Tragédia do Mercado.
+ </p><p>
+ A história de Hardin é baseada na premissa de recursos esgotáveis. Os
+economistas têm se concentrado quase exclusivamente nos mercados baseados na
+escassez. Muito pouco se sabe sobre como funciona a abundância.<a href="#ftn.idm253" class="footnote" name="idm253"><sup class="footnote">[14]</sup></a> O surgimento da tecnologia da informação e da
+Internet levou a uma explosão de recursos digitais e novos meios de
+compartilhamento e distribuição. Os recursos digitais nunca podem ser
+esgotados. A ausência de uma teoria ou modelo de funcionamento da
+abundância, no entanto, tem levado o mercado a tornar artificialmente
+escassos os recursos digitais e possibilitar a aplicação das normas e regras
+usuais de mercado.
+ </p><p>
+ Quando se trata de usar fundos do estado para criar bens digitais, no
+entanto, realmente não há justificativa para a escassez artificial. A norma
+para obras digitais financiadas pelo estado deve ser que elas estejam livre
+e abertamente disponíveis ao público que pagou por elas.
+ </p><div class="figure"><a name="fig-6"></a><p class="title"><b>Figura 1.6. Como o mercado, o estado e os comuns são hoje.</b></p><div class="figure-contents"><div class="mediaobject"><table border="0" summary="manufactured viewport for HTML img" style="cellpadding: 0; cellspacing: 0;" width="80.0%"><tr><td><img src="Pictures/10000201000009C400000515F1CAA15B223F6BAF.png" width="100%" alt="Como o mercado, o estado e os comuns são hoje."></td></tr></table></div></div></div><br class="figure-break"></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-digital-revolution"></a>A Revolução Digital</h2></div></div></div><p>
+ Nos primeiros dias da computação, programadores e desenvolvedores aprenderam
+uns com os outros compartilhando software. Na década de 1980, o movimento do
+software livre codificou essa prática de compartilhamento em um conjunto de
+princípios e liberdades:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ A liberdade de executar um programa de software como desejar, para qualquer
+propósito.
+ </p></li><li class="listitem"><p>
+ A liberdade de estudar como um programa de software funciona (porque o
+acesso ao código-fonte foi concedido livremente), e alterá-lo para que ele
+faça sua computação como você desejar.
+ </p></li><li class="listitem"><p>
+ A liberdade de redistribuir cópias.
+ </p></li><li class="listitem"><p>
+ A liberdade de distribuir cópias de suas versões modificadas para outras
+pessoas.<a href="#ftn.idm277" class="footnote" name="idm277"><sup class="footnote">[15]</sup></a>
+ </p></li></ul></div><p>
+ Esses princípios e liberdades constituem um conjunto de normas e regras que
+tipificam um comum digital.
+ </p><p>
+ No final da década de 1990, para tornar o compartilhamento de código-fonte e
+colaboração mais atraente para as empresas, a iniciativa de software de
+código-fonte aberto converteu esses princípios em licenças e padrões para
+gerenciar o acesso e distribuição de software. Os benefícios do código
+aberto – como confiabilidade, escalabilidade e qualidade verificada por
+revisão por pares independentes – tornaram-se amplamente reconhecidos e
+aceitos. Os clientes gostaram da maneira como o código aberto lhes deu
+controle sem ficar preso a uma tecnologia proprietária fechada. O software
+livre e de código aberto também gerou um efeito de rede onde o valor de um
+produto ou serviço aumenta com o número de pessoas que o usam.<a href="#ftn.idm283" class="footnote" name="idm283"><sup class="footnote">[16]</sup></a> O crescimento dramático da própria Internet deve
+muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos
+básicos da Internet.
+ </p><p>
+ Embora o software de código aberto funcione como um bem comum, muitas
+empresas e mercados se desenvolveram em torno dele. Modelos de negócios
+baseados em licenças e padrões de software de código aberto evoluíram junto
+com organizações que gerenciavam o código de software com base em princípios
+de abundância em vez de escassez. O ensaio de Eric Raymond <span class="quote">“<span class="quote">The Magic
+Cauldron</span>”</span> faz um ótimo trabalho ao analisar a economia e os modelos
+de negócios associados ao software de código aberto.<a href="#ftn.idm288" class="footnote" name="idm288"><sup class="footnote">[17]</sup></a> Esses modelos podem fornecer exemplos de abordagens
+sustentáveis para aqueles feitos com Creative Commons.
+ </p><p>
+ Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas
+também de uma abundância de participação. O crescimento da computação
+pessoal, da tecnologia da informação e da Internet possibilitou a
+participação em massa na produção e distribuição de trabalhos
+criativos. Fotos, livros, música e muitas outras formas de conteúdo digital
+agora podiam ser prontamente criados e distribuídos por quase qualquer
+pessoa. Apesar desse potencial de abundância, por padrão, essas obras
+digitais são regidas por leis de direitos autorais. De acordo com os
+direitos autorais, uma obra digital é propriedade do criador e, por lei,
+outras pessoas estão proibidas de acessá-la e usá-la sem a permissão do
+criador.
+ </p><p>
+ Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos é
+compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre
+relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros
+sobre quem somos e com o que nos importamos. Compartilhar permite que nos
+sintamos mais envolvidos com o mundo.<a href="#ftn.idm295" class="footnote" name="idm295"><sup class="footnote">[18]</sup></a>
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-birth-of-creative-commons"></a>O Nascimento da Creative Commons</h2></div></div></div><p>
+ Em 2001, Creative Commons foi criada como uma organização sem fins
+lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo
+digital. Um conjunto de licenças Creative Commons foi modelado com base no
+software de código aberto, mas para uso com conteúdo digital em vez de
+código de software. As licenças oferecem a todos, de criadores individuais a
+grandes empresas e instituições, uma maneira simples e padronizada de
+conceder permissões de direitos autorais para suas obras criativas.
+ </p><p>
+ As licenças Creative Commons têm um design de três camadas. As normas e
+regras de cada licença são primeiramente expressas em linguagem jurídica
+completa, conforme usada pelos advogados. Essa camada é chamada de código
+legal. Mas como a maioria dos criadores e usuários não são advogados, as
+licenças também têm uma escritura comum, expressando as permissões em
+linguagem simples, que as pessoas comuns podem ler e entender
+rapidamente. Ele atua como uma interface amigável para a camada de código
+legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando
+mais fácil para a web saber que uma obra é licenciada pelo Creative Commons,
+expressando permissões de uma forma que sistemas de software, mecanismos de
+busca e outros tipos de tecnologia possam entender.<a href="#ftn.idm303" class="footnote" name="idm303"><sup class="footnote">[19]</sup></a> Juntas, essas três camadas garantem que criadores,
+usuários e até mesmo a própria web entendam as normas e regras associadas ao
+conteúdo digital em um comum.
+ </p><p>
+ Em 2015, havia mais de um bilhão de obras licenciadas Creative Commons em um
+espaço comum global. Esses trabalhos foram vistos online 136 bilhões de
+vezes. As pessoas estão usando licenças Creative Commons em todo o mundo, em
+trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de
+pesquisa em periódicos, recursos educacionais, música e outras faixas de
+áudio e vídeos.
+ </p><p>
+ Artistas, fotógrafos, músicos e cineastas individuais usam o Creative
+Commons, mas o mesmo acontece com museus, governos, indústrias criativas,
+fabricantes e editoras. Milhões de sites usam licenças CC, incluindo
+plataformas principais como Wikipédia e Flickr e outras menores como
+blogs.<a href="#ftn.idm309" class="footnote" name="idm309"><sup class="footnote">[20]</sup></a> Os usuários do Creative Commons
+são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso
+foram escolhidos para refletir essa diversidade.)
+ </p><p>
+ Alguns vêem o Creative Commons como uma forma de compartilhar um presente
+com outras pessoas, uma forma de se tornar conhecido ou uma forma de
+fornecer benefício social. Outros estão simplesmente comprometidos com as
+normas associadas a bens comuns. E para alguns, a participação foi
+estimulada pelo movimento da cultura livre, um movimento social que promove
+a liberdade de distribuir e modificar trabalhos criativos. O movimento da
+cultura livre vê os comuns como proporcionando benefícios significativos em
+comparação com as leis restritivas de direitos autorais. Este ethos de troca
+livre em um comum alinha o movimento da cultura livre com o movimento do
+software livre e de código aberto.
+ </p><p>
+ Com o tempo, o Creative Commons gerou uma série de movimentos abertos,
+incluindo recursos educacionais abertos, acesso aberto, ciência aberta e
+dados abertos. O objetivo em todos os casos foi democratizar a participação
+e compartilhar recursos digitais sem nenhum custo, com permissões legais
+para qualquer pessoa acessar, usar e modificar livremente.
+ </p><p>
+ O Estado está cada vez mais envolvido no apoio a movimentos abertos. A
+Parceria para Governo Aberto foi lançada em 2011 para fornecer uma
+plataforma internacional para os governos se tornarem mais abertos,
+responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países
+participantes para setenta.<a href="#ftn.idm316" class="footnote" name="idm316"><sup class="footnote">[21]</sup></a> Em todos
+esses países, o governo e a sociedade civil estão trabalhando juntos para
+desenvolver e implementar reformas ambiciosas de governo aberto. Os governos
+estão adotando cada vez mais a Creative Commons para garantir que as obras
+financiadas com os dólares dos contribuintes sejam abertas e livres ao
+público que as pagou.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="the-changing-market"></a>O Mercado em Mudança</h2></div></div></div><p>
+ O mercado de hoje é amplamente impulsionado pelo capitalismo global. Os
+sistemas jurídicos e financeiros são estruturados para apoiar a extração, a
+privatização e o crescimento corporativo. A percepção de que o mercado é
+mais eficiente do que o estado levou à privatização contínua de muitos
+recursos naturais públicos, serviços públicos, serviços e
+infraestruturas.<a href="#ftn.idm323" class="footnote" name="idm323"><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>
+ </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>
+ </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
+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>
+ </p><p>
+ O próprio mercado se interessou pela economia de compartilhamento, com
+empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem
+de curto prazo e o Uber fornecendo uma plataforma para compartilhamento de
+caronas. No entanto, o Airbnb e o Uber ainda estão operando em grande parte
+sob as normas e regras usuais do mercado, tornando-os menos comuns e mais
+como uma empresa tradicional em busca de ganhos financeiros. Grande parte da
+economia compartilhada não trata dos comuns ou da construção de uma
+alternativa para uma economia de mercado impulsionada pelas corporações;
+trata-se de estender o mercado livre desregulamentado a novas áreas de
+nossas vidas.<a href="#ftn.idm345" class="footnote" name="idm345"><sup class="footnote">[27]</sup></a> Embora nenhuma das
+pessoas que entrevistamos para nossos estudos de caso se descreva como parte
+da economia compartilhada, na verdade existem alguns paralelos
+significativos. Tanto a economia compartilhada quanto os comuns fazem melhor
+uso da capacidade dos ativos. A economia compartilhada vê residentes
+pessoais e carros como tendo capacidade ociosa latente com valor de
+aluguel. O acesso equitativo dos comuns amplia e diversifica o número de
+pessoas que podem usar e obter valor de um ativo.
+ </p><p>
+ Uma maneira que os estudos de caso do Feito com Creative Commons diferem
+daqueles da economia compartilhada é seu foco em recursos digitais. Os
+recursos digitais funcionam sob regras econômicas diferentes das físicas. Em
+um mundo onde os preços sempre parecem subir, a tecnologia da informação é
+uma anomalia. O poder de processamento do computador, o armazenamento e a
+largura de banda estão aumentando rapidamente, mas, em vez de os custos
+aumentarem, os custos estão diminuindo. As tecnologias digitais estão
+ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa
+construída sobre essas tecnologias sempre diminuirá até chegar perto de
+zero.<a href="#ftn.idm349" class="footnote" name="idm349"><sup class="footnote">[28]</sup></a>
+ </p><p>
+ Aquelas que são feitas com Creative Commons procuram aproveitar as
+características inerentes exclusivas dos recursos digitais, incluindo a
+redução de custos. O uso de tecnologias de gerenciamento de direitos
+digitais na forma de bloqueios, senhas e controles para evitar que bens
+digitais sejam acessados, alterados, replicados e distribuídos é mínimo ou
+inexistente. Em vez disso, as licenças Creative Commons são usadas para
+disponibilizar conteúdo digital nos comuns, aproveitando a economia
+exclusiva associada a ser digital. O objetivo é ver os recursos digitais
+usados da forma mais ampla e pelo maior número de pessoas
+possível. Maximizar o acesso e a participação é um objetivo comum. Eles
+visam a abundância em vez da escassez.
+ </p><p>
+ O custo incremental de armazenamento, cópia e distribuição de bens digitais
+é próximo a zero, tornando a abundância possível. Mas imaginar um mercado
+baseado na abundância e não na escassez é tão estranho ao modo como
+concebemos a teoria e prática econômica que lutamos para
+fazê-lo.<a href="#ftn.idm354" class="footnote" name="idm354"><sup class="footnote">[29]</sup></a> Aqueles que são feitos com
+Creative Commons são, cada um, pioneiros neste novo cenário, criando seus
+próprios modelos e práticas econômicas.
+ </p><p>
+ Alguns buscam minimizar suas interações com o mercado e operar da forma mais
+autônoma possível. Outros estão operando principalmente como um negócio
+dentro das regras e normas existentes do mercado. E ainda outros estão
+procurando mudar as normas e regras pelas quais o mercado opera.
+ </p><p>
+ Para uma empresa comum, fazer do benefício social uma parte de suas
+operações é difícil, pois é legalmente exigido para tomar decisões que
+beneficiam financeiramente os acionistas. Mas novas formas de negócios estão
+surgindo. Existem corporações de benefícios e empresas sociais, que ampliam
+seus objetivos de negócios de gerar lucro para gerar um impacto positivo na
+sociedade, nos trabalhadores, na comunidade e no meio ambiente.<a href="#ftn.idm359" class="footnote" name="idm359"><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>
+ </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>
+ </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
+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
+analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.
+ </p><p>
+ Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em
+se descreverem como um modelo de negócios aberto – o termo modelo de
+negócios sugeria principalmente estar situado no mercado. Sua posição no
+espectro de bens comuns ao mercado afeta até que ponto você se vê como uma
+empresa no mercado. Quanto mais importantes para a missão são os recursos
+compartilhados e os valores comuns, menos conforto há em se descrever ou
+descrever o que você faz como um negócio. Nem todos os que têm
+empreendimentos Feitos com Creative Commons falam de negócios; para alguns,
+o processo foi experimental, emergente e orgânico, em vez de cuidadosamente
+planejado usando um modelo predefinido.
+ </p><p>
+ Todos os criadores, empresas e organizações que definimos se envolvem com o
+mercado para gerar receita de alguma forma. As maneiras pelas quais isso é
+feito variam amplamente. Doações, pague o que puder, assinaturas,
+<span class="quote">“<span class="quote">digital de graça, mas físico por uma taxa</span>”</span>, crowdfunding,
+matchmaking, serviços de valor agregado, patrocinadores... A lista continua
+e continua. (Descrição inicial de como obter receita disponível por meio da
+nota de referência. Para as reflexões mais recentes, consulte Como trazer
+dinheiro na próxima seção.)<a href="#ftn.idm387" class="footnote" name="idm387"><sup class="footnote">[35]</sup></a> Não existe
+uma fórmula mágica única e cada empreendimento inventou maneiras que
+funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos
+fluxos de receita reduz o risco e oferece vários caminhos para a
+sustentabilidade.
+ </p></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="benefits-of-the-digital-commons"></a>Benefícios do Comum Digital</h2></div></div></div><p>
+ Embora possa estar claro por que as organizações baseadas em comuns desejam
+interagir e se envolver com o mercado (elas precisam de dinheiro para
+sobreviver), pode ser menos óbvio por que o mercado se envolveria com os
+comuns. Os comuns digitais oferecem muitos benefícios.
+ </p><p>
+ O comum acelera a disseminação. O fluxo livre de recursos nos comuns oferece
+enormes economias de escala. A distribuição é descentralizada, com todos
+aqueles que estão nos comuns com poderes para compartilhar os recursos aos
+quais têm acesso. Aqueles que são feitos com Creative Commons têm uma
+necessidade reduzida de vendas ou marketing. A distribuição descentralizada
+amplia a oferta e o <span class="emphasis"><em>know-how</em></span>.
+ </p><p>
+ O comum garante o acesso a todos. O mercado tem operado tradicionalmente
+colocando recursos atrás de um paywall, que exige o pagamento antes do
+acesso. O comum coloca recursos à vista, fornecendo acesso antecipado sem
+pagamento. Aqueles que são feitos com Creative Commons fazem pouco ou nenhum
+uso de gestão de direitos digitais (DRM) para gerenciar recursos. Não usar o
+DRM os libera dos custos de aquisição de tecnologia DRM e recursos de equipe
+para se envolver em práticas punitivas associadas à restrição de acesso. A
+maneira como os comuns fornecem acesso a todos nivela o campo de jogo e
+promove inclusão, equidade e justiça.
+ </p><p>
+ O comum maximiza a participação. Os recursos nos comuns podem ser usados e
+contribuídos por todos. Usar os recursos dos outros, contribuir com os seus
+e misturar os seus com outros para criar novas obras são formas dinâmicas de
+participação possibilitadas pelos comuns. Ser feito com Creative Commons
+significa que você está envolvendo o maior número possível de usuários com
+seus recursos. Os usuários também estão criando, editando, remixando,
+fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns
+possibilitam que as pessoas participem diretamente da cultura, da construção
+do conhecimento e até da democracia e de muitas outras práticas socialmente
+benéficas.
+ </p><p>
+ Os comuns estimulam a inovação. Os recursos nas mãos de mais pessoas que
+podem usá-los levam a novas ideias. A maneira como os recursos comuns podem
+ser modificados, personalizados e melhores resultados em trabalhos derivados
+nunca imaginados pelo criador original. Alguns empreendimentos Feitos com
+Creative Commons encorajam deliberadamente os usuários a pegar os recursos
+que estão sendo compartilhados e inová-los. Isso move a pesquisa e o
+desenvolvimento (R&D) de apenas dentro da organização para estar na
+comunidade.<a href="#ftn.idm399" class="footnote" name="idm399"><sup class="footnote">[36]</sup></a> A inovação baseada na
+comunidade manterá uma organização ou negócio em alerta. Deve continuar a
+contribuir com novas ideias, absorver e construir sobre as inovações dos
+outros e administrar os recursos e o relacionamento com a comunidade.
+ </p><p>
+ O comum aumenta o alcance e o impacto. O comum digital é global. Os recursos
+podem ser criados para uma necessidade local ou regional, mas eles vão longe
+e geram um impacto global. No mundo digital, não existem fronteiras entre
+países. Quando você é Feito com Creative Commons, geralmente é local e
+global ao mesmo tempo: designs digitais sendo distribuídos globalmente, mas
+feitos e fabricados localmente. Livros digitais ou música sendo distribuídos
+globalmente, mas leituras e shows realizados localmente. O comum digital
+amplia o impacto ao conectar os criadores com aqueles que usam e desenvolvem
+sua obra local e globalmente.
+ </p><p>
+ O comum é gerador. Em vez de extrair valor, o comum agrega valor. Os
+recursos digitalizados persistem sem se esgotarem e, com o uso, são
+aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado
+tem como foco a geração de valor para o negócio e para o cliente. Os comuns
+geram valor para uma gama mais ampla de beneficiários, incluindo a empresa,
+o cliente, o criador, o público e os próprios comuns. A natureza generativa
+dos comuns significa que é mais econômico e produz um maior retorno sobre o
+investimento. O valor não é medido apenas em termos financeiros. Cada novo
+recurso adicionado aos comuns fornece valor ao público e contribui para o
+valor geral dos comuns.
+ </p><p>
+ 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.
+ </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.
+ </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.
+ </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.
+ </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.
+ </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.
+ </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.
+ </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.
+ </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>
+ 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>
+ 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>
+ <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>
+ <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>
+ <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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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
+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>
+ 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>
+ 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>
+ 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
+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>
+ 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>
+ 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>
+ 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>
+ <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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ 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}
+ \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>
+ </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
+finding your people, and there is certainly no formula. Your work has to
+connect with people and offer them some artistic and/or utilitarian
+value. In some ways, this is easier than ever. Online we are not limited by
+shelf space, so there is room for every obscure interest, taste, and need
+imaginable. This is what Chris Anderson dubbed the Long Tail, where
+consumption becomes less about mainstream mass <span class="quote">“<span class="quote">hits</span>”</span> and more
+about micromarkets for every particular niche. As Anderson wrote, <span class="quote">“<span class="quote">We
+are all different, with different wants and needs, and the Internet now has
+a place for all of them in the way that physical markets did
+not.</span>”</span><a href="#ftn.idm473" class="footnote" name="idm473"><sup class="footnote">[43]</sup></a> We are no longer limited
+to what appeals to the masses.
+ </p><p>
+ While finding <span class="quote">“<span class="quote">your people</span>”</span> online is theoretically easier than
+in the analog world, as a practical matter it can still be difficult to
+actually get noticed. The Internet is a firehose of content, one that only
+grows larger by the minute. As a content creator, not only are you
+competing for attention against more content creators than ever before, you
+are competing against creativity generated outside the market as
+well.<a href="#ftn.idm477" class="footnote" name="idm477"><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
+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
+right people.
+ </p><p>
+ When you come to the Internet armed with an all-rights-reserved mentality
+from the start, you are often restricting access to your work before there
+is even any demand for it. In many cases, requiring payment for your work is
+part of the traditional copyright system. Even a tiny cost has a big effect
+on demand. It’s called the penny gap—the large difference in demand between
+something that is available at the price of one cent versus the price of
+zero.<a href="#ftn.idm486" class="footnote" name="idm486"><sup class="footnote">[47]</sup></a> That doesn’t mean it is wrong to
+charge money for your content. It simply means you need to recognize the
+effect that doing so will have on demand. The same principle applies to
+restricting access to copy the work. If your problem is how to get
+discovered and find <span class="quote">“<span class="quote">your people,</span>”</span> prohibiting people from
+copying your work and sharing it with others is counterproductive.
+ </p><p>
+ Of course, it’s not that being discovered by people who like your work will
+make you rich—far from it. But as Cory Doctorow says, <span class="quote">“<span class="quote">Recognition is
+one of many necessary preconditions for artistic
+success.</span>”</span><a href="#ftn.idm491" class="footnote" name="idm491"><sup class="footnote">[48]</sup></a>
+ </p><p>
+ Choosing not to spend time and energy restricting access to your work and
+policing infringement also builds goodwill. Lumen Learning, a for-profit
+company that publishes online educational materials, made an early decision
+not to prevent students from accessing their content, even in the form of a
+tiny paywall, because it would negatively impact student success in a way
+that would undermine the social mission behind what they do. They believe
+this decision has generated an immense amount of goodwill within the
+community.
+ </p><p>
+ It is not just that restricting access to your work may undermine your
+social mission. It also may alienate the people who most value your creative
+work. If people like your work, their natural instinct will be to share it
+with others. But as David Bollier wrote, <span class="quote">“<span class="quote">Our natural human impulses
+to imitate and share—the essence of culture—have been
+criminalized.</span>”</span><a href="#ftn.idm496" class="footnote" name="idm496"><sup class="footnote">[49]</sup></a>
+ </p><p>
+ The fact that copying can carry criminal penalties undoubtedly deters
+copying it, but copying with the click of a button is too easy and
+convenient to ever fully stop it. Try as the copyright industry might to
+persuade us otherwise, copying a copyrighted work just doesn’t feel like
+stealing a loaf of bread. And, of course, that’s because it isn’t. Sharing a
+creative work has no impact on anyone else’s ability to make use of it.
+ </p><p>
+ If you take some amount of copying and sharing your work as a given, you can
+invest your time and resources elsewhere, rather than wasting them on
+playing a cat and mouse game with people who want to copy and share your
+work. Lizzy Jongma from the Rijksmuseum said, <span class="quote">“<span class="quote">We could spend a lot of
+money trying to protect works, but people are going to do it anyway. And
+they will use bad-quality versions.</span>”</span> Instead, they started releasing
+high-resolution digital copies of their collection into the public domain
+and making them available for free on their website. For them, sharing was a
+form of quality control over the copies that were inevitably being shared
+online. Doing this meant forgoing the revenue they previously got from
+selling digital images. But Lizzy says that was a small price to pay for all
+of the opportunities that sharing unlocked for them.
+ </p><p>
+ Being Made with Creative Commons means you stop thinking about ways to
+artificially make your content scarce, and instead leverage it as the
+potentially abundant resource it is.<a href="#ftn.idm502" class="footnote" name="idm502"><sup class="footnote">[50]</sup></a>
+When you see information abundance as a feature, not a bug, you start
+thinking about the ways to use the idling capacity of your content to your
+advantage. As my friend and colleague Eric Steuer once said, <span class="quote">“<span class="quote">Using CC
+licenses shows you get the Internet.</span>”</span>
+ </p><p>
+ Cory Doctorow says it costs him nothing when other people make copies of his
+work, and it opens the possibility that he might get something in
+return.<a href="#ftn.idm506" class="footnote" name="idm506"><sup class="footnote">[51]</sup></a> Similarly, the makers of the
+Arduino boards knew it was impossible to stop people from copying their
+hardware, so they decided not to even try and instead look for the benefits
+of being open. For them, the result is one of the most ubiquitous pieces of
+hardware in the world, with a thriving online community of tinkerers and
+innovators that have done things with their work they never could have done
+otherwise.
+ </p><p>
+ There are all kinds of way to leverage the power of sharing and remix to
+your benefit. Here are a few.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-grow-a-larger-audience"></a>Use CC to grow a larger audience</h3></div></div></div><p>
+ Putting a Creative Commons license on your content won’t make it
+automatically go viral, but eliminating legal barriers to copying the work
+certainly can’t hurt the chances that your work will be shared. The CC
+license symbolizes that sharing is welcome. It can act as a little tap on
+the shoulder to those who come across the work—a nudge to copy the work if
+they have any inkling of doing so. All things being equal, if one piece of
+content has a sign that says Share and the other says Don’t Share (which is
+what <span class="quote">“<span class="quote">©</span>”</span> means), which do you think people are more likely to
+share?
+ </p><p>
+ The Conversation is an online news site with in-depth articles written by
+academics who are experts on particular topics. All of the articles are
+CC-licensed, and they are copied and reshared on other sites by design. This
+proliferating effect, which they track, is a central part of the value to
+their academic authors who want to reach as many readers as possible.
+ </p><p>
+ The idea that more eyeballs equates with more success is a form of the max
+strategy, adopted by Google and other technology companies. According to
+Google’s Eric Schmidt, the idea is simple: <span class="quote">“<span class="quote">Take whatever it is you
+are doing and do it at the max in terms of distribution. The other way of
+saying this is that since marginal cost of distribution is free, you might
+as well put things everywhere.</span>”</span><a href="#ftn.idm516" class="footnote" name="idm516"><sup class="footnote">[52]</sup></a>
+This strategy is what often motivates companies to make their products and
+services free (i.e., no cost), but the same logic applies to making content
+freely shareable. Because CC-licensed content is free (as in cost) and can
+be freely copied, CC licensing makes it even more accessible and likely to
+spread.
+ </p><p>
+ If you are successful in reaching more users, readers, listeners, or other
+consumers of your work, you can start to benefit from the bandwagon
+effect. The simple fact that there are other people consuming or following
+your work spurs others to want to do the same.<a href="#ftn.idm519" class="footnote" name="idm519"><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>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-get-attribution-and-name-recognition"></a>Use CC to get attribution and name recognition</h3></div></div></div><p>
+ Every Creative Commons license requires that credit be given to the author,
+and that reusers supply a link back to the original source of the
+material. CC0, not a license but a tool used to put work in the public
+domain, does not make attribution a legal requirement, but many communities
+still give credit as a matter of best practices and social norms. In fact,
+it is social norms, rather than the threat of legal enforcement, that most
+often motivate people to provide attribution and otherwise comply with the
+CC license terms anyway. This is the mark of any well-functioning community,
+within both the marketplace and the society at large.<a href="#ftn.idm526" class="footnote" name="idm526"><sup class="footnote">[55]</sup></a> CC licenses reflect a set of wishes on the part of
+creators, and in the vast majority of circumstances, people are naturally
+inclined to follow those wishes. This is particularly the case for something
+as straightforward and consistent with basic notions of fairness as
+providing credit.
+ </p><p>
+ The fact that the name of the creator follows a CC-licensed work makes the
+licenses an important means to develop a reputation or, in corporate speak,
+a brand. The drive to associate your name with your work is not just based
+on commercial motivations, it is fundamental to authorship. Knowledge
+Unlatched is a nonprofit that helps to subsidize the print production of
+CC-licensed academic texts by pooling contributions from libraries around
+the United States. The CEO, Frances Pinter, says that the Creative Commons
+license on the works has a huge value to authors because reputation is the
+most important currency for academics. Sharing with CC is a way of having
+the most people see and cite your work.
+ </p><p>
+ Attribution can be about more than just receiving credit. It can also be
+about establishing provenance. People naturally want to know where content
+came from—the source of a work is sometimes just as interesting as the work
+itself. Opendesk is a platform for furniture designers to share their
+designs. Consumers who like those designs can then get matched with local
+makers who turn the designs into real-life furniture. The fact that I,
+sitting in the middle of the United States, can pick out a design created by
+a designer in Tokyo and then use a maker within my own community to
+transform the design into something tangible is part of the power of their
+platform. The provenance of the design is a special part of the product.
+ </p><p>
+ Knowing the source of a work is also critical to ensuring its
+credibility. Just as a trademark is designed to give consumers a way to
+identify the source and quality of a particular good and service, knowing
+the author of a work gives the public a way to assess its credibility. In a
+time when online discourse is plagued with misinformation, being a trusted
+information source is more valuable than ever.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-licensed-content-as-a-marketing-tool"></a>Use CC-licensed content as a marketing tool</h3></div></div></div><p>
+ As we will cover in more detail later, many endeavors that are Made with
+Creative Commons make money by providing a product or service other than the
+CC-licensed work. Sometimes that other product or service is completely
+unrelated to the CC content. Other times it’s a physical copy or live
+performance of the CC content. In all cases, the CC content can attract
+people to your other product or service.
+ </p><p>
+ Knowledge Unlatched’s Pinter told us she has seen time and again how
+offering CC-licensed content—that is, digitally for free—actually increases
+sales of the printed goods because it functions as a marketing tool. We see
+this phenomenon regularly with famous artwork. The Mona Lisa is likely the
+most recognizable painting on the planet. Its ubiquity has the effect of
+catalyzing interest in seeing the painting in person, and in owning physical
+goods with the image. Abundant copies of the content often entice more
+demand, not blunt it. Another example came with the advent of the
+radio. Although the music industry did not see it coming (and fought it!),
+free music on the radio functioned as advertising for the paid version
+people bought in music stores.<a href="#ftn.idm536" class="footnote" name="idm536"><sup class="footnote">[56]</sup></a> Free can
+be a form of promotion.
+ </p><p>
+ In some cases, endeavors that are Made with Creative Commons do not even
+need dedicated marketing teams or marketing budgets. Cards Against Humanity
+is a CC-licensed card game available as a free download. And because of this
+(thanks to the CC license on the game), the creators say it is one of the
+best-marketed games in the world, and they have never spent a dime on
+marketing. The textbook publisher OpenStax has also avoided hiring a
+marketing team. Their products are free, or cheaper to buy in the case of
+physical copies, which makes them much more attractive to students who then
+demand them from their universities. They also partner with service
+providers who build atop the CC-licensed content and, in turn, spend money
+and resources marketing those services (and by extension, the OpenStax
+textbooks).
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-enable-hands-on-engagement-with-your-work"></a>Use CC to enable hands-on engagement with your work</h3></div></div></div><p>
+ The great promise of Creative Commons licensing is that it signifies an
+embrace of remix culture. Indeed, this is the great promise of digital
+technology. The Internet opened up a whole new world of possibilities for
+public participation in creative work.
+ </p><p>
+ Four of the six CC licenses enable reusers to take apart, build upon, or
+otherwise adapt the work. Depending on the context, adaptation can mean
+wildly different things—translating, updating, localizing, improving,
+transforming. It enables a work to be customized for particular needs, uses,
+people, and communities, which is another distinct value to offer the
+public.<a href="#ftn.idm543" class="footnote" name="idm543"><sup class="footnote">[57]</sup></a> Adaptation is more game
+changing in some contexts than others. With educational materials, the
+ability to customize and update the content is critically important for its
+usefulness. For photography, the ability to adapt a photo is less important.
+ </p><p>
+ This is a way to counteract a potential downside of the abundance of free
+and open content described above. As Anderson wrote in Free, <span class="quote">“<span class="quote">People
+often don’t care as much about things they don’t pay for, and as a result
+they don’t think as much about how they consume them.</span>”</span><a href="#ftn.idm547" class="footnote" name="idm547"><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
+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>
+ </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>
+Opening the door to your content can get people more deeply tied to your
+work.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="use-cc-to-differentiate-yourself"></a>Use CC to differentiate yourself</h3></div></div></div><p>
+ Operating under a traditional copyright regime usually means operating under
+the rules of establishment players in the media. Business strategies that
+are embedded in the traditional copyright system, like using digital rights
+management (DRM) and signing exclusivity contracts, can tie the hands of
+creators, often at the expense of the creator’s best interest.<a href="#ftn.idm562" class="footnote" name="idm562"><sup class="footnote">[63]</sup></a> Being Made with Creative Commons means you can
+function without those barriers and, in many cases, use the increased
+openness as a competitive advantage. David Harris from OpenStax said they
+specifically pursue strategies they know that traditional publishers
+cannot. <span class="quote">“<span class="quote">Don’t go into a market and play by the incumbent
+rules,</span>”</span> David said. <span class="quote">“<span class="quote">Change the rules of engagement.</span>”</span>
+ </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-money"></a>Making Money</h2></div></div></div><p>
+ Like any moneymaking endeavor, those that are Made with Creative Commons
+have to generate some type of value for their audience or
+customers. Sometimes that value is subsidized by funders who are not
+actually beneficiaries of that value. Funders, whether philanthropic
+institutions, governments, or concerned individuals, provide money to the
+organization out of a sense of pure altruism. This is the way traditional
+nonprofit funding operates.<a href="#ftn.idm569" class="footnote" name="idm569"><sup class="footnote">[64]</sup></a> But in many
+cases, the revenue streams used by endeavors that are Made with Creative
+Commons are directly tied to the value they generate, where the recipient is
+paying for the value they receive like any standard market transaction. In
+still other cases, rather than the quid pro quo exchange of money for value
+that typically drives market transactions, the recipient gives money out of
+a sense of reciprocity.
+ </p><p>
+ Most who are Made with Creative Commons use a variety of methods to bring in
+revenue, some market-based and some not. One common strategy is using grant
+funding for content creation when research-and-development costs are
+particularly high, and then finding a different revenue stream (or streams)
+for ongoing expenses. As Shirky wrote, <span class="quote">“<span class="quote">The trick is in knowing when
+markets are an optimal way of organizing interactions and when they are
+not.</span>”</span><a href="#ftn.idm575" class="footnote" name="idm575"><sup class="footnote">[65]</sup></a>
+ </p><p>
+ Our case studies explore in more detail the various revenue-generating
+mechanisms used by the creators, organizations, and businesses we
+interviewed. There is nuance hidden within the specific ways each of them
+makes money, so it is a bit dangerous to generalize too much about what we
+learned. Nonetheless, zooming out and viewing things from a higher level of
+abstraction can be instructive.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="market-based-revenue-streams"></a>Market-based revenue streams</h3></div></div></div><p>
+ In the market, the central question when determining how to bring in revenue
+is what value people are willing to pay for.<a href="#ftn.idm581" class="footnote" name="idm581"><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>
+ </p><p>
+ In many ways, this is the way of the future for all content-driven
+endeavors. In the market, value lives in things that are scarce. Because the
+Internet makes a universe of content available to all of us for free, it is
+difficult to get people to pay for content online. The struggling newspaper
+industry is a testament to this fact. This is compounded by the fact that at
+least some amount of copying is probably inevitable. That means you may end
+up competing with free versions of your own content, whether you condone it
+or not.<a href="#ftn.idm586" class="footnote" name="idm586"><sup class="footnote">[68]</sup></a> If people can easily find your
+content for free, getting people to buy it will be difficult, particularly
+in a context where access to content is more important than owning it. In
+Free, Anderson wrote, <span class="quote">“<span class="quote">Copyright protection schemes, whether coded
+into either law or software, are simply holding up a price against the force
+of gravity.</span>”</span>
+ </p><p>
+ Of course, this doesn’t mean that content-driven endeavors have no future in
+the traditional marketplace. In Free, Anderson explains how when one product
+or service becomes free, as information and content largely have in the
+digital age, other things become more valuable. <span class="quote">“<span class="quote">Every abundance
+creates a new scarcity,</span>”</span> he wrote. You just have to find some way
+other than the content to provide value to your audience or customers. As
+Anderson says, <span class="quote">“<span class="quote">It’s easy to compete with Free: simply offer something
+better or at least different from the free version.</span>”</span><a href="#ftn.idm592" class="footnote" name="idm592"><sup class="footnote">[69]</sup></a>
+ </p><p>
+ In light of this reality, in some ways endeavors that are Made with Creative
+Commons are at a level playing field with all content-based endeavors in the
+digital age. In fact, they may even have an advantage because they can use
+the abundance of content to derive revenue from something scarce. They can
+also benefit from the goodwill that stems from the values behind being Made
+with Creative Commons.
+ </p><p>
+ For content creators and distributors, there are nearly infinite ways to
+provide value to the consumers of your work, above and beyond the value that
+lives within your free digital content. Often, the CC-licensed content
+functions as a marketing tool for the paid product or service.
+ </p><p>
+ Here are the most common high-level categories.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-custom-service-to-consumers-of-your-work-market-based"></a>Providing a custom service to consumers of your work
+<span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ In this age of information abundance, we don’t lack for content. The trick
+is finding content that matches our needs and wants, so customized services
+are particularly valuable. As Anderson wrote, <span class="quote">“<span class="quote">Commodity information
+(everybody gets the same version) wants to be free. Customized information
+(you get something unique and meaningful to you) wants to be
+expensive.</span>”</span><a href="#ftn.idm602" class="footnote" name="idm602"><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>
+This is particularly successful in domains where the digital version of the
+content isn’t as valuable as the analog version, like book publishing where
+a significant subset of people still prefer reading something they can hold
+in their hands. Or in domains where the content isn’t useful until it is in
+physical form, like furniture designs. In those situations, a significant
+portion of consumers will pay for the convenience of having someone else put
+the physical version together for them. Some endeavors squeeze even more out
+of this revenue stream by using a Creative Commons license that only allows
+noncommercial uses, which means no one else can sell physical copies of
+their work in competition with them. This strategy of reserving commercial
+rights can be particularly important for items like books, where every
+printed copy of the same work is likely to be the same quality, so it is
+harder to differentiate one publishing service from another. On the other
+hand, for items like furniture or electronics, the provider of the physical
+goods can compete with other providers of the same works based on quality,
+service, or other traditional business principles.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-for-the-in-person-version-market-based"></a>Charging for the in-person version <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ As anyone who has ever gone to a concert will tell you, experiencing
+creativity in person is a completely different experience from consuming a
+digital copy on your own. Far from acting as a substitute for face-to-face
+interaction, CC-licensed content can actually create demand for the
+in-person version of experience. You can see this effect when people go view
+original art in person or pay to attend a talk or training course.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="selling-merchandise-market-based"></a>Selling merchandise <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ In many cases, people who like your work will pay for products demonstrating
+a connection to your work. As a child of the 1980s, I can personally attest
+to the power of a good concert T-shirt. This can also be an important
+revenue stream for museums and galleries.
+ </p><p>
+ Sometimes the way to find a market-based revenue stream is by providing
+value to people other than those who consume your CC-licensed content. In
+these revenue streams, the free content is being subsidized by an entirely
+different category of people or businesses. Often, those people or
+businesses are paying to access your main audience. The fact that the
+content is free increases the size of the audience, which in turn makes the
+offer more valuable to the paying customers. This is a variation of a
+traditional business model built on free called multi-sided
+platforms.<a href="#ftn.idm620" class="footnote" name="idm620"><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
+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
+many content creators, including those who are Made with Creative
+Commons. Often, instead of paying to display advertising, the advertiser
+pays to be an official sponsor of particular content or projects, or of the
+overall endeavor.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-your-content-creators-market-based"></a>Charging your content creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ Another type of multisided platform is where the content creators themselves
+pay to be featured on the platform. Obviously, this revenue stream is only
+available to those who rely on work created, at least in part, by
+others. The most well-known version of this model is the
+<span class="quote">“<span class="quote">author-processing charge</span>”</span> of open-access journals like those
+published by the Public Library of Science, but there are other
+variations. The Conversation is primarily funded by a university-membership
+model, where universities pay to have their faculties participate as writers
+of the content on the Conversation website.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="charging-a-transaction-fee-market-based"></a>Charging a transaction fee <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ This is a version of a traditional business model based on brokering
+transactions between parties.<a href="#ftn.idm639" class="footnote" name="idm639"><sup class="footnote">[75]</sup></a> Curation
+is an important element of this model. Platforms like the Noun Project add
+value by wading through CC-licensed content to curate a high-quality set and
+then derive revenue when creators of that content make transactions with
+customers. Other platforms make money when service providers transact with
+their customers; for example, Opendesk makes money every time someone on
+their site pays a maker to make furniture based on one of the designs on the
+platform.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="providing-a-service-to-your-creators-market-based"></a>Providing a service to your creators <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ As mentioned above, endeavors can make money by providing customized
+services to their users. Platforms can undertake a variation of this service
+model directed at the creators that provide the content they feature. The
+data platforms Figure.NZ and Figshare both capitalize on this model by
+providing paid tools to help their users make the data they contribute to
+the platform more discoverable and reusable.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="licensing-a-trademark-market-based"></a>Licensing a trademark <span class="emphasis"><em>[MARKET-BASED]</em></span></h3></div></div></div><p>
+ Finally, some that are Made with Creative Commons make money by selling use
+of their trademarks. Well known brands that consumers associate with
+quality, credibility, or even an ethos can license that trademark to
+companies that want to take advantage of that goodwill. By definition,
+trademarks are scarce because they represent a particular source of a good
+or service. Charging for the ability to use that trademark is a way of
+deriving revenue from something scarce while taking advantage of the
+abundance of CC content.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="reciprocity-based-revenue-streams"></a>Reciprocity-based revenue streams</h3></div></div></div><p>
+ Even if we set aside grant funding, we found that the traditional economic
+framework of understanding the market failed to fully capture the ways the
+endeavors we analyzed were making money. It was not simply about monetizing
+scarcity.
+ </p><p>
+ Rather than devising a scheme to get people to pay money in exchange for
+some direct value provided to them, many of the revenue streams were more
+about providing value, building a relationship, and then eventually finding
+some money that flows back out of a sense of reciprocity. While some look
+like traditional nonprofit funding models, they aren’t charity. The endeavor
+exchange value with people, just not necessarily synchronously or in a way
+that requires that those values be equal. As David Bollier wrote in Think
+Like a Commoner, <span class="quote">“<span class="quote">There is no self-serving calculation of whether the
+value given and received is strictly equal.</span>”</span>
+ </p><p>
+ This should be a familiar dynamic—it is the way you deal with your friends
+and family. We give without regard for what and when we will get back. David
+Bollier wrote, <span class="quote">“<span class="quote">Reciprocal social exchange lies at the heart of human
+identity, community and culture. It is a vital brain function that helps the
+human species survive and evolve.</span>”</span>
+ </p><p>
+ What is rare is to incorporate this sort of relationship into an endeavor
+that also engages with the market.<a href="#ftn.idm657" class="footnote" name="idm657"><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>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="memberships-and-individual-donations-reciprocity-based"></a>Memberships and individual donations
+<span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
+ While memberships and donations are traditional nonprofit funding models, in
+the Made with Creative Commons context, they are directly tied to the
+reciprocal relationship that is cultivated with the beneficiaries of their
+work. The bigger the pool of those receiving value from the content, the
+more likely this strategy will work, given that only a small percentage of
+people are likely to contribute. Since using CC licenses can grease the
+wheels for content to reach more people, this strategy can be more effective
+for endeavors that are Made with Creative Commons. The greater the argument
+that the content is a public good or that the entire endeavor is furthering
+a social mission, the more likely this strategy is to succeed.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="the-pay-what-you-want-model-reciprocity-based"></a>The pay-what-you-want model <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
+ In the pay-what-you-want model, the beneficiary of Creative Commons content
+is invited to give—at any amount they can and feel is appropriate, based on
+the public and personal value they feel is generated by the open
+content. Critically, these models are not touted as <span class="quote">“<span class="quote">buying</span>”</span>
+something free. They are similar to a tip jar. People make financial
+contributions as an act of gratitude. These models capitalize on the fact
+that we are naturally inclined to give money for things we value in the
+marketplace, even in situations where we could find a way to get it for
+free.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="crowdfunding-reciprocity-based"></a>Crowdfunding <span class="emphasis"><em>[RECIPROCITY-BASED]</em></span></h3></div></div></div><p>
+ Crowdfunding models are based on recouping the costs of creating and
+distributing content before the content is created. If the endeavor is Made
+with Creative Commons, anyone who wants the work in question could simply
+wait until it’s created and then access it for free. That means, for this
+model to work, people have to care about more than just receiving the
+work. They have to want you to succeed. Amanda Palmer credits the success of
+her crowdfunding on Kickstarter and Patreon to the years she spent building
+her community and creating a connection with her fans. She wrote in The Art
+of Asking, <span class="quote">“<span class="quote">Good art is made, good art is shared, help is offered,
+ears are bent, emotions are exchanged, the compost of real, deep connection
+is sprayed all over the fields. Then one day, the artist steps up and asks
+for something. And if the ground has been fertilized enough, the audience
+says, without hesitation: of course.</span>”</span>
+ </p><p>
+ Other types of crowdfunding rely on a sense of responsibility that a
+particular community may feel. Knowledge Unlatched pools funds from major
+U.S. libraries to subsidize CC-licensed academic work that will be, by
+definition, available to everyone for free. Libraries with bigger budgets
+tend to give more out of a sense of commitment to the library community and
+to the idea of open access generally.
+ </p></div></div><div class="sect1"><div class="titlepage"><div><div><h2 class="title" style="clear: both"><a name="making-human-connections"></a>Making Human Connections</h2></div></div></div><p>
+ Regardless of how they made money, in our interviews, we repeatedly heard
+language like <span class="quote">“<span class="quote">persuading people to buy</span>”</span> and <span class="quote">“<span class="quote">inviting
+people to pay.</span>”</span> We heard it even in connection with revenue streams
+that sit squarely within the market. Cory Doctorow told us, <span class="quote">“<span class="quote">I have to
+convince my readers that the right thing to do is to pay me.</span>”</span> The
+founders of the for-profit company Lumen Learning showed us the letter they
+send to those who opt not to pay for the services they provide in connection
+with their CC-licensed educational content. It isn’t a cease-and-desist
+letter; it’s an invitation to pay because it’s the right thing to do. This
+sort of behavior toward what could be considered nonpaying customers is
+largely unheard of in the traditional marketplace. But it seems to be part
+of the fabric of being Made with Creative Commons.
+ </p><p>
+ Nearly every endeavor we profiled relied, at least in part, on people being
+invested in what they do. The closer the Creative Commons content is to
+being <span class="quote">“<span class="quote">the product,</span>”</span> the more pronounced this dynamic has to
+be. Rather than simply selling a product or service, they are making
+ideological, personal, and creative connections with the people who value
+what they do.
+ </p><p>
+ It took me a very long time to see how this avoidance of thinking about what
+they do in pure market terms was deeply tied to being Made with Creative
+Commons.
+ </p><p>
+ I came to the research with preconceived notions about what Creative Commons
+is and what it means to be Made with Creative Commons. It turned out I was
+wrong on so many counts.
+ </p><p>
+ Obviously, being Made with Creative Commons means using Creative Commons
+licenses. That much I knew. But in our interviews, people spoke of so much
+more than copyright permissions when they explained how sharing fit into
+what they do. I was thinking about sharing too narrowly, and as a result, I
+was missing vast swaths of the meaning packed within Creative
+Commons. Rather than parsing the specific and narrow role of the copyright
+license in the equation, it is important not to disaggregate the rest of
+what comes with sharing. You have to widen the lens.
+ </p><p>
+ Being Made with Creative Commons is not just about the simple act of
+licensing a copyrighted work under a set of standardized terms, but also
+about community, social good, contributing ideas, expressing a value system,
+working together. These components of sharing are hard to cultivate if you
+think about what you do in purely market terms. Decent social behavior isn’t
+as intuitive when we are doing something that involves monetary exchange. It
+takes a conscious effort to foster the context for real sharing, based not
+strictly on impersonal market exchange, but on connections with the people
+with whom you share—connections with you, with your work, with your values,
+with each other.
+ </p><p>
+ The rest of this section will explore some of the common strategies that
+creators, companies, and organizations use to remind us that there are
+humans behind every creative endeavor. To remind us we have obligations to
+each other. To remind us what sharing really looks like.
+ </p><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-human"></a>Be human</h3></div></div></div><p>
+ Humans are social animals, which means we are naturally inclined to treat
+each other well.<a href="#ftn.idm692" class="footnote" name="idm692"><sup class="footnote">[78]</sup></a> But the further
+removed we are from the person with whom we are interacting, the less caring
+our behavior will be. While the Internet has democratized cultural
+production, increased access to knowledge, and connected us in extraordinary
+ways, it can also make it easy forget we are dealing with another human.
+ </p><p>
+ To counteract the anonymous and impersonal tendencies of how we operate
+online, individual creators and corporations who use Creative Commons
+licenses work to demonstrate their humanity. For some, this means pouring
+their lives out on the page. For others, it means showing their creative
+process, giving a glimpse into how they do what they do. As writer Austin
+Kleon wrote, <span class="quote">“<span class="quote">Our work doesn’t speak for itself. Human beings want to
+know where things came from, how they were made, and who made them. The
+stories you tell about the work you do have a huge effect on how people feel
+and what they understand about your work, and how people feel and what they
+understand about your work affects how they value it.</span>”</span><a href="#ftn.idm696" class="footnote" name="idm696"><sup class="footnote">[79]</sup></a>
+ </p><p>
+ A critical component to doing this effectively is not worrying about being a
+<span class="quote">“<span class="quote">brand.</span>”</span> That means not being afraid to be vulnerable. Amanda
+Palmer says, <span class="quote">“<span class="quote">When you’re afraid of someone’s judgment, you can’t
+connect with them. You’re too preoccupied with the task of impressing
+them.</span>”</span> Not everyone is suited to live life as an open book like
+Palmer, and that’s OK. There are a lot of ways to be human. The trick is
+just avoiding pretense and the temptation to artificially craft an
+image. People don’t just want the glossy version of you. They can’t relate
+to it, at least not in a meaningful way.
+ </p><p>
+ This advice is probably even more important for businesses and organizations
+because we instinctively conceive of them as nonhuman (though in the United
+States, corporations are people!). When corporations and organizations make
+the people behind them more apparent, it reminds people that they are
+dealing with something other than an anonymous corporate entity. In
+business-speak, this is about <span class="quote">“<span class="quote">humanizing your interactions</span>”</span>
+with the public.<a href="#ftn.idm703" class="footnote" name="idm703"><sup class="footnote">[80]</sup></a> But it can’t be a
+gimmick. You can’t fake being human.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="be-open-and-accountable"></a>Be open and accountable</h3></div></div></div><p>
+ Transparency helps people understand who you are and why you do what you do,
+but it also inspires trust. Max Temkin of Cards Against Humanity told us,
+<span class="quote">“<span class="quote">One of the most surprising things you can do in capitalism is just be
+honest with people.</span>”</span> That means sharing the good and the bad. As
+Amanda Palmer wrote, <span class="quote">“<span class="quote">You can fix almost anything by authentically
+communicating.</span>”</span><a href="#ftn.idm710" class="footnote" name="idm710"><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>
+ </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
+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
+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
+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
+Commons requires an assumption that people will largely act on those social
+motivations, motivations that would be considered <span class="quote">“<span class="quote">irrational</span>”</span>
+in an economic sense. As Knowledge Unlatched’s Pinter told us, <span class="quote">“<span class="quote">It is
+best to ignore people who try to scare you about free riding. That fear is
+based on a very shallow view of what motivates human behavior.</span>”</span> There
+will always be people who will act in purely selfish ways, but endeavors
+that are Made with Creative Commons design for the good actors.
+ </p><p>
+ The assumption that people will largely do the right thing can be a
+self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, <span class="quote">“<span class="quote">Systems
+that assume people will act in ways that create public goods, and that give
+them opportunities and rewards for doing so, often let them work together
+better than neoclassical economics would predict.</span>”</span><a href="#ftn.idm730" class="footnote" name="idm730"><sup class="footnote">[87]</sup></a> When we acknowledge that people are often motivated
+by something other than financial self-interest, we design our endeavors in
+ways that encourage and accentuate our social instincts.
+ </p><p>
+ Rather than trying to exert control over people’s behavior, this mode of
+operating requires a certain level of trust. We might not realize it, but
+our daily lives are already built on trust. As Surowiecki wrote in The
+Wisdom of Crowds, <span class="quote">“<span class="quote">It’s impossible for a society to rely on law alone
+to make sure citizens act honestly and responsibly. And it’s impossible for
+any organization to rely on contracts alone to make sure that its managers
+and workers live up to their obligation.</span>”</span> Instead, we largely trust
+that people—mostly strangers—will do what they are supposed to
+do.<a href="#ftn.idm734" class="footnote" name="idm734"><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
+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>
+ </p><p>
+ The same idea goes for businesses and organizations. Rather than automating
+its customer service, the music platform Tribe of Noise makes a point to
+ensure its employees have personal, one-on-one interaction with users.
+ </p><p>
+ When we treat people like humans, they typically return the gift in
+kind. It’s called karma. But social relationships are fragile. It is all too
+easy to destroy them if you make the mistake of treating people as anonymous
+customers or free labor.<a href="#ftn.idm746" class="footnote" name="idm746"><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>
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="state-your-principles-and-stick-to-them"></a>State your principles and stick to them</h3></div></div></div><p>
+ Being Made with Creative Commons makes a statement about who you are and
+what you do. The symbolism is powerful. Using Creative Commons licenses
+demonstrates adherence to a particular belief system, which generates
+goodwill and connects like-minded people to your work. Sometimes people will
+be drawn to endeavors that are Made with Creative Commons as a way of
+demonstrating their own commitment to the Creative Commons value system,
+akin to a political statement. Other times people will identify and feel
+connected with an endeavor’s separate social mission. Often both.
+ </p><p>
+ The expression of your values doesn’t have to be implicit. In fact, many of
+the people we interviewed talked about how important it is to state your
+guiding principles up front. Lumen Learning attributes a lot of their
+success to having been outspoken about the fundamental values that guide
+what they do. As a for-profit company, they think their expressed commitment
+to low-income students and open licensing has been critical to their
+credibility in the OER (open educational resources) community in which they
+operate.
+ </p><p>
+ When your end goal is not about making a profit, people trust that you
+aren’t just trying to extract value for your own gain. People notice when
+you have a sense of purpose that transcends your own
+self-interest.<a href="#ftn.idm755" class="footnote" name="idm755"><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
+being Made with Creative Commons automatically brings with it some element
+of community, by helping connect you to like-minded others who recognize and
+are drawn to the values symbolized by using CC.
+ </p><p>
+ To be sustainable, though, you have to work to nurture community. People
+have to care—about you and each other. One critical piece to this is
+fostering a sense of belonging. As Jono Bacon writes in The Art of
+Community, <span class="quote">“<span class="quote">If there is no belonging, there is no community.</span>”</span>
+For Amanda Palmer and her band, that meant creating an accepting and
+inclusive environment where people felt a part of their <span class="quote">“<span class="quote">weird little
+family.</span>”</span><a href="#ftn.idm765" class="footnote" name="idm765"><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>
+ </p><p>
+ Communities that collaborate together take deliberate planning. Surowiecki
+wrote, <span class="quote">“<span class="quote">It takes a lot of work to put the group together. It’s
+difficult to ensure that people are working in the group’s interest and not
+in their own. And when there’s a lack of trust between the members of the
+group (which isn’t surprising given that they don’t really know each other),
+considerable energy is wasted trying to determine each other’s bona
+fides.</span>”</span><a href="#ftn.idm772" class="footnote" name="idm772"><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 are created and imposed in a top-down manner, people feel like
+they don’t have a voice, which in turn leads to disengagement.
+ </p><p>
+ Community takes work, but working together, or even simply being connected
+around common interests or values, is in many ways what sharing is about.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="give-more-to-the-commons-than-you-take"></a>Give more to the commons than you take</h3></div></div></div><p>
+ Conventional wisdom in the marketplace dictates that people should try to
+extract as much money as possible from resources. This is essentially what
+defines so much of the so-called sharing economy. In an article on the
+Harvard Business Review website called <span class="quote">“<span class="quote">The Sharing Economy Isn’t
+about Sharing at All,</span>”</span> authors Giana Eckhardt and Fleura Bardhi
+explained how the anonymous market-driven trans-actions in most
+sharing-economy businesses are purely about monetizing access.<a href="#ftn.idm781" class="footnote" name="idm781"><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.
+ </p><p>
+ Sharing requires adding as much or more value to the ecosystem than you
+take. You can’t simply treat open content as a free pool of resources from
+which to extract value. Part of giving back to the ecosystem is contributing
+content back to the public under CC licenses. But it doesn’t have to just be
+about creating content; it can be about adding value in other ways. The
+social blogging platform Medium provides value to its community by
+incentivizing good behavior, and the result is an online space with
+remarkably high-quality user-generated content and limited
+trolling.<a href="#ftn.idm788" class="footnote" name="idm788"><sup class="footnote">[101]</sup></a> Opendesk contributes to its
+community by committing to help its designers make money, in part by
+actively curating and displaying their work on its platform effectively.
+ </p><p>
+ In all cases, it is important to openly acknowledge the amount of value you
+add versus that which you draw on that was created by others. Being
+transparent about this builds credibility and shows you are a contributing
+player in the commons. When your endeavor is making money, that also means
+apportioning financial compensation in a way that reflects the value
+contributed by others, providing more to contributors when the value they
+add outweighs the value provided by you.
+ </p></div><div class="sect2"><div class="titlepage"><div><div><h3 class="title"><a name="involve-people-in-what-you-do"></a>Involve people in what you do</h3></div></div></div><p>
+ Thanks to the Internet, we can tap into the talents and expertise of people
+around the globe. Chris Anderson calls it the Long Tail of
+talent.<a href="#ftn.idm796" class="footnote" name="idm796"><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
+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>
+ </p><p>
+ As the success of Wikipedia demonstrates, editing an online encyclopedia is
+exactly the sort of activity that is perfect for massive co-creation because
+small, incremental edits made by a diverse range of people acting on their
+own are immensely valuable in the aggregate. Those same sorts of small
+contributions would be less useful for many other types of creative work,
+and people are inherently less motivated to contribute when it doesn’t
+appear that their efforts will make much of a difference.<a href="#ftn.idm803" class="footnote" name="idm803"><sup class="footnote">[105]</sup></a>
+ </p><p>
+ It is easy to romanticize the opportunities for global cocreation made
+possible by the Internet, and, indeed, the successful examples of it are
+truly incredible and inspiring. But in a wide range of
+circumstances—perhaps more often than not—community cocreation is not part
+of the equation, even within endeavors built on CC content. Shirky wrote,
+<span class="quote">“<span class="quote">Sometimes the value of professional work trumps the value of amateur
+sharing or a feeling of belonging.<a href="#ftn.idm807" class="footnote" name="idm807"><sup class="footnote">[106]</sup></a> The
+textbook publisher OpenStax, which distributes all of its material for free
+under CC licensing, is an example of this dynamic. Rather than tapping the
+community to help cocreate their college textbooks, they invest a
+significant amount of time and money to develop professional content. For
+individual creators, where the creative work is the basis for what they do,
+community cocreation is only rarely a part of the picture. Even musician
+Amanda Palmer, who is famous for her openness and involvement with her fans,
+said,</span>”</span>The only department where I wasn’t open to input was the
+writing, the music itself."<a href="#ftn.idm809" class="footnote" name="idm809"><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
+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>
+ </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
+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>
+ 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>
+ 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>
+ 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>
+ 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>
+ Anderson, Makers, 66.
+ </p></div><div id="ftn.idm483" class="footnote"><p><a href="#idm483" 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>
+ Anderson, Free, 62.
+ </p></div><div id="ftn.idm491" class="footnote"><p><a href="#idm491" 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>
+ 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>
+ Anderson, Free, 86.
+ </p></div><div id="ftn.idm506" class="footnote"><p><a href="#idm506" 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>
+ Anderson, Free, 123.
+ </p></div><div id="ftn.idm519" class="footnote"><p><a href="#idm519" 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>
+ Ibid., 70.
+ </p></div><div id="ftn.idm526" class="footnote"><p><a href="#idm526" 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>
+ Anderson, Free, 44.
+ </p></div><div id="ftn.idm543" class="footnote"><p><a href="#idm543" 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>
+ Anderson, Free, 67.
+ </p></div><div id="ftn.idm549" class="footnote"><p><a href="#idm549" 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>
+ Anderson, Makers, 71.
+ </p></div><div id="ftn.idm553" class="footnote"><p><a href="#idm553" 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>
+ Ibid., 21.
+ </p></div><div id="ftn.idm562" class="footnote"><p><a href="#idm562" 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>
+ 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>
+ Shirky, Cognitive Surplus, 111.
+ </p></div><div id="ftn.idm581" class="footnote"><p><a href="#idm581" 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>
+ 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>
+ Anderson, Free, 71.
+ </p></div><div id="ftn.idm592" class="footnote"><p><a href="#idm592" 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>
+ Ibid., 97.
+ </p></div><div id="ftn.idm609" class="footnote"><p><a href="#idm609" 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>
+ 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>
+ Ibid., 92.
+ </p></div><div id="ftn.idm628" class="footnote"><p><a href="#idm628" 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>
+ 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>
+ 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>
+ Ibid., 134.
+ </p></div><div id="ftn.idm692" class="footnote"><p><a href="#idm692" 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>
+ 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>
+ Kramer, Shareology, 76.
+ </p></div><div id="ftn.idm710" class="footnote"><p><a href="#idm710" 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>
+ Whitehurst, Open Organization, 145.
+ </p></div><div id="ftn.idm715" class="footnote"><p><a href="#idm715" 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>
+ Whitehurst, Open Organization, 80.
+ </p></div><div id="ftn.idm722" class="footnote"><p><a href="#idm722" 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>
+ Ibid., 31.
+ </p></div><div id="ftn.idm730" class="footnote"><p><a href="#idm730" 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>
+ 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>
+ 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>
+ 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>
+ Ariely, Predictably Irrational, 87.
+ </p></div><div id="ftn.idm748" class="footnote"><p><a href="#idm748" 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>
+ Ibid., 36.
+ </p></div><div id="ftn.idm760" class="footnote"><p><a href="#idm760" 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>
+ 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>
+ Whitehurst, Open Organization, 34.
+ </p></div><div id="ftn.idm772" class="footnote"><p><a href="#idm772" 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>
+ 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>
+ 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>
+ 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>
+ 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>
+ Anderson, Makers, 148.
+ </p></div><div id="ftn.idm798" class="footnote"><p><a href="#idm798" 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>
+ 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>
+ Shirky, Cognitive Surplus, 144.
+ </p></div><div id="ftn.idm807" class="footnote"><p><a href="#idm807" 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>
+ 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>
+ Anderson, Makers, 173.
+ </p></div><div id="ftn.idm815" class="footnote"><p><a href="#idm815" 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>
+ 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>
+ Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of
+Collaborative Consumption (New York: Harper Business, 2010), 188.
+ </p></div></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-creative-commons-licenses"></a>Capítulo 3. The Creative Commons Licenses</h2></div></div></div><p>
+ All of the Creative Commons licenses grant a basic set of permissions. At a
+minimum, a CC- licensed work can be copied and shared in its original form
+for noncommercial purposes so long as attribution is given to the
+creator. There are six licenses in the CC license suite that build on that
+basic set of permissions, ranging from the most restrictive (allowing only
+those basic permissions to share unmodified copies for noncommercial
+purposes) to the most permissive (reusers can do anything they want with
+the work, even for commercial purposes, as long as they give the creator
+credit). The licenses are built on copyright and do not cover other types of
+rights that creators might have in their works, like patents or trademarks.
+ </p><p>
+ Here are the six licenses:
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D83BF99FC0821C489.png" width="40.0%"></span>
+ </p><p>
+ The Attribution license (CC BY) lets others distribute, remix, tweak, and
+build upon your work, even commercially, as long as they credit you for the
+original creation. This is the most accommodating of licenses
+offered. Recommended for maximum dissemination and use of licensed
+materials.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DFD3592CB17C4EC38.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and
+build upon your work, even for commercial purposes, as long as they credit
+you and license their new creations under identical terms. This license is
+often compared to <span class="quote">“<span class="quote">copyleft</span>”</span> free and open source software
+licenses. All new works based on yours will carry the same license, so any
+derivatives will also allow commercial use.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D254882DE24793FEA.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NoDerivs license (CC BY-ND) allows for redistribution,
+commercial and noncommercial, as long as it is passed along unchanged with
+credit to you.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DCAF78FB61D1CBDA6.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak,
+and build upon your work noncommercially. Although their new works must also
+acknowledge you, they don’t have to license their derivative works on the
+same terms.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008D16DA603376395620.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others
+remix, tweak, and build upon your work noncommercially, as long as they
+credit you and license their new creations under the same terms.
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001930000008DC3FEF92B21310965.png" width="40.0%"></span>
+ </p><p>
+ The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most
+restrictive of our six main licenses, only allowing others to download your
+works and share them with others as long as they credit you, but they can’t
+change them or use them commercially.
+ </p><p>
+ In addition to these six licenses, Creative Commons has two public-domain
+tools—one for creators and the other for those who manage collections of
+existing works by authors whose terms of copyright have expired:
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008DBE3414994CD27786.png" width="40.0%"></span>
+ </p><p>
+ CC0 enables authors and copyright owners to dedicate their works to the
+worldwide public domain (<span class="quote">“<span class="quote">no rights reserved</span>”</span>).
+ </p><p>
+ <span class="inlinemediaobject"><img src="Pictures/10000201000001900000008D36DCD649C5B1411F.png" width="40.0%"></span>
+ </p><p>
+ The Creative Commons Public Domain Mark facilitates the labeling and
+discovery of works that are already free of known copyright restrictions.
+ </p><p>
+ In our case studies, some use just one Creative Commons license, others use
+several. Attribution (found in thirteen case studies) and
+Attribution-ShareAlike (found in eight studies) were the most common, with
+the other licenses coming up in four or so case studies, including the
+public-domain tool CC0. Some of the organizations we profiled offer both
+digital content and software: by using open-source-software licenses for the
+software code and Creative Commons licenses for digital content, they
+amplify their involvement with and commitment to sharing.
+ </p><p>
+ There is a popular misconception that the three NonCommercial licenses
+offered by CC are the only options for those who want to make money off
+their work. As we hope this book makes clear, there are many ways to make
+endeavors that are Made with Creative Commons sustainable. Reserving
+commercial rights is only one of those ways. It is certainly true that a
+license that allows others to make commercial use of your work (CC BY, CC
+BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you
+apply an Attribution (CC BY) license to your book, you can’t force a film
+company to pay you royalties if they turn your book into a feature-length
+film, or prevent another company from selling physical copies of your work.
+ </p><p>
+ The decision to choose a NonCommercial and/or NoDerivs license comes down to
+how much you need to retain control over the creative work. The
+NonCommercial and NoDerivs licenses are ways of reserving some significant
+portion of the exclusive bundle of rights that copyright grants to
+creators. In some cases, reserving those rights is important to how you
+bring in revenue. In other cases, creators use a NonCommercial or NoDerivs
+license because they can’t give up on the dream of hitting the creative
+jackpot. The music platform Tribe of Noise told us the NonCommercial
+licenses were popular among their users because people still held out the
+dream of having a major record label discover their work.
+ </p><p>
+ Other times the decision to use a more restrictive license is due to a
+concern about the integrity of the work. For example, the nonprofit
+TeachAIDS uses a NoDerivs license for its educational materials because the
+medical subject matter is particularly important to get right.
+ </p><p>
+ There is no one right way. The NonCommercial and NoDerivs restrictions
+reflect the values and preferences of creators about how their creative work
+should be reused, just as the ShareAlike license reflects a different set of
+values, one that is less about controlling access to their own work and more
+about ensuring that whatever gets created with their work is available to
+all on the same terms. Since the beginning of the commons, people have been
+setting up structures that helped regulate the way in which shared resources
+were used. The CC licenses are an attempt to standardize norms across all
+domains.
+ </p><p>
+ Note
+ </p><p>
+ For more about the licenses including examples and tips on sharing your work
+in the digital commons, start with the Creative Commons page called
+<span class="quote">“<span class="quote">Share Your Work</span>”</span> at <a class="ulink" href="http://creativecommons.org/share-your-work/" target="_top">http://creativecommons.org/share-your-work/</a>.
+ </p></div></div><div class="part"><div class="titlepage"><div><div><h1 class="title"><a name="the-case-studies"></a>Parte II. The Case Studies</h1></div></div></div><div class="partintro"><div></div><p>
+ The twenty-four case studies in this section were chosen from hundreds of
+nominations received from Kickstarter backers, Creative Commons staff, and
+the global Creative Commons community. We selected eighty potential
+candidates that represented a mix of industries, content types, revenue
+streams, and parts of the world. Twelve of the case studies were selected
+from that group based on votes cast by Kickstarter backers, and the other
+twelve were selected by us.
+ </p><p>
+ We did background research and conducted interviews for each case study,
+based on the same set of basic questions about the endeavor. The idea for
+each case study is to tell the story about the endeavor and the role sharing
+plays within it, largely the way in which it was told to us by those we
+interviewed.
+ </p><div class="toc"><p><b>Índice</b></p><dl class="toc"><dt><span class="chapter"><a href="#arduino">4. Arduino</a></span></dt><dt><span class="chapter"><a href="#artica">5. Ártica</a></span></dt><dt><span class="chapter"><a href="#blender-institute">6. Blender Institute</a></span></dt><dt><span class="chapter"><a href="#cards-against-humanity">7. Cards Against Humanity</a></span></dt><dt><span class="chapter"><a href="#the-conversation">8. The Conversation</a></span></dt><dt><span class="chapter"><a href="#cory-doctorow">9. Cory Doctorow</a></span></dt><dt><span class="chapter"><a href="#figshare">10. Figshare</a></span></dt><dt><span class="chapter"><a href="#figure.nz">11. Figure.NZ</a></span></dt><dt><span class="chapter"><a href="#knowledge-unlatched">12. Knowledge Unlatched</a></span></dt><dt><span class="chapter"><a href="#lumen-learning">13. Lumen Learning</a></span></dt><dt><span class="chapter"><a href="#jonathan-mann">14. Jonathan Mann</a></span></dt><dt><span class="chapter"><a href="#noun-project">15. Noun Project</a></span></dt><dt><span class="chapter"><a href="#open-data-institute">16. Open Data Institute</a></span></dt><dt><span class="chapter"><a href="#opendesk">17. OpenDesk</a></span></dt><dt><span class="chapter"><a href="#openstax">18. OpenStax</a></span></dt><dt><span class="chapter"><a href="#amanda-palmer">19. Amanda Palmer</a></span></dt><dt><span class="chapter"><a href="#plos-public-library-of-science">20. PLOS (Public Library of Science)</a></span></dt><dt><span class="chapter"><a href="#rijksmuseum">21. Rijksmuseum</a></span></dt><dt><span class="chapter"><a href="#shareable">22. Shareable</a></span></dt><dt><span class="chapter"><a href="#siyavula">23. Siyavula</a></span></dt><dt><span class="chapter"><a href="#sparkfun">24. SparkFun</a></span></dt><dt><span class="chapter"><a href="#teachaids">25. TeachAIDS</a></span></dt><dt><span class="chapter"><a href="#tribe-of-noise">26. Tribe of Noise</a></span></dt><dt><span class="chapter"><a href="#wikimedia-foundation">27. Wikimedia Foundation</a></span></dt></dl></div></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="arduino"></a>Capítulo 4. Arduino</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Arduino is a for-profit open-source electronics platform and computer
+hardware and software company. Founded in 2005 in Italy.
+ </p><p>
+ <a class="ulink" href="http://www.arduino.cc" target="_top">http://www.arduino.cc</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+copies (sales of boards, modules, shields, and kits), licensing a trademark
+(fees paid by those who want to sell Arduino products using their name)
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: David Cuartielles and Tom
+Igoe, cofounders
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In 2005, at the Interaction Design Institute Ivrea in northern Italy,
+teachers and students needed an easy way to use electronics and programming
+to quickly prototype design ideas. As musicians, artists, and designers,
+they needed a platform that didn’t require engineering expertise. A group of
+teachers and students, including Massimo Banzi, David Cuartielles, Tom Igoe,
+Gianluca Martino, and David Mellis, built a platform that combined different
+open technologies. They called it Arduino. The platform integrated software,
+hardware, microcontrollers, and electronics. All aspects of the platform
+were openly licensed: hardware designs and documentation with the
+Attribution-Share-Alike license (CC BY-SA), and software with the GNU
+General Public License.
+ </p><p>
+ Arduino boards are able to read inputs—light on a sensor, a finger on a
+button, or a Twitter message—and turn it into outputs—activating a motor,
+turning on an LED, publishing something online. You send a set of
+instructions to the microcontroller on the board by using the Arduino
+programming language and Arduino software (based on a piece of open-source
+software called Processing, a programming tool used to make visual art).
+ </p><p><span class="quote">“<span class="quote">The reasons for making Arduino open source are complicated,</span>”</span>
+Tom says. Partly it was about supporting flexibility. The open-source nature
+of Arduino empowers users to modify it and create a lot of different
+variations, adding on top of what the founders build. David says this
+<span class="quote">“<span class="quote">ended up strengthening the platform far beyond what we had even
+thought of building.</span>”</span>
+ </p><p>
+ For Tom another factor was the impending closure of the Ivrea design
+school. He’d seen other organizations close their doors and all their work
+and research just disappear. Open-sourcing ensured that Arduino would
+outlive the Ivrea closure. Persistence is one thing Tom really likes about
+open source. If key people leave, or a company shuts down, an open-source
+product lives on. In Tom’s view, <span class="quote">“<span class="quote">Open sourcing makes it easier to
+trust a product.</span>”</span>
+ </p><p>
+ With the school closing, David and some of the other Arduino founders
+started a consulting firm and multidisciplinary design studio they called
+Tinker, in London. Tinker designed products and services that bridged the
+digital and the physical, and they taught people how to use new technologies
+in creative ways. Revenue from Tinker was invested in sustaining and
+enhancing Arduino.
+ </p><p>
+ For Tom, part of Arduino’s success is because the founders made themselves
+the first customer of their product. They made products they themselves
+personally wanted. It was a matter of <span class="quote">“<span class="quote">I need this thing,</span>”</span> not
+<span class="quote">“<span class="quote">If we make this, we’ll make a lot of money.</span>”</span> Tom notes that
+being your own first customer makes you more confident and convincing at
+selling your product.
+ </p><p>
+ Arduino’s business model has evolved over time—and Tom says model is a
+grandiose term for it. Originally, they just wanted to make a few boards and
+get them out into the world. They started out with two hundred boards, sold
+them, and made a little profit. They used that to make another thousand,
+which generated enough revenue to make five thousand. In the early days,
+they simply tried to generate enough funding to keep the venture going day
+to day. When they hit the ten thousand mark, they started to think about
+Arduino as a company. By then it was clear you can open-source the design
+but still manufacture the physical product. As long as it’s a quality
+product and sold at a reasonable price, people will buy it.
+ </p><p>
+ Arduino now has a worldwide community of makers—students, hobbyists,
+artists, programmers, and professionals. Arduino provides a wiki called
+Playground (a wiki is where all users can edit and add pages, contributing
+to and benefiting from collective research). People share code, circuit
+diagrams, tutorials, DIY instructions, and tips and tricks, and show off
+their projects. In addition, there’s a multilanguage discussion forum where
+users can get help using Arduino, discuss topics like robotics, and make
+suggestions for new Arduino product designs. As of January 2017, 324,928
+members had made 2,989,489 posts on 379,044 topics. The worldwide community
+of makers has contributed an incredible amount of accessible knowledge
+helpful to novices and experts alike.
+ </p><p>
+ Transitioning Arduino from a project to a company was a big step. Other
+businesses who made boards were charging a lot of money for them. Arduino
+wanted to make theirs available at a low price to people across a wide range
+of industries. As with any business, pricing was key. They wanted prices
+that would get lots of customers but were also high enough to sustain the
+business.
+ </p><p>
+ For a business, getting to the end of the year and not being in the red is a
+success. Arduino may have an open-licensing strategy, but they are still a
+business, and all the things needed to successfully run one still
+apply. David says, <span class="quote">“<span class="quote">If you do those other things well, sharing things
+in an open-source way can only help you.</span>”</span>
+ </p><p>
+ While openly licensing the designs, documentation, and software ensures
+longevity, it does have risks. There’s a possibility that others will create
+knockoffs, clones, and copies. The CC BY-SA license means anyone can produce
+copies of their boards, redesign them, and even sell boards that copy the
+design. They don’t have to pay a license fee to Arduino or even ask
+permission. However, if they republish the design of the board, they have to
+give attribution to Arduino. If they change the design, they must release
+the new design using the same Creative Commons license to ensure that the
+new version is equally free and open.
+ </p><p>
+ Tom and David say that a lot of people have built companies off of Arduino,
+with dozens of Arduino derivatives out there. But in contrast to closed
+business models that can wring money out of the system over many years
+because there is no competition, Arduino founders saw competition as keeping
+them honest, and aimed for an environment of collaboration. A benefit of
+open over closed is the many new ideas and designs others have contributed
+back to the Arduino ecosystem, ideas and designs that Arduino and the
+Arduino community use and incorporate into new products.
+ </p><p>
+ Over time, the range of Arduino products has diversified, changing and
+adapting to new needs and challenges. In addition to simple entry level
+boards, new products have been added ranging from enhanced boards that
+provide advanced functionality and faster performance, to boards for
+creating Internet of Things applications, wearables, and 3-D printing. The
+full range of official Arduino products includes boards, modules (a smaller
+form-factor of classic boards), shields (elements that can be plugged onto a
+board to give it extra features), and kits.<a href="#ftn.idm915" class="footnote" name="idm915"><sup class="footnote">[112]</sup></a>
+ </p><p>
+ Arduino’s focus is on high-quality boards, well-designed support materials,
+and the building of community; this focus is one of the keys to their
+success. And being open lets you build a real community. David says
+Arduino’s community is a big strength and something that really does
+matter—in his words, <span class="quote">“<span class="quote">It’s good business.</span>”</span> When they started,
+the Arduino team had almost entirely no idea how to build a community. They
+started by conducting numerous workshops, working directly with people using
+the platform to make sure the hardware and software worked the way it was
+meant to work and solved people’s problems. The community grew organically
+from there.
+ </p><p>
+ A key decision for Arduino was trademarking the name. The founders needed a
+way to guarantee to people that they were buying a quality product from a
+company committed to open-source values and knowledge sharing. Trademarking
+the Arduino name and logo expresses that guarantee and helps customers
+easily identify their products, and the products sanctioned by them. If
+others want to sell boards using the Arduino name and logo, they have to pay
+a small fee to Arduino. This allows Arduino to scale up manufacturing and
+distribution while at the same time ensuring the Arduino brand isn’t hurt by
+low-quality copies.
+ </p><p>
+ Current official manufacturers are Smart Projects in Italy, SparkFun in the
+United States, and Dog Hunter in Taiwan/China. These are the only
+manufacturers that are allowed to use the Arduino logo on their
+boards. Trademarking their brand provided the founders with a way to protect
+Arduino, build it out further, and fund software and tutorial
+development. The trademark-licensing fee for the brand became Arduino’s
+revenue-generating model.
+ </p><p>
+ How far to open things up wasn’t always something the founders perfectly
+agreed on. David, who was always one to advocate for opening things up more,
+had some fears about protecting the Arduino name, thinking people would be
+mad if they policed their brand. There was some early backlash with a
+project called Freeduino, but overall, trademarking and branding has been a
+critical tool for Arduino.
+ </p><p>
+ David encourages people and businesses to start by sharing everything as a
+default strategy, and then think about whether there is anything that really
+needs to be protected and why. There are lots of good reasons to not open up
+certain elements. This strategy of sharing everything is certainly the
+complete opposite of how today’s world operates, where nothing is
+shared. Tom suggests a business formalize which elements are based on open
+sharing and which are closed. An Arduino blog post from 2013 entitled
+<span class="quote">“<span class="quote">Send In the Clones,</span>”</span> by one of the founders Massimo Banzi,
+does a great job of explaining the full complexities of how trademarking
+their brand has played out, distinguishing between official boards and those
+that are clones, derivatives, compatibles, and counterfeits.<a href="#ftn.idm925" class="footnote" name="idm925"><sup class="footnote">[113]</sup></a>
+ </p><p>
+ For David, an exciting aspect of Arduino is the way lots of people can use
+it to adapt technology in many different ways. Technology is always making
+more things possible but doesn’t always focus on making it easy to use and
+adapt. This is where Arduino steps in. Arduino’s goal is <span class="quote">“<span class="quote">making
+things that help other people make things.</span>”</span>
+ </p><p>
+ Arduino has been hugely successful in making technology and electronics
+reach a larger audience. For Tom, Arduino has been about <span class="quote">“<span class="quote">the
+democratization of technology.</span>”</span> Tom sees Arduino’s open-source
+strategy as helping the world get over the idea that technology has to be
+protected. Tom says, <span class="quote">“<span class="quote">Technology is a literacy everyone should
+learn.</span>”</span>
+ </p><p>
+ Ultimately, for Arduino, going open has been good business—good for product
+development, good for distribution, good for pricing, and good for
+manufacturing.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm915" 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>
+ Ártica provides online courses and consulting services focused on how to use
+digital technology to share knowledge and enable collaboration in arts and
+culture. Founded in 2011 in Uruguay.
+ </p><p>
+ <a class="ulink" href="http://www.articaonline.com" target="_top">http://www.articaonline.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services
+ </p><p><span class="strong"><strong>Interview date</strong></span>: March 9, 2016
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: Mariana Fossatti and Jorge
+Gemetto, cofounders
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The story of Mariana Fossatti and Jorge Gemetto’s business, Ártica, is the
+ultimate example of DIY. Not only are they successful entrepreneurs, the
+niche in which their small business operates is essentially one they built
+themselves.
+ </p><p>
+ Their dream jobs didn’t exist, so they created them.
+ </p><p>
+ In 2011, Mariana was a sociologist working for an international organization
+to develop research and online education about rural-development
+issues. Jorge was a psychologist, also working in online education. Both
+were bloggers and heavy users of social media, and both had a passion for
+arts and culture. They decided to take their skills in digital technology
+and online learning and apply them to a topic area they loved. They launched
+Ártica, an online business that provides education and consulting for people
+and institutions creating artistic and cultural projects on the Internet.
+ </p><p>
+ Ártica feels like a uniquely twenty-first century business. The small
+company has a global online presence with no physical offices. Jorge and
+Mariana live in Uruguay, and the other two full-time employees, who Jorge
+and Mariana have never actually met in person, live in Spain. They started
+by creating a MOOC (massive open online course) about remix culture and
+collaboration in the arts, which gave them a direct way to reach an
+international audience, attracting students from across Latin America and
+Spain. In other words, it is the classic Internet story of being able to
+directly tap into an audience without relying upon gatekeepers or
+intermediaries.
+ </p><p>
+ Ártica offers personalized education and consulting services, and helps
+clients implement projects. All of these services are customized. They call
+it an <span class="quote">“<span class="quote">artisan</span>”</span> process because of the time and effort it takes
+to adapt their work for the particular needs of students and
+clients. <span class="quote">“<span class="quote">Each student or client is paying for a specific solution to
+his or her problems and questions,</span>”</span> Mariana said. Rather than sell
+access to their content, they provide it for free and charge for the
+personalized services.
+ </p><p>
+ When they started, they offered a smaller number of courses designed to
+attract large audiences. <span class="quote">“<span class="quote">Over the years, we realized that online
+communities are more specific than we thought,</span>”</span> Mariana said. Ártica
+now provides more options for classes and has lower enrollment in each
+course. This means they can provide more attention to individual students
+and offer classes on more specialized topics.
+ </p><p>
+ Online courses are their biggest revenue stream, but they also do more than
+a dozen consulting projects each year, ranging from digitization to event
+planning to marketing campaigns. Some are significant in scope, particularly
+when they work with cultural institutions, and some are smaller projects
+commissioned by individual artists.
+ </p><p>
+ Ártica also seeks out public and private funding for specific
+projects. Sometimes, even if they are unsuccessful in subsidizing a project
+like a new course or e-book, they will go ahead because they believe in
+it. They take the stance that every new project leads them to something new,
+every new resource they create opens new doors.
+ </p><p>
+ Ártica relies heavily on their free Creative Commons–licensed content to
+attract new students and clients. Everything they create—online education,
+blog posts, videos—is published under an Attribution-ShareAlike license (CC
+BY-SA). <span class="quote">“<span class="quote">We use a ShareAlike license because we want to give the
+greatest freedom to our students and readers, and we also want that freedom
+to be viral,</span>”</span> Jorge said. For them, giving others the right to reuse
+and remix their content is a fundamental value. <span class="quote">“<span class="quote">How can you offer an
+online educational service without giving permission to download, make and
+keep copies, or print the educational resources?</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">If we want to do the best for our students—those who trust in
+us to the point that they are willing to pay online without face-to-face
+contact—we have to offer them a fair and ethical agreement.</span>”</span>
+ </p><p>
+ They also believe sharing their ideas and expertise openly helps them build
+their reputation and visibility. People often share and cite their work. A
+few years ago, a publisher even picked up one of their e-books and
+distributed printed copies. Ártica views reuse of their work as a way to
+open up new opportunities for their business.
+ </p><p>
+ This belief that openness creates new opportunities reflects another
+belief—in serendipity. When describing their process for creating content,
+they spoke of all of the spontaneous and organic ways they find
+inspiration. <span class="quote">“<span class="quote">Sometimes, the collaborative process starts with a
+conversation between us, or with friends from other projects,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">That can be the first step for a new blog post or another
+simple piece of content, which can evolve to a more complex product in the
+future, like a course or a book.</span>”</span>
+ </p><p>
+ Rather than planning their work in advance, they let their creative process
+be dynamic. <span class="quote">“<span class="quote">This doesn’t mean that we don’t need to work hard in
+order to get good professional results, but the design process is more
+flexible,</span>”</span> Jorge said. They share early and often, and they adjust
+based on what they learn, always exploring and testing new ideas and ways of
+operating. In many ways, for them, the process is just as important as the
+final product.
+ </p><p>
+ People and relationships are also just as important, sometimes
+more. <span class="quote">“<span class="quote">In the educational and cultural business, it is more important
+to pay attention to people and process, rather than content or specific
+formats or materials,</span>”</span> Mariana said. <span class="quote">“<span class="quote">Materials and content
+are fluid. The important thing is the relationships.</span>”</span>
+ </p><p>
+ Ártica believes in the power of the network. They seek to make connections
+with people and institutions across the globe so they can learn from them
+and share their knowledge.
+ </p><p>
+ At the core of everything Ártica does is a set of values. <span class="quote">“<span class="quote">Good
+content is not enough,</span>”</span> Jorge said. <span class="quote">“<span class="quote">We also think that it is
+very important to take a stand for some things in the cultural
+sector.</span>”</span> Mariana and Jorge are activists. They defend free culture
+(the movement promoting the freedom to modify and distribute creative work)
+and work to demonstrate the intersection between free culture and other
+social-justice movements. Their efforts to involve people in their work and
+enable artists and cultural institutions to better use technology are all
+tied closely to their belief system. Ultimately, what drives their work is
+a mission to democratize art and culture.
+ </p><p>
+ Of course, Ártica also has to make enough money to cover its expenses. Human
+resources are, by far, their biggest expense. They tap a network of
+collaborators on a case-by-case basis and hire contractors for specific
+projects. Whenever possible, they draw from artistic and cultural resources
+in the commons, and they rely on free software. Their operation is small,
+efficient, and sustainable, and because of that, it is a success.
+ </p><p><span class="quote">“<span class="quote">There are lots of people offering online courses,</span>”</span> Jorge
+said. <span class="quote">“<span class="quote">But it is easy to differentiate us. We have an approach that is
+very specific and personal.</span>”</span> Ártica’s model is rooted in the personal
+at every level. For Mariana and Jorge, success means doing what brings them
+personal meaning and purpose, and doing it sustainably and collaboratively.
+ </p><p>
+ In their work with younger artists, Mariana and Jorge try to emphasize that
+this model of success is just as valuable as the picture of success we get
+from the media. <span class="quote">“<span class="quote">If they seek only the traditional type of success,
+they will get frustrated,</span>”</span> Mariana said. <span class="quote">“<span class="quote">We try to show them
+another image of what it looks like.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="blender-institute"></a>Capítulo 6. Blender Institute</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ The Blender Institute is an animation studio that creates 3-D films using
+Blender software. Founded in 2006 in the Netherlands.
+ </p><p>
+ <a class="ulink" href="http://www.blender.org" target="_top">http://www.blender.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
+(subscription-based), charging for physical copies, selling merchandise
+ </p><p><span class="strong"><strong>Interview date</strong></span>: March 8, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Francesco Siddi, production
+coordinator
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ For Ton Roosendaal, the creator of Blender software and its related
+entities, sharing is practical. Making their 3-D content creation software
+available under a free software license has been integral to its development
+and popularity. Using that software to make movies that were licensed with
+Creative Commons pushed that development even further. Sharing enables
+people to participate and to interact with and build upon the technology and
+content they create in a way that benefits Blender and its community in
+concrete ways.
+ </p><p>
+ Each open-movie project Blender runs produces a host of openly licensed
+outputs, not just the final film itself but all of the source material as
+well. The creative process also enhances the development of the Blender
+software because the technical team responds directly to the needs of the
+film production team, creating tools and features that make their lives
+easier. And, of course, each project involves a long, rewarding process for
+the creative and technical community working together.
+ </p><p>
+ Rather than just talking about the theoretical benefits of sharing and free
+culture, Ton is very much about doing and making free culture. Blender’s
+production coordinator Francesco Siddi told us, <span class="quote">“<span class="quote">Ton believes if you
+don’t make content using your tools, then you’re not doing anything.</span>”</span>
+ </p><p>
+ Blender’s history begins in the late 1990s, when Ton created the Blender
+software. Originally, the software was an in-house resource for his
+animation studio based in the Netherlands. Investors became interested in
+the software, so he began marketing the software to the public, offering a
+free version in addition to a paid version. Sales were disappointing, and
+his investors gave up on the endeavor in the early 2000s. He made a deal
+with investors—if he could raise enough money, he could then make the
+Blender software available under the GNU General Public License.
+ </p><p>
+ This was long before Kickstarter and other online crowdfunding sites
+existed, but Ton ran his own version of a crowdfunding campaign and quickly
+raised the money he needed. The Blender software became freely available for
+anyone to use. Simply applying the General Public License to the software,
+however, was not enough to create a thriving community around it. Francesco
+told us, <span class="quote">“<span class="quote">Software of this complexity relies on people and their
+vision of how people work together. Ton is a fantastic community builder and
+manager, and he put a lot of work into fostering a community of developers
+so that the project could live.</span>”</span>
+ </p><p>
+ Like any successful free and open-source software project, Blender developed
+quickly because the community could make fixes and
+improvements. <span class="quote">“<span class="quote">Software should be free and open to hack,</span>”</span>
+Francesco said. <span class="quote">“<span class="quote">Otherwise, everyone is doing the same thing in the
+dark for ten years.</span>”</span> Ton set up the Blender Foundation to oversee and
+steward the software development and maintenance.
+ </p><p>
+ After a few years, Ton began looking for new ways to push development of the
+software. He came up with the idea of creating CC-licensed films using the
+Blender software. Ton put a call online for all interested and skilled
+artists. Francesco said the idea was to get the best artists available, put
+them in a building together with the best developers, and have them work
+together. They would not only produce high-quality openly licensed content,
+they would improve the Blender software in the process.
+ </p><p>
+ They turned to crowdfunding to subsidize the costs of the project. They had
+about twenty people working full-time for six to ten months, so the costs
+were significant. Francesco said that when their crowdfunding campaign
+succeeded, people were astounded. <span class="quote">“<span class="quote">The idea that making money was
+possible by producing CC-licensed material was mind-blowing to
+people,</span>”</span> he said. <span class="quote">“<span class="quote">They were like, <span class="quote">‘<span class="quote">I have to see it to
+believe it.</span>’</span></span>”</span>
+ </p><p>
+ The first film, which was released in 2006, was an experiment. It was so
+successful that Ton decided to set up the Blender Institute, an entity
+dedicated to hosting open-movie projects. The Blender Institute’s next
+project was an even bigger success. The film, Big Buck Bunny, went viral,
+and its animated characters were picked up by marketers.
+ </p><p>
+ Francesco said that, over time, the Blender Institute projects have gotten
+bigger and more prominent. That means the filmmaking process has become more
+complex, combining technical experts and artists who focus on
+storytelling. Francesco says the process is almost on an industrial scale
+because of the number of moving parts. This requires a lot of specialized
+assistance, but the Blender Institute has no problem finding the talent it
+needs to help on projects. <span class="quote">“<span class="quote">Blender hardly does any recruiting for
+film projects because the talent emerges naturally,</span>”</span> Francesco
+said. <span class="quote">“<span class="quote">So many people want to work with us, and we can’t always hire
+them because of budget constraints.</span>”</span>
+ </p><p>
+ Blender has had a lot of success raising money from its community over the
+years. In many ways, the pitch has gotten easier to make. Not only is
+crowdfunding simply more familiar to the public, but people know and trust
+Blender to deliver, and Ton has developed a reputation as an effective
+community leader and visionary for their work. <span class="quote">“<span class="quote">There is a whole
+community who sees and understands the benefit of these projects,</span>”</span>
+Francesco said.
+ </p><p>
+ While these benefits of each open-movie project make a compelling pitch for
+crowdfunding campaigns, Francesco told us the Blender Institute has found
+some limitations in the standard crowdfunding model where you propose a
+specific project and ask for funding. <span class="quote">“<span class="quote">Once a project is over,
+everyone goes home,</span>”</span> he said. <span class="quote">“<span class="quote">It is great fun, but then it
+ends. That is a problem.</span>”</span>
+ </p><p>
+ To make their work more sustainable, they needed a way to receive ongoing
+support rather than on a project-by-project basis. Their solution is Blender
+Cloud, a subscription-style crowdfunding model akin to the online
+crowdfunding platform, Patreon. For about ten euros each month, subscribers
+get access to download everything the Blender Institute produces—software,
+art, training, and more. All of the assets are available under an
+Attribution license (CC BY) or placed in the public domain (CC0), but they
+are initially made available only to subscribers. Blender Cloud enables
+subscribers to follow Blender’s movie projects as they develop, sharing
+detailed information and content used in the creative process. Blender Cloud
+also has extensive training materials and libraries of characters and other
+assets used in various projects.
+ </p><p>
+ The continuous financial support provided by Blender Cloud subsidizes five
+to six full-time employees at the Blender Institute. Francesco says their
+goal is to grow their subscriber base. <span class="quote">“<span class="quote">This is our freedom,</span>”</span>
+he told us, <span class="quote">“<span class="quote">and for artists, freedom is everything.</span>”</span>
+ </p><p>
+ Blender Cloud is the primary revenue stream of the Blender Institute. The
+Blender Foundation is funded primarily by donations, and that money goes
+toward software development and maintenance. The revenue streams of the
+Institute and Foundation are deliberately kept separate. Blender also has
+other revenue streams, such as the Blender Store, where people can purchase
+DVDs, T-shirts, and other Blender products.
+ </p><p>
+ Ton has worked on projects relating to his Blender software for nearly
+twenty years. Throughout most of that time, he has been committed to making
+the software and the content produced with the software free and
+open. Selling a license has never been part of the business model.
+ </p><p>
+ Since 2006, he has been making films available along with all of their
+source material. He says he has hardly ever seen people stepping into
+Blender’s shoes and trying to make money off of their content. Ton believes
+this is because the true value of what they do is in the creative and
+production process. <span class="quote">“<span class="quote">Even when you share everything, all your original
+sources, it still takes a lot of talent, skills, time, and budget to
+reproduce what you did,</span>”</span> Ton said.
+ </p><p>
+ For Ton and Blender, it all comes back to doing.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="cards-against-humanity"></a>Capítulo 7. Cards Against Humanity</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Cards Against Humanity is a private, for-profit company that makes a popular
+party game by the same name. Founded in 2011 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://www.cardsagainsthumanity.com" target="_top">http://www.cardsagainsthumanity.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+copies
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 3, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Max Temkin, cofounder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ If you ask cofounder Max Temkin, there is nothing particularly interesting
+about the Cards Against Humanity business model. <span class="quote">“<span class="quote">We make a
+product. We sell it for money. Then we spend less money than we
+make,</span>”</span> Max said.
+ </p><p>
+ He is right. Cards Against Humanity is a simple party game, modeled after
+the game Apples to Apples. To play, one player asks a question or
+fill-in-the-blank statement from a black card, and the other players submit
+their funniest white card in response. The catch is that all of the cards
+are filled with crude, gruesome, and otherwise awful things. For the right
+kind of people (<span class="quote">“<span class="quote">horrible people,</span>”</span> according to Cards Against
+Humanity advertising), this makes for a hilarious and fun game.
+ </p><p>
+ The revenue model is simple. Physical copies of the game are sold for a
+profit. And it works. At the time of this writing, Cards Against Humanity is
+the number-one best-selling item out of all toys and games on Amazon. There
+are official expansion packs available, and several official themed packs
+and international editions as well.
+ </p><p>
+ But Cards Against Humanity is also available for free. Anyone can download a
+digital version of the game on the Cards Against Humanity website. More than
+one million people have downloaded the game since the company began tracking
+the numbers.
+ </p><p>
+ The game is available under an Attribution-NonCommercial-ShareAlike license
+(CC BY-NC-SA). That means, in addition to copying the game, anyone can
+create new versions of the game as long as they make it available under the
+same noncommercial terms. The ability to adapt the game is like an entire
+new game unto itself.
+ </p><p>
+ All together, these factors—the crass tone of the game and company, the free
+download, the openness to fans remixing the game—give the game a massive
+cult following.
+ </p><p>
+ Their success is not the result of a grand plan. Instead, Cards Against
+Humanity was the last in a long line of games and comedy projects that Max
+Temkin and his friends put together for their own amusement. As Max tells
+the story, they made the game so they could play it themselves on New Year’s
+Eve because they were too nerdy to be invited to other parties. The game was
+a hit, so they decided to put it up online as a free PDF. People started
+asking if they could pay to have the game printed for them, and eventually
+they decided to run a Kickstarter to fund the printing. They set their
+Kickstarter goal at $4,000—and raised $15,000. The game was officially
+released in May 2011.
+ </p><p>
+ The game caught on quickly, and it has only grown more popular over
+time. Max says the eight founders never had a meeting where they decided to
+make it an ongoing business. <span class="quote">“<span class="quote">It kind of just happened,</span>”</span> he
+said.
+ </p><p>
+ But this tale of a <span class="quote">“<span class="quote">happy accident</span>”</span> belies marketing
+genius. Just like the game, the Cards Against Humanity brand is irreverent
+and memorable. It is hard to forget a company that calls the FAQ on their
+website <span class="quote">“<span class="quote">Your dumb questions.</span>”</span>
+ </p><p>
+ Like most quality satire, however, there is more to the joke than vulgarity
+and shock value. The company’s marketing efforts around Black Friday
+illustrate this particularly well. For those outside the United States,
+Black Friday is the term for the day after the Thanksgiving holiday, the
+biggest shopping day of the year. It is an incredibly important day for
+Cards Against Humanity, like it is for all U.S. retailers. Max said they
+struggled with what to do on Black Friday because they didn’t want to
+support what he called the <span class="quote">“<span class="quote">orgy of consumerism</span>”</span> the day has
+become, particularly since it follows a day that is about being grateful for
+what you have. In 2013, after deliberating, they decided to have an
+Everything Costs $5 More sale.
+ </p><p><span class="quote">“<span class="quote">We sweated it out the night before Black Friday, wondering if our
+fans were going to hate us for it,</span>”</span> he said. <span class="quote">“<span class="quote">But it made us
+laugh so we went with it. People totally caught the joke.</span>”</span>
+ </p><p>
+ This sort of bold transparency delights the media, but more importantly, it
+engages their fans. <span class="quote">“<span class="quote">One of the most surprising things you can do in
+capitalism is just be honest with people,</span>”</span> Max said. <span class="quote">“<span class="quote">It shocks
+people that there is transparency about what you are doing.</span>”</span>
+ </p><p>
+ Max also likened it to a grand improv scene. <span class="quote">“<span class="quote">If we do something a
+little subversive and unexpected, the public wants to be a part of the
+joke.</span>”</span> One year they did a Give Cards Against Humanity $5 event,
+where people literally paid them five dollars for no reason. Their fans
+wanted to make the joke funnier by making it successful. They made $70,000
+in a single day.
+ </p><p>
+ This remarkable trust they have in their customers is what inspired their
+decision to apply a Creative Commons license to the game. Trusting your
+customers to reuse and remix your work requires a leap of faith. Cards
+Against Humanity obviously isn’t afraid of doing the unexpected, but there
+are lines even they do not want to cross. Before applying the license, Max
+said they worried that some fans would adapt the game to include all of the
+jokes they intentionally never made because they crossed that
+line. <span class="quote">“<span class="quote">It happened, and the world didn’t end,</span>”</span> Max
+said. <span class="quote">“<span class="quote">If that is the worst cost of using CC, I’d pay that a hundred
+times over because there are so many benefits.</span>”</span>
+ </p><p>
+ Any successful product inspires its biggest fans to create remixes of it,
+but unsanctioned adaptations are more likely to fly under the radar. The
+Creative Commons license gives fans of Cards Against Humanity the freedom to
+run with the game and copy, adapt, and promote their creations openly. Today
+there are thousands of fan expansions of the game.
+ </p><p>
+ Max said, <span class="quote">“<span class="quote">CC was a no-brainer for us because it gets the most people
+involved. Making the game free and available under a CC license led to the
+unbelievable situation where we are one of the best-marketed games in the
+world, and we have never spent a dime on marketing.</span>”</span>
+ </p><p>
+ Of course, there are limits to what the company allows its customers to do
+with the game. They chose the Attribution-NonCommercial-ShareAlike license
+because it restricts people from using the game to make money. It also
+requires that adaptations of the game be made available under the same
+licensing terms if they are shared publicly. Cards Against Humanity also
+polices its brand. <span class="quote">“<span class="quote">We feel like we’re the only ones who can use our
+brand and our game and make money off of it,</span>”</span> Max said. About 99.9
+percent of the time, they just send an email to those making commercial use
+of the game, and that is the end of it. There have only been a handful of
+instances where they had to get a lawyer involved.
+ </p><p>
+ Just as there is more than meets the eye to the Cards Against Humanity
+business model, the same can be said of the game itself. To be playable,
+every white card has to work syntactically with enough black cards. The
+eight creators invest an incredible amount of work into creating new cards
+for the game. <span class="quote">“<span class="quote">We have daylong arguments about commas,</span>”</span> Max
+said. <span class="quote">“<span class="quote">The slacker tone of the cards gives people the impression that
+it is easy to write them, but it is actually a lot of work and
+quibbling.</span>”</span>
+ </p><p>
+ That means cocreation with their fans really doesn’t work. The company has a
+submission mechanism on their website, and they get thousands of
+suggestions, but it is very rare that a submitted card is adopted. Instead,
+the eight initial creators remain the primary authors of expansion decks and
+other new products released by the company. Interestingly, the creativity of
+their customer base is really only an asset to the company once their
+original work is created and published when people make their own
+adaptations of the game.
+ </p><p>
+ For all of their success, the creators of Cards Against Humanity are only
+partially motivated by money. Max says they have always been interested in
+the Walt Disney philosophy of financial success. <span class="quote">“<span class="quote">We don’t make jokes
+and games to make money—we make money so we can make more jokes and
+games,</span>”</span> he said.
+ </p><p>
+ In fact, the company has given more than $4 million to various charities and
+causes. <span class="quote">“<span class="quote">Cards is not our life plan,</span>”</span> Max said. <span class="quote">“<span class="quote">We all
+have other interests and hobbies. We are passionate about other things going
+on in our lives. A lot of the activism we have done comes out of us taking
+things from the rest of our lives and channeling some of the excitement from
+the game into it.</span>”</span>
+ </p><p>
+ Seeing money as fuel rather than the ultimate goal is what has enabled them
+to embrace Creative Commons licensing without reservation. CC licensing
+ended up being a savvy marketing move for the company, but nonetheless,
+giving up exclusive control of your work necessarily means giving up some
+opportunities to extract more money from customers.
+ </p><p><span class="quote">“<span class="quote">It’s not right for everyone to release everything under CC
+licensing,</span>”</span> Max said. <span class="quote">“<span class="quote">If your only goal is to make a lot of
+money, then CC is not best strategy. This kind of business model, though,
+speaks to your values, and who you are and why you’re making things.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="the-conversation"></a>Capítulo 8. The Conversation</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ The Conversation is an independent source of news, sourced from the academic
+and research community and delivered direct to the public over the
+Internet. Founded in 2011 in Australia.
+ </p><p>
+ <a class="ulink" href="http://theconversation.com" target="_top">http://theconversation.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
+(universities pay membership fees to have their faculties serve as writers),
+grant funding
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 4, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Andrew Jaspan, founder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Andrew Jaspan spent years as an editor of major newspapers including the
+Observer in London, the Sunday Herald in Glasgow, and the Age in Melbourne,
+Australia. He experienced firsthand the decline of newspapers, including the
+collapse of revenues, layoffs, and the constant pressure to reduce
+costs. After he left the Age in 2005, his concern for the future journalism
+didn’t go away. Andrew made a commitment to come up with an alternative
+model.
+ </p><p>
+ Around the time he left his job as editor of the Melbourne Age, Andrew
+wondered where citizens would get news grounded in fact and evidence rather
+than opinion or ideology. He believed there was still an appetite for
+journalism with depth and substance but was concerned about the increasing
+focus on the sensational and sexy.
+ </p><p>
+ While at the Age, he’d become friends with a vice-chancellor of a university
+in Melbourne who encouraged him to talk to smart people across campus—an
+astrophysicist, a Nobel laureate, earth scientists, economists . . . These
+were the kind of smart people he wished were more involved in informing the
+world about what is going on and correcting the errors that appear in
+media. However, they were reluctant to engage with mass media. Often,
+journalists didn’t understand what they said, or unilaterally chose what
+aspect of a story to tell, putting out a version that these people felt was
+wrong or mischaracterized. Newspapers want to attract a mass
+audience. Scholars want to communicate serious news, findings, and
+insights. It’s not a perfect match. Universities are massive repositories of
+knowledge, research, wisdom, and expertise. But a lot of that stays behind a
+wall of their own making—there are the walled garden and ivory tower
+metaphors, and in more literal terms, the paywall. Broadly speaking,
+universities are part of society but disconnected from it. They are an
+enormous public resource but not that good at presenting their expertise to
+the wider public.
+ </p><p>
+ Andrew believed he could to help connect academics back into the public
+arena, and maybe help society find solutions to big problems. He thought
+about pairing professional editors with university and research experts,
+working one-on-one to refine everything from story structure to headline,
+captions, and quotes. The editors could help turn something that is
+academic into something understandable and readable. And this would be a key
+difference from traditional journalism—the subject matter expert would get a
+chance to check the article and give final approval before it is
+published. Compare this with reporters just picking and choosing the quotes
+and writing whatever they want.
+ </p><p>
+ The people he spoke to liked this idea, and Andrew embarked on raising money
+and support with the help of the Commonwealth Scientific and Industrial
+Research Organisation (CSIRO), the University of Melbourne, Monash
+University, the University of Technology Sydney, and the University of
+Western Australia. These founding partners saw the value of an independent
+information channel that would also showcase the talent and knowledge of the
+university and research sector. With their help, in 2011, the Conversation,
+was launched as an independent news site in Australia. Everything published
+in the Conversation is openly licensed with Creative Commons.
+ </p><p>
+ The Conversation is founded on the belief that underpinning a functioning
+democracy is access to independent, high-quality, informative
+journalism. The Conversation’s aim is for people to have a better
+understanding of current affairs and complex issues—and hopefully a better
+quality of public discourse. The Conversation sees itself as a source of
+trusted information dedicated to the public good. Their core mission is
+simple: to provide readers with a reliable source of evidence-based
+information.
+ </p><p>
+ Andrew worked hard to reinvent a methodology for creating reliable, credible
+content. He introduced strict new working practices, a charter, and codes of
+conduct.<a href="#ftn.idm1106" class="footnote" name="idm1106"><sup class="footnote">[114]</sup></a> These include fully disclosing
+who every author is (with their relevant expertise); who is funding their
+research; and if there are any potential or real conflicts of interest. Also
+important is where the content originates, and even though it comes from the
+university and research community, it still needs to be fully disclosed. The
+Conversation does not sit behind a paywall. Andrew believes access to
+information is an issue of equality—everyone should have access, like access
+to clean water. The Conversation is committed to an open and free
+Internet. Everyone should have free access to their content, and be able to
+share it or republish it.
+ </p><p>
+ Creative Commons help with these goals; articles are published with the
+Attribution- NoDerivs license (CC BY-ND). They’re freely available for
+others to republish elsewhere as long as attribution is given and the
+content is not edited. Over five years, more than twenty-two thousand sites
+have republished their content. The Conversation website gets about 2.9
+million unique views per month, but through republication they have
+thirty-five million readers. This couldn’t have been done without the
+Creative Commons license, and in Andrew’s view, Creative Commons is central
+to everything the Conversation does.
+ </p><p>
+ When readers come across the Conversation, they seem to like what they find
+and recommend it to their friends, peers, and networks. Readership has
+grown primarily through word of mouth. While they don’t have sales and
+marketing, they do promote their work through social media (including
+Twitter and Facebook), and by being an accredited supplier to Google News.
+ </p><p>
+ It’s usual for the founders of any company to ask themselves what kind of
+company it should be. It quickly became clear to the founders of the
+Conversation that they wanted to create a public good rather than make money
+off of information. Most media companies are working to aggregate as many
+eyeballs as possible and sell ads. The Conversation founders didn’t want
+this model. It takes no advertising and is a not-for-profit venture.
+ </p><p>
+ There are now different editions of the Conversation for Africa, the United
+Kingdom, France, and the United States, in addition to the one for
+Australia. All five editions have their own editorial mastheads, advisory
+boards, and content. The Conversation’s global virtual newsroom has roughly
+ninety staff working with thirty-five thousand academics from over sixteen
+hundred universities around the world. The Conversation would like to be
+working with university scholars from even more parts of the world.
+ </p><p>
+ Additionally, each edition has its own set of founding partners, strategic
+partners, and funders. They’ve received funding from foundations,
+corporates, institutions, and individual donations, but the Conversation is
+shifting toward paid memberships by universities and research institutions
+to sustain operations. This would safeguard the current service and help
+improve coverage and features.
+ </p><p>
+ When professors from member universities write an article, there is some
+branding of the university associated with the article. On the Conversation
+website, paying university members are listed as <span class="quote">“<span class="quote">members and
+funders.</span>”</span> Early participants may be designated as <span class="quote">“<span class="quote">founding
+members,</span>”</span> with seats on the editorial advisory board.
+ </p><p>
+ Academics are not paid for their contributions, but they get free editing
+from a professional (four to five hours per piece, on average). They also
+get access to a large audience. Every author and member university has
+access to a special analytics dashboard where they can check the reach of an
+article. The metrics include what people are tweeting, the comments,
+countries the readership represents, where the article is being republished,
+and the number of readers per article.
+ </p><p>
+ The Conversation plans to expand the dashboard to show not just reach but
+impact. This tracks activities, behaviors, and events that occurred as a
+result of publication, including things like a scholar being asked to go on
+a show to discuss their piece, give a talk at a conference, collaborate,
+submit a journal paper, and consult a company on a topic.
+ </p><p>
+ These reach and impact metrics show the benefits of membership. With the
+Conversation, universities can engage with the public and show why they’re
+of value.
+ </p><p>
+ With its tagline, <span class="quote">“<span class="quote">Academic Rigor, Journalistic Flair,</span>”</span> the
+Conversation represents a new form of journalism that contributes to a more
+informed citizenry and improved democracy around the world. Its open
+business model and use of Creative Commons show how it’s possible to
+generate both a public good and operational revenue at the same time.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1106" 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>
+ Cory Doctorow is a science fiction writer, activist, blogger, and
+journalist. Based in the U.S.
+ </p><p><a class="ulink" href="http://craphound.com" target="_top">http://craphound.com</a> and <a class="ulink" href="http://boingboing.net" target="_top">http://boingboing.net</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+copies (book sales), pay-what-you-want, selling translation rights to books
+ </p><p><span class="strong"><strong>Interview date</strong></span>: January 12, 2016
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Cory Doctorow hates the term <span class="quote">“<span class="quote">business model,</span>”</span> and he is
+adamant that he is not a brand. <span class="quote">“<span class="quote">To me, branding is the idea that you
+can take a thing that has certain qualities, remove the qualities, and go on
+selling it,</span>”</span> he said. <span class="quote">“<span class="quote">I’m not out there trying to figure out
+how to be a brand. I’m doing this thing that animates me to work crazy
+insane hours because it’s the most important thing I know how to do.</span>”</span>
+ </p><p>
+ Cory calls himself an entrepreneur. He likes to say his success came from
+making stuff people happened to like and then getting out of the way of them
+sharing it.
+ </p><p>
+ He is a science fiction writer, activist, blogger, and journalist.
+Beginning with his first novel, Down and Out in the Magic Kingdom, in 2003,
+his work has been published under a Creative Commons license. Cory is
+coeditor of the popular CC-licensed site Boing Boing, where he writes about
+technology, politics, and intellectual property. He has also written several
+nonfiction books, including the most recent Information Doesn’t Want to Be
+Free, about the ways in which creators can make a living in the Internet
+age.
+ </p><p>
+ Cory primarily makes money by selling physical books, but he also takes on
+paid speaking gigs and is experimenting with pay-what-you-want models for
+his work.
+ </p><p>
+ While Cory’s extensive body of fiction work has a large following, he is
+just as well known for his activism. He is an outspoken opponent of
+restrictive copyright and digital-rights-management (DRM) technology used to
+lock up content because he thinks both undermine creators and the public
+interest. He is currently a special adviser at the Electronic Frontier
+Foundation, where he is involved in a lawsuit challenging the U.S. law that
+protects DRM. Cory says his political work doesn’t directly make him money,
+but if he gave it up, he thinks he would lose credibility and, more
+importantly, lose the drive that propels him to create. <span class="quote">“<span class="quote">My political
+work is a different expression of the same artistic-political urge,</span>”</span>
+he said. <span class="quote">“<span class="quote">I have this suspicion that if I gave up the things that
+didn’t make me money, the genuineness would leach out of what I do, and the
+quality that causes people to like what I do would be gone.</span>”</span>
+ </p><p>
+ Cory has been financially successful, but money is not his primary
+motivation. At the start of his book Information Doesn’t Want to Be Free, he
+stresses how important it is not to become an artist if your goal is to get
+rich. <span class="quote">“<span class="quote">Entering the arts because you want to get rich is like buying
+lottery tickets because you want to get rich,</span>”</span> he wrote. <span class="quote">“<span class="quote">It
+might work, but it almost certainly won’t. Though, of course, someone always
+wins the lottery.</span>”</span> He acknowledges that he is one of the lucky few to
+<span class="quote">“<span class="quote">make it,</span>”</span> but he says he would be writing no matter
+what. <span class="quote">“<span class="quote">I am compelled to write,</span>”</span> he wrote. <span class="quote">“<span class="quote">Long before
+I wrote to keep myself fed and sheltered, I was writing to keep myself
+sane.</span>”</span>
+ </p><p>
+ Just as money is not his primary motivation to create, money is not his
+primary motivation to share. For Cory, sharing his work with Creative
+Commons is a moral imperative. <span class="quote">“<span class="quote">It felt morally right,</span>”</span> he said
+of his decision to adopt Creative Commons licenses. <span class="quote">“<span class="quote">I felt like I
+wasn’t contributing to the culture of surveillance and censorship that has
+been created to try to stop copying.</span>”</span> In other words, using CC
+licenses symbolizes his worldview.
+ </p><p>
+ He also feels like there is a solid commercial basis for licensing his work
+with Creative Commons. While he acknowledges he hasn’t been able to do a
+controlled experiment to compare the commercial benefits of licensing with
+CC against reserving all rights, he thinks he has sold more books using a CC
+license than he would have without it. Cory says his goal is to convince
+people they should pay him for his work. <span class="quote">“<span class="quote">I started by not calling
+them thieves,</span>”</span> he said.
+ </p><p>
+ Cory started using CC licenses soon after they were first created. At the
+time his first novel came out, he says the science fiction genre was overrun
+with people scanning and downloading books without permission. When he and
+his publisher took a closer look at who was doing that sort of thing online,
+they realized it looked a lot like book promotion. <span class="quote">“<span class="quote">I knew there was a
+relationship between having enthusiastic readers and having a successful
+career as a writer,</span>”</span> he said. <span class="quote">“<span class="quote">At the time, it took eighty
+hours to OCR a book, which is a big effort. I decided to spare them the time
+and energy, and give them the book for free in a format destined to
+spread.</span>”</span>
+ </p><p>
+ Cory admits the stakes were pretty low for him when he first adopted
+Creative Commons licenses. He only had to sell two thousand copies of his
+book to break even. People often said he was only able to use CC licenses
+successfully at that time because he was just starting out. Now they say he
+can only do it because he is an established author.
+ </p><p>
+ The bottom line, Cory says, is that no one has found a way to prevent people
+from copying the stuff they like. Rather than fighting the tide, Cory makes
+his work intrinsically shareable. <span class="quote">“<span class="quote">Getting the hell out of the way
+for people who want to share their love of you with other people sounds
+obvious, but it’s remarkable how many people don’t do it,</span>”</span> he said.
+ </p><p>
+ Making his work available under Creative Commons licenses enables him to
+view his biggest fans as his ambassadors. <span class="quote">“<span class="quote">Being open to fan activity
+makes you part of the conversation about what fans do with your work and how
+they interact with it,</span>”</span> he said. Cory’s own website routinely
+highlights cool things his audience has done with his work. Unlike
+corporations like Disney that tend to have a hands-off relationship with
+their fan activity, he has a symbiotic relationship with his
+audience. <span class="quote">“<span class="quote">Engaging with your audience can’t guarantee you
+success,</span>”</span> he said. <span class="quote">“<span class="quote">And Disney is an example of being able to
+remain aloof and still being the most successful company in the creative
+industry in history. But I figure my likelihood of being Disney is pretty
+slim, so I should take all the help I can get.</span>”</span>
+ </p><p>
+ His first book was published under the most restrictive Creative Commons
+license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only
+verbatim copying for noncommercial purposes. His later work is published
+under the Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA), which
+gives people the right to adapt his work for noncommercial purposes but only
+if they share it back under the same license terms. Before releasing his
+work under a CC license that allows adaptations, he always sells the right
+to translate the book to other languages to a commercial publisher first. He
+wants to reach new potential buyers in other parts of the world, and he
+thinks it is more difficult to get people to pay for translations if there
+are fan translations already available for free.
+ </p><p>
+ In his book Information Doesn’t Want to Be Free, Cory likens his philosophy
+to thinking like a dandelion. Dandelions produce thousands of seeds each
+spring, and they are blown into the air going in every direction. The
+strategy is to maximize the number of blind chances the dandelion has for
+continuing its genetic line. Similarly, he says there are lots of people out
+there who may want to buy creative work or compensate authors for it in some
+other way. <span class="quote">“<span class="quote">The more places your work can find itself, the greater the
+likelihood that it will find one of those would-be customers in some
+unsuspected crack in the metaphorical pavement,</span>”</span> he wrote. <span class="quote">“<span class="quote">The
+copies that others make of my work cost me nothing, and present the
+possibility that I’ll get something.</span>”</span>
+ </p><p>
+ Applying a CC license to his work increases the chances it will be shared
+more widely around the Web. He avoids DRM—and openly opposes the
+practice—for similar reasons. DRM has the effect of tying a work to a
+particular platform. This digital lock, in turn, strips the authors of
+control over their own work and hands that control over to the platform. He
+calls it Cory’s First Law: <span class="quote">“<span class="quote">Anytime someone puts a lock on something
+that belongs to you and won’t give you the key, that lock isn’t there for
+your benefit.</span>”</span>
+ </p><p>
+ Cory operates under the premise that artists benefit when there are more,
+rather than fewer, places where people can access their work. The Internet
+has opened up those avenues, but DRM is designed to limit them. <span class="quote">“<span class="quote">On
+the one hand, we can credibly make our work available to a widely dispersed
+audience,</span>”</span> he said. <span class="quote">“<span class="quote">On the other hand, the intermediaries we
+historically sold to are making it harder to go around them.</span>”</span> Cory
+continually looks for ways to reach his audience without relying upon major
+platforms that will try to take control over his work.
+ </p><p>
+ Cory says his e-book sales have been lower than those of his competitors,
+and he attributes some of that to the CC license making the work available
+for free. But he believes people are willing to pay for content they like,
+even when it is available for free, as long as it is easy to do. He was
+extremely successful using Humble Bundle, a platform that allows people to
+pay what they want for DRM-free versions of a bundle of a particular
+creator’s work. He is planning to try his own pay-what-you-want experiment
+soon.
+ </p><p>
+ Fans are particularly willing to pay when they feel personally connected to
+the artist. Cory works hard to create that personal connection. One way he
+does this is by personally answering every single email he gets. <span class="quote">“<span class="quote">If
+you look at the history of artists, most die in penury,</span>”</span> he
+said. <span class="quote">“<span class="quote">That reality means that for artists, we have to find ways to
+support ourselves when public tastes shift, when copyright stops producing.
+Future-proofing your artistic career in many ways means figuring out how to
+stay connected to those people who have been touched by your work.</span>”</span>
+ </p><p>
+ Cory’s realism about the difficulty of making a living in the arts does not
+reflect pessimism about the Internet age. Instead, he says the fact that it
+is hard to make a living as an artist is nothing new. What is new, he writes
+in his book, <span class="quote">“<span class="quote">is how many ways there are to make things, and to get
+them into other people’s hands and minds.</span>”</span>
+ </p><p>
+ It has never been easier to think like a dandelion.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="figshare"></a>Capítulo 10. Figshare</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Figshare is a for-profit company offering an online repository where
+researchers can preserve and share the output of their research, including
+figures, data sets, images, and videos. Founded in 2011 in the UK.
+ </p><p>
+ <a class="ulink" href="http://figshare.com" target="_top">http://figshare.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
+services to creators
+ </p><p><span class="strong"><strong>Interview date</strong></span>: January 28, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Hahnel, founder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Figshare’s mission is to change the face of academic publishing through
+improved dissemination, discoverability, and reusability of scholarly
+research. Figshare is a repository where users can make all the output of
+their research available—from posters and presentations to data sets and
+code—in a way that’s easy to discover, cite, and share. Users can upload any
+file format, which can then be previewed in a Web browser. Research output
+is disseminated in a way that the current scholarly-publishing model does
+not allow.
+ </p><p>
+ Figshare founder Mark Hahnel often gets asked: How do you make money? How do
+we know you’ll be here in five years? Can you, as a for-profit venture, be
+trusted? Answers have evolved over time.
+ </p><p>
+ Mark traces the origins of Figshare back to when he was a graduate student
+getting his PhD in stem cell biology. His research involved working with
+videos of stem cells in motion. However, when he went to publish his
+research, there was no way for him to also publish the videos, figures,
+graphs, and data sets. This was frustrating. Mark believed publishing his
+complete research would lead to more citations and be better for his career.
+ </p><p>
+ Mark does not consider himself an advanced software programmer.
+Fortunately, things like cloud-based computing and wikis had become
+mainstream, and he believed it ought to be possible to put all his research
+online and share it with anyone. So he began working on a solution.
+ </p><p>
+ There were two key needs: licenses to make the data citable, and persistent
+identifiers— URL links that always point back to the original object
+ensuring the research is citable for the long term.
+ </p><p>
+ Mark chose Digital Object Identifiers (DOIs) to meet the need for a
+persistent identifier. In the DOI system, an object’s metadata is stored as
+a series of numbers in the DOI name. Referring to an object by its DOI is
+more stable than referring to it by its URL, because the location of an
+object (the web page or URL) can often change. Mark partnered with DataCite
+for the provision of DOIs for research data.
+ </p><p>
+ As for licenses, Mark chose Creative Commons. The open-access and
+open-science communities were already using and recommending Creative
+Commons. Based on what was happening in those communities and Mark’s
+dialogue with peers, he went with CC0 (in the public domain) for data sets
+and CC BY (Attribution) for figures, videos, and data sets.
+ </p><p>
+ So Mark began using DOIs and Creative Commons for his own research work. He
+had a science blog where he wrote about it and made all his data
+open. People started commenting on his blog that they wanted to do the
+same. So he opened it up for them to use, too.
+ </p><p>
+ People liked the interface and simple upload process. People started asking
+if they could also share theses, grant proposals, and code. Inclusion of
+code raised new licensing issues, as Creative Commons licenses are not used
+for software. To allow the sharing of software code, Mark chose the MIT
+license, but GNU and Apache licenses can also be used.
+ </p><p>
+ Mark sought investment to make this into a scalable product. After a few
+unsuccessful funding pitches, UK-based Digital Science expressed interest
+but insisted on a more viable business model. They made an initial
+investment, and together they came up with a freemium-like business model.
+ </p><p>
+ Under the freemium model, academics upload their research to Figshare for
+storage and sharing for free. Each research object is licensed with Creative
+Commons and receives a DOI link. The premium option charges researchers a
+fee for gigabytes of private storage space, and for private online space
+designed for a set number of research collaborators, which is ideal for
+larger teams and geographically dispersed research groups. Figshare sums up
+its value proposition to researchers as <span class="quote">“<span class="quote">You retain ownership. You
+license it. You get credit. We just make sure it persists.</span>”</span>
+ </p><p>
+ In January 2012, Figshare was launched. (The fig in Figshare stands for
+figures.) Using investment funds, Mark made significant improvements to
+Figshare. For example, researchers could quickly preview their research
+files within a browser without having to download them first or require
+third-party software. Journals who were still largely publishing articles as
+static noninteractive PDFs became interested in having Figshare provide that
+functionality for them.
+ </p><p>
+ Figshare diversified its business model to include services for
+journals. Figshare began hosting large amounts of data for the journals’
+online articles. This additional data improved the quality of the
+articles. Outsourcing this service to Figshare freed publishers from having
+to develop this functionality as part of their own
+infrastructure. Figshare-hosted data also provides a link back to the
+article, generating additional click-through and readership—a benefit to
+both journal publishers and researchers. Figshare now provides
+research-data infrastructure for a wide variety of publishers including
+Wiley, Springer Nature, PLOS, and Taylor and Francis, to name a few, and has
+convinced them to use Creative Commons licenses for the data.
+ </p><p>
+ Governments allocate significant public funds to research. In parallel with
+the launch of Figshare, governments around the world began requesting the
+research they fund be open and accessible. They mandated that researchers
+and academic institutions better manage and disseminate their research
+outputs. Institutions looking to comply with this new mandate became
+interested in Figshare. Figshare once again diversified its business model,
+adding services for institutions.
+ </p><p>
+ Figshare now offers a range of fee-based services to institutions, including
+their own minibranded Figshare space (called Figshare for Institutions) that
+securely hosts research data of institutions in the cloud. Services include
+not just hosting but data metrics, data dissemination, and user-group
+administration. Figshare’s workflow, and the services they offer for
+institutions, take into account the needs of librarians and administrators,
+as well as of the researchers.
+ </p><p>
+ As with researchers and publishers, Fig-share encouraged institutions to
+share their research with CC BY (Attribution) and their data with CC0 (into
+the public domain). Funders who require researchers and institutions to use
+open licensing believe in the social responsibilities and benefits of making
+research accessible to all. Publishing research in this open way has come to
+be called open access. But not all funders specify CC BY; some institutions
+want to offer their researchers a choice, including less permissive licenses
+like CC BY-NC (Attribution-NonCommercial), CC BY-SA
+(Attribution-ShareAlike), or CC BY-ND (Attribution-NoDerivs).
+ </p><p>
+ For Mark this created a conflict. On the one hand, the principles and
+benefits of open science are at the heart of Figshare, and Mark believes CC
+BY is the best license for this. On the other hand, institutions were saying
+they wouldn’t use Figshare unless it offered a choice in licenses. He
+initially refused to offer anything beyond CC0 and CC BY, but after seeing
+an open-source CERN project offer all Creative Commons licenses without any
+negative repercussions, he decided to follow suit.
+ </p><p>
+ Mark is thinking of doing a Figshare study that tracks research
+dissemination according to Creative Commons license, and gathering metrics
+on views, citations, and downloads. You could see which license generates
+the biggest impact. If the data showed that CC BY is more impactful, Mark
+believes more and more researchers and institutions will make it their
+license of choice.
+ </p><p>
+ Figshare has an Application Programming Interface (API) that makes it
+possible for data to be pulled from Figshare and used in other
+applications. As an example, Mark shared a Figshare data set showing the
+journal subscriptions that higher-education institutions in the United
+Kingdom paid to ten major publishers.<a href="#ftn.idm1214" class="footnote" name="idm1214"><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>
+ </p><p>
+ The free version of Figshare has built a community of academics, who through
+word of mouth and presentations have promoted and spread awareness of
+Figshare. To amplify and reward the community, Figshare established an
+Advisor program, providing those who promoted Figshare with hoodies and
+T-shirts, early access to new features, and travel expenses when they gave
+presentations outside of their area. These Advisors also helped Mark on what
+license to use for software code and whether to offer universities an option
+of using Creative Commons licenses.
+ </p><p>
+ Mark says his success is partly about being in the right place at the right
+time. He also believes that the diversification of Figshare’s model over
+time has been key to success. Figshare now offers a comprehensive set of
+services to researchers, publishers, and institutions.<a href="#ftn.idm1222" class="footnote" name="idm1222"><sup class="footnote">[117]</sup></a> If he had relied solely on revenue from premium
+subscriptions, he believes Figshare would have struggled. In Figshare’s
+early days, their primary users were early-career and late-career
+academics. It has only been because funders mandated open licensing that
+Figshare is now being used by the mainstream.
+ </p><p>
+ Today Figshare has 26 million–plus page views, 7.5 million–plus downloads,
+800,000–plus user uploads, 2 million–plus articles, 500,000-plus
+collections, and 5,000–plus projects. Sixty percent of their traffic comes
+from Google. A sister company called Altmetric tracks the use of Figshare by
+others, including Wikipedia and news sources.
+ </p><p>
+ Figshare uses the revenue it generates from the premium subscribers, journal
+publishers, and institutions to fund and expand what it can offer to
+researchers for free. Figshare has publicly stuck to its principles—keeping
+the free service free and requiring the use of CC BY and CC0 from the
+start—and from Mark’s perspective, this is why people trust Figshare. Mark
+sees new competitors coming forward who are just in it for money. If
+Figshare was only in it for the money, they wouldn’t care about offering a
+free version. Figshare’s principles and advocacy for openness are a key
+differentiator. Going forward, Mark sees Figshare not only as supporting
+open access to research but also enabling people to collaborate and make new
+discoveries.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1214" 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>
+ Figure.NZ is a nonprofit charity that makes an online data platform designed
+to make data reusable and easy to understand. Founded in 2012 in New
+Zealand.
+ </p><p>
+ <a class="ulink" href="http://figure.nz" target="_top">http://figure.nz</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: platform providing paid
+services to creators, donations, sponsorships
+ </p><p><span class="strong"><strong>Interview date</strong></span>: May 3, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Lillian Grace, founder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In the paper Harnessing the Economic and Social Power of Data presented at
+the New Zealand Data Futures Forum in 2014,<a href="#ftn.idm1241" class="footnote" name="idm1241"><sup class="footnote">[118]</sup></a> Figure.NZ founder Lillian Grace said there are thousands of
+valuable and relevant data sets freely available to us right now, but most
+people don’t use them. She used to think this meant people didn’t care about
+being informed, but she’s come to see that she was wrong. Almost everyone
+wants to be informed about issues that matter—not only to them, but also to
+their families, their communities, their businesses, and their country. But
+there’s a big difference between availability and accessibility of
+information. Data is spread across thousands of sites and is held within
+databases and spreadsheets that require both time and skill to engage
+with. To use data when making a decision, you have to know what specific
+question to ask, identify a source that has collected the data, and
+manipulate complex tools to extract and visualize the information within the
+data set. Lillian established Figure.NZ to make data truly accessible to
+all, with a specific focus on New Zealand.
+ </p><p>
+ Lillian had the idea for Figure.NZ in February 2012 while working for the
+New Zealand Institute, a think tank concerned with improving economic
+prosperity, social well-being, environmental quality, and environmental
+productivity for New Zealand and New Zealanders. While giving talks to
+community and business groups, Lillian realized <span class="quote">“<span class="quote">every single issue we
+addressed would have been easier to deal with if more people understood the
+basic facts.</span>”</span> But understanding the basic facts sometimes requires
+data and research that you often have to pay for.
+ </p><p>
+ Lillian began to imagine a website that lifted data up to a visual form that
+could be easily understood and freely accessed. Initially launched as Wiki
+New Zealand, the original idea was that people could contribute their data
+and visuals via a wiki. However, few people had graphs that could be used
+and shared, and there were no standards or consistency around the data and
+the visuals. Realizing the wiki model wasn’t working, Lillian brought the
+process of data aggregation, curation, and visual presentation in-house, and
+invested in the technology to help automate some of it. Wiki New Zealand
+became Figure.NZ, and efforts were reoriented toward providing services to
+those wanting to open their data and present it visually.
+ </p><p>
+ Here’s how it works. Figure.NZ sources data from other organizations,
+including corporations, public repositories, government departments, and
+academics. Figure.NZ imports and extracts that data, and then validates and
+standardizes it—all with a strong eye on what will be best for users. They
+then make the data available in a series of standardized forms, both human-
+and machine-readable, with rich metadata about the sources, the licenses,
+and data types. Figure.NZ has a chart-designing tool that makes simple bar,
+line, and area graphs from any data source. The graphs are posted to the
+Figure.NZ website, and they can also be exported in a variety of formats for
+print or online use. Figure.NZ makes its data and graphs available using
+the Attribution (CC BY) license. This allows others to reuse, revise, remix,
+and redistribute Figure.NZ data and graphs as long as they give attribution
+to the original source and to Figure.NZ.
+ </p><p>
+ Lillian characterizes the initial decision to use Creative Commons as
+naively fortunate. It was first recommended to her by a colleague. Lillian
+spent time looking at what Creative Commons offered and thought it looked
+good, was clear, and made common sense. It was easy to use and easy for
+others to understand. Over time, she’s come to realize just how fortunate
+and important that decision turned out to be. New Zealand’s government has
+an open-access and licensing framework called NZGOAL, which provides
+guidance for agencies when they release copyrighted and noncopyrighted work
+and material.<a href="#ftn.idm1249" class="footnote" name="idm1249"><sup class="footnote">[119]</sup></a> It aims to standardize
+the licensing of works with government copyright and how they can be reused,
+and it does this with Creative Commons licenses. As a result, 98 percent of
+all government-agency data is Creative Commons licensed, fitting in nicely
+with Figure.NZ’s decision.
+ </p><p>
+ Lillian thinks current ideas of what a business is are relatively new, only
+a hundred years old or so. She’s convinced that twenty years from now, we
+will see new and different models for business. Figure.NZ is set up as a
+nonprofit charity. It is purpose-driven but also strives to pay people well
+and thinks like a business. Lillian sees the charity-nonprofit status as an
+essential element for the mission and purpose of Figure.NZ. She believes
+Wikipedia would not work if it were for profit, and similarly, Figure.NZ’s
+nonprofit status assures people who have data and people who want to use it
+that they can rely on Figure.NZ’s motives. People see them as a trusted
+wrangler and source.
+ </p><p>
+ Although Figure.NZ is a social enterprise that openly licenses their data
+and graphs for everyone to use for free, they have taken care not to be
+perceived as a free service all around the table. Lillian believes hundreds
+of millions of dollars are spent by the government and organizations to
+collect data. However, very little money is spent on taking that data and
+making it accessible, understandable, and useful for decision making.
+Government uses some of the data for policy, but Lillian believes that it is
+underutilized and the potential value is much larger. Figure.NZ is focused
+on solving that problem. They believe a portion of money allocated to
+collecting data should go into making sure that data is useful and generates
+value. If the government wants citizens to understand why certain decisions
+are being made and to be more aware about what the government is doing, why
+not transform the data it collects into easily understood visuals? It could
+even become a way for a government or any organization to differentiate,
+market, and brand itself.
+ </p><p>
+ Figure.NZ spends a lot of time seeking to understand the motivations of data
+collectors and to identify the channels where it can provide value. Every
+part of their business model has been focused on who is going to get value
+from the data and visuals.
+ </p><p>
+ Figure.NZ has multiple lines of business. They provide commercial services
+to organizations that want their data publicly available and want to use
+Figure.NZ as their publishing platform. People who want to publish open data
+appreciate Figure.NZ’s ability to do it faster, more easily, and better than
+they can. Customers are encouraged to help their users find, use, and make
+things from the data they make available on Figure.NZ’s website. Customers
+control what is released and the license terms (although Figure.NZ
+encourages Creative Commons licensing). Figure.NZ also serves customers who
+want a specific collection of charts created—for example, for their website
+or annual report. Charging the organizations that want to make their data
+available enables Figure.NZ to provide their site free to all users, to
+truly democratize data.
+ </p><p>
+ Lillian notes that the current state of most data is terrible and often not
+well understood by the people who have it. This sometimes makes it difficult
+for customers and Figure.NZ to figure out what it would cost to import,
+standardize, and display that data in a useful way. To deal with this,
+Figure.NZ uses <span class="quote">“<span class="quote">high-trust contracts,</span>”</span> where customers allocate
+a certain budget to the task that Figure.NZ is then free to draw from, as
+long as Figure.NZ frequently reports on what they’ve produced so the
+customer can determine the value for money. This strategy has helped build
+trust and transparency about the level of effort associated with doing work
+that has never been done before.
+ </p><p>
+ A second line of business is what Figure.NZ calls partners. ASB Bank and
+Statistics New Zealand are partners who back Figure.NZ’s efforts. As one
+example, with their support Figure.NZ has been able to create Business
+Figures, a special way for businesses to find useful data without having to
+know what questions to ask.<a href="#ftn.idm1259" class="footnote" name="idm1259"><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
+donate to topic areas they care about, directly enabling Figure.NZ to get
+data together to flesh out those areas. Patrons do not direct what data is
+included or excluded.
+ </p><p>
+ Figure.NZ also accepts philanthropic donations, which are used to provide
+more content, extend technology, and improve services, or are targeted to
+fund a specific effort or provide in-kind support. As a charity, donations
+are tax deductible.
+ </p><p>
+ Figure.NZ has morphed and grown over time. With data aggregation, curation,
+and visualizing services all in-house, Figure.NZ has developed a deep
+expertise in taking random styles of data, standardizing it, and making it
+useful. Lillian realized that Figure.NZ could easily become a warehouse of
+seventy people doing data. But for Lillian, growth isn’t always good. In her
+view, bigger often means less effective. Lillian set artificial constraints
+on growth, forcing the organization to think differently and be more
+efficient. Rather than in-house growth, they are growing and building
+external relationships.
+ </p><p>
+ Figure.NZ’s website displays visuals and data associated with a wide range
+of categories including crime, economy, education, employment, energy,
+environment, health, information and communications technology, industry,
+tourism, and many others. A search function helps users find tables and
+graphs. Figure.NZ does not provide analysis or interpretation of the data or
+visuals. Their goal is to teach people how to think, not think for them.
+Figure.NZ wants to create intuitive experiences, not user manuals.
+ </p><p>
+ Figure.NZ believes data and visuals should be useful. They provide their
+customers with a data collection template and teach them why it’s important
+and how to use it. They’ve begun putting more emphasis on tracking what
+users of their website want. They also get requests from social media and
+through email for them to share data for a specific topic—for example, can
+you share data for water quality? If they have the data, they respond
+quickly; if they don’t, they try and identify the organizations that would
+have that data and forge a relationship so they can be included on
+Figure.NZ’s site. Overall, Figure.NZ is seeking to provide a place for
+people to be curious about, access, and interpret data on topics they are
+interested in.
+ </p><p>
+ Lillian has a deep and profound vision for Figure.NZ that goes well beyond
+simply providing open-data services. She says things are different now. "We
+used to live in a world where it was really hard to share information
+widely. And in that world, the best future was created by having a few great
+leaders who essentially had access to the information and made decisions on
+behalf of others, whether it was on behalf of a country or companies.
+ </p><p>
+ "But now we live in a world where it’s really easy to share information
+widely and also to communicate widely. In the world we live in now, the best
+future is the one where everyone can make well-informed decisions.
+ </p><p>
+ "The use of numbers and data as a way of making well-informed decisions is
+one of the areas where there is the biggest gaps. We don’t really use
+numbers as a part of our thinking and part of our understanding yet.
+ </p><p>
+ "Part of the reason is the way data is spread across hundreds of sites. In
+addition, for the most part, deep thinking based on data is constrained to
+experts because most people don’t have data literacy. There once was a time
+when many citizens in society couldn’t read or write. However, as a society,
+we’ve now come to believe that reading and writing skills should be
+something all citizens have. We haven’t yet adopted a similar belief around
+numbers and data literacy. We largely still believe that only a few
+specially trained people can analyze and think with numbers.
+ </p><p>
+ "Figure.NZ may be the first organization to assert that everyone can use
+numbers in their thinking, and it’s built a technological platform along
+with trust and a network of relationships to make that possible. What you
+can see on Figure.NZ are tens of thousands of graphs, maps, and data.
+ </p><p>
+ <span class="quote">“<span class="quote">Figure.NZ sees this as a new kind of alphabet that can help people
+analyze what they see around them. A way to be thoughtful and informed about
+society. A means of engaging in conversation and shaping decision making
+that transcends personal experience. The long-term value and impact is
+almost impossible to measure, but the goal is to help citizens gain
+understanding and work together in more informed ways to shape the
+future.</span>”</span>
+ </p><p>
+ Lillian sees Figure.NZ’s model as having global potential. But for now,
+their focus is completely on making Figure.NZ work in New Zealand and to get
+the <span class="quote">“<span class="quote">network effect</span>”</span>— users dramatically increasing value for
+themselves and for others through use of their service. Creative Commons is
+core to making the network effect possible.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1241" 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>
+ Knowledge Unlatched is a not-for-profit community interest company that
+brings libraries together to pool funds to publish open-access
+books. Founded in 2012 in the UK.
+ </p><p>
+ <a class="ulink" href="http://knowledgeunlatched.org" target="_top">http://knowledgeunlatched.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding (specialized)
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 26, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Frances Pinter, founder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The serial entrepreneur Dr. Frances Pinter has been at the forefront of
+innovation in the publishing industry for nearly forty years. She founded
+the UK-based Knowledge Unlatched with a mission to enable open access to
+scholarly books. For Frances, the current scholarly- book-publishing system
+is not working for anyone, and especially not for monographs in the
+humanities and social sciences. Knowledge Unlatched is committed to changing
+this and has been working with libraries to create a sustainable alternative
+model for publishing scholarly books, sharing the cost of making monographs
+(released under a Creative Commons license) and savings costs over the long
+term. Since its launch, Knowledge Unlatched has received several awards,
+including the IFLA/Brill Open Access award in 2014 and a Curtin University
+Commercial Innovation Award for Innovation in Education in 2015.
+ </p><p>
+ Dr. Pinter has been in academic publishing most of her career. About ten
+years ago, she became acquainted with the Creative Commons founder Lawrence
+Lessig and got interested in Creative Commons as a tool for both protecting
+content online and distributing it free to users.
+ </p><p>
+ Not long after, she ran a project in Africa convincing publishers in Uganda
+and South Africa to put some of their content online for free using a
+Creative Commons license and to see what happened to print sales. Sales went
+up, not down.
+ </p><p>
+ In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the
+United Kingdom, appointed her its founding publisher in London. As part of
+the launch, Frances convinced Bloomsbury to differentiate themselves by
+putting out monographs for free online under a Creative Commons license
+(BY-NC or BY-NC-ND, i.e., Attribution-NonCommercial or
+Attribution-NonCommercial-NoDerivs). This was seen as risky, as the biggest
+cost for publishers is getting a book to the stage where it can be
+printed. If everyone read the online book for free, there would be no
+print-book sales at all, and the costs associated with getting the book to
+print would be lost. Surprisingly, Bloomsbury found that sales of the print
+versions of these books were 10 to 20 percent higher than normal. Frances
+found it intriguing that the Creative Commons–licensed free online book acts
+as a marketing vehicle for the print format.
+ </p><p>
+ Frances began to look at customer interest in the three forms of the book:
+1) the Creative Commons–licensed free online book in PDF form, 2) the
+printed book, and 3) a digital version of the book on an aggregator platform
+with enhanced features. She thought of this as the <span class="quote">“<span class="quote">ice cream
+model</span>”</span>: the free PDF was vanilla ice cream, the printed book was an
+ice cream cone, and the enhanced e-book was an ice cream sundae.
+ </p><p>
+ After a while, Frances had an epiphany—what if there was a way to get
+libraries to underwrite the costs of making these books up until they’re
+ready be printed, in other words, cover the fixed costs of getting to the
+first digital copy? Then you could either bring down the cost of the printed
+book, or do a whole bunch of interesting things with the printed book and
+e-book—the ice cream cone or sundae part of the model.
+ </p><p>
+ This idea is similar to the article-processing charge some open-access
+journals charge researchers to cover publishing costs. Frances began to
+imagine a coalition of libraries paying for the prepress costs—a
+<span class="quote">“<span class="quote">book-processing charge</span>”</span>—and providing everyone in the world
+with an open-access version of the books released under a Creative Commons
+license.
+ </p><p>
+ This idea really took hold in her mind. She didn’t really have a name for it
+but began talking about it and making presentations to see if there was
+interest. The more she talked about it, the more people agreed it had
+appeal. She offered a bottle of champagne to anyone who could come up with a
+good name for the idea. Her husband came up with Knowledge Unlatched, and
+after two years of generating interest, she decided to move forward and
+launch a community interest company (a UK term for not-for-profit social
+enterprises) in 2012.
+ </p><p>
+ She describes the business model in a paper called Knowledge Unlatched:
+Toward an Open and Networked Future for Academic Publishing:
+ </p><div class="orderedlist"><ol class="orderedlist compact" type="1"><li class="listitem"><p>
+ Publishers offer titles for sale reflecting origination costs only via
+Knowledge Unlatched.
+ </p></li><li class="listitem"><p>
+ Individual libraries select titles either as individual titles or as
+collections (as they do from library suppliers now).
+ </p></li><li class="listitem"><p>
+ Their selections are sent to Knowledge Unlatched specifying the titles to be
+purchased at the stated price(s).
+ </p></li><li class="listitem"><p>
+ The price, called a Title Fee (set by publishers and negotiated by Knowledge
+Unlatched), is paid to publishers to cover the fixed costs of publishing
+each of the titles that were selected by a minimum number of libraries to
+cover the Title Fee.
+ </p></li><li class="listitem"><p>
+ Publishers make the selected titles available Open Access (on a Creative
+Commons or similar open license) and are then paid the Title Fee which is
+the total collected from the libraries.
+ </p></li><li class="listitem"><p>
+ Publishers make print copies, e-Pub, and other digital versions of selected
+titles available to member libraries at a discount that reflects their
+contribution to the Title Fee and incentivizes membership.<a href="#ftn.idm1316" class="footnote" name="idm1316"><sup class="footnote">[122]</sup></a>
+ </p></li></ol></div><p>
+ The first round of this model resulted in a collection of twenty-eight
+current titles from thirteen recognized scholarly publishers being
+unlatched. The target was to have two hundred libraries participate. The
+cost of the package per library was capped at $1,680, which was an average
+price of sixty dollars per book, but in the end they had nearly three
+hundred libraries sharing the costs, and the price per book came in at just
+under forty-three dollars.
+ </p><p>
+ The open-access, Creative Commons versions of these twenty-eight books are
+still available online.<a href="#ftn.idm1321" class="footnote" name="idm1321"><sup class="footnote">[123]</sup></a> Most books have
+been licensed with CC BY-NC or CC BY-NC-ND. Authors are the copyright
+holder, not the publisher, and negotiate choice of license as part of the
+publishing agreement. Frances has found that most authors want to retain
+control over the commercial and remix use of their work. Publishers list the
+book in their catalogs, and the noncommercial restriction in the Creative
+Commons license ensures authors continue to get royalties on sales of
+physical copies.
+ </p><p>
+ There are three cost variables to consider for each round: the overall cost
+incurred by the publishers, total cost for each library to acquire all the
+books, and the individual price per book. The fee publishers charge for each
+title is a fixed charge, and Knowledge Unlatched calculates the total amount
+for all the books being unlatched at a time. The cost of an order for each
+library is capped at a maximum based on a minimum number of libraries
+participating. If the number of participating libraries exceeds the minimum,
+then the cost of the order and the price per book go down for each library.
+ </p><p>
+ The second round, recently completed, unlatched seventy-eight books from
+twenty-six publishers. For this round, Frances was experimenting with the
+size and shape of the offerings. Books were being bundled into eight small
+packages separated by subject (including Anthropology, History, Literature,
+Media and Communications, and Politics), of around ten books per package.
+Three hundred libraries around the world have to commit to at least six of
+the eight packages to enable unlatching. The average cost per book was just
+under fifty dollars. The unlatching process took roughly ten months. It
+started with a call to publishers for titles, followed by having a library
+task force select the titles, getting authors’ permissions, getting the
+libraries to pledge, billing the libraries, and finally, unlatching.
+ </p><p>
+ The longest part of the whole process is getting libraries to pledge and
+commit funds. It takes about five months, as library buy-in has to fit
+within acquisition cycles, budget cycles, and library-committee meetings.
+ </p><p>
+ Knowledge Unlatched informs and recruits libraries through social media,
+mailing lists, listservs, and library associations. Of the three hundred
+libraries that participated in the first round, 80 percent are also
+participating in the second round, and there are an additional eighty new
+libraries taking part. Knowledge Unlatched is also working not just with
+individual libraries but also library consortia, which has been getting even
+more libraries involved.
+ </p><p>
+ Knowledge Unlatched is scaling up, offering 150 new titles in the second
+half of 2016. It will also offer backlist titles, and in 2017 will start to
+make journals open access too.
+ </p><p>
+ Knowledge Unlatched deliberately chose monographs as the initial type of
+book to unlatch. Monographs are foundational and important, but also
+problematic to keep going in the standard closed publishing model.
+ </p><p>
+ The cost for the publisher to get to a first digital copy of a monograph is
+$5,000 to $50,000. A good one costs in the $10,000 to $15,000
+range. Monographs typically don’t sell a lot of copies. A publisher who in
+the past sold three thousand copies now typically sells only three
+hundred. That makes unlatching monographs a low risk for publishers. For the
+first round, it took five months to get thirteen publishers. For the second
+round, it took one month to get twenty-six.
+ </p><p>
+ Authors don’t generally make a lot of royalties from monographs. Royalties
+range from zero dollars to 5 to 10 percent of receipts. The value to the
+author is the awareness it brings to them; when their book is being read, it
+increases their reputation. Open access through unlatching generates many
+more downloads and therefore awareness. (On the Knowledge Unlatched website,
+you can find interviews with the twenty-eight round-one authors describing
+their experience and the benefits of taking part.)<a href="#ftn.idm1332" class="footnote" name="idm1332"><sup class="footnote">[124]</sup></a>
+ </p><p>
+ Library budgets are constantly being squeezed, partly due to the inflation
+of journal subscriptions. But even without budget constraints, academic
+libraries are moving away from buying physical copies. An academic library
+catalog entry is typically a URL to wherever the book is hosted. Or if they
+have enough electronic storage space, they may download the digital file
+into their digital repository. Only secondarily do they consider getting a
+print book, and if they do, they buy it separately from the digital version.
+ </p><p>
+ Knowledge Unlatched offers libraries a compelling economic argument. Many of
+the participating libraries would have bought a copy of the monograph
+anyway, but instead of paying $95 for a print copy or $150 for a digital
+multiple-use copy, they pay $50 to unlatch. It costs them less, and it opens
+the book to not just the participating libraries, but to the world.
+ </p><p>
+ Not only do the economics make sense, but there is very strong alignment
+with library mandates. The participating libraries pay less than they would
+have in the closed model, and the open-access book is available to all
+libraries. While this means nonparticipating libraries could be seen as free
+riders, in the library world, wealthy libraries are used to paying more than
+poor libraries and accept that part of their money should be spent to
+support open access. <span class="quote">“<span class="quote">Free ride</span>”</span> is more like community
+responsibility. By the end of March 2016, the round-one books had been
+downloaded nearly eighty thousand times in 175 countries.
+ </p><p>
+ For publishers, authors, and librarians, the Knowledge Unlatched model for
+monographs is a win-win-win.
+ </p><p>
+ In the first round, Knowledge Unlatched’s overheads were covered by
+grants. In the second round, they aim to demonstrate the model is
+sustainable. Libraries and publishers will each pay a 7.5 percent service
+charge that will go toward Knowledge Unlatched’s running costs. With plans
+to scale up in future rounds, Frances figures they can fully recover costs
+when they are unlatching two hundred books at a time. Moving forward,
+Knowledge Unlatched is making investments in technology and
+processes. Future plans include unlatching journals and older books.
+ </p><p>
+ Frances believes that Knowledge Unlatched is tapping into new ways of
+valuing academic content. It’s about considering how many people can find,
+access, and use your content without pay barriers. Knowledge Unlatched taps
+into the new possibilities and behaviors of the digital world. In the
+Knowledge Unlatched model, the content-creation process is exactly the same
+as it always has been, but the economics are different. For Frances,
+Knowledge Unlatched is connected to the past but moving into the future, an
+evolution rather than a revolution.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1316" 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>
+ Lumen Learning is a for-profit company helping educational institutions use
+open educational resources (OER). Founded in 2013 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://lumenlearning.com" target="_top">http://lumenlearning.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services, grant funding
+ </p><p><span class="strong"><strong>Interview date</strong></span>: December 21, 2015
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: David Wiley and Kim Thanos,
+cofounders
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Cofounded by open education visionary Dr. David Wiley and
+education-technology strategist Kim Thanos, Lumen Learning is dedicated to
+improving student success, bringing new ideas to pedagogy, and making
+education more affordable by facilitating adoption of open educational
+resources. In 2012, David and Kim partnered on a grant-funded project called
+the Kaleidoscope Open Course Initiative.<a href="#ftn.idm1356" class="footnote" name="idm1356"><sup class="footnote">[125]</sup></a> It involved a set of fully open general-education courses across
+eight colleges predominantly serving at-risk students, with goals to
+dramatically reduce textbook costs and collaborate to improve the courses to
+help students succeed. David and Kim exceeded those goals: the cost of the
+required textbooks, replaced with OER, decreased to zero dollars, and
+average student-success rates improved by 5 to 10 percent when compared with
+previous years. After a second round of funding, a total of more than
+twenty-five institutions participated in and benefited from this project. It
+was career changing for David and Kim to see the impact this initiative had
+on low-income students. David and Kim sought further funding from the Bill
+and Melinda Gates Foundation, who asked them to define a plan to scale their
+work in a financially sustainable way. That is when they decided to create
+Lumen Learning.
+ </p><p>
+ David and Kim went back and forth on whether it should be a nonprofit or
+for- profit. A nonprofit would make it a more comfortable fit with the
+education sector but meant they’d be constantly fund-raising and seeking
+grants from philanthropies. Also, grants usually require money to be used
+in certain ways for specific deliverables. If you learn things along the way
+that change how you think the grant money should be used, there often isn’t
+a lot of flexibility to do so.
+ </p><p>
+ But as a for-profit, they’d have to convince educational institutions to pay
+for what Lumen had to offer. On the positive side, they’d have more control
+over what to do with the revenue and investment money; they could make
+decisions to invest the funds or use them differently based on the situation
+and shifting opportunities. In the end, they chose the for-profit status,
+with its different model for and approach to sustainability.
+ </p><p>
+ Right from the start, David and Kim positioned Lumen Learning as a way to
+help institutions engage in open educational resources, or OER. OER are
+teaching, learning, and research materials, in all different media, that
+reside in the public domain or are released under an open license that
+permits free use and repurposing by others.
+ </p><p>
+ Originally, Lumen did custom contracts for each institution. This was
+complicated and challenging to manage. However, through that process
+patterns emerged which allowed them to generalize a set of approaches and
+offerings. Today they don’t customize as much as they used to, and instead
+they tend to work with customers who can use their off-the-shelf
+options. Lumen finds that institutions and faculty are generally very good
+at seeing the value Lumen brings and are willing to pay for it. Serving
+disadvantaged learner populations has led Lumen to be very pragmatic; they
+describe what they offer in quantitative terms—with facts and figures—and in
+a way that is very student-focused. Lumen Learning helps colleges and
+universities—
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ replace expensive textbooks in high-enrollment courses with OER;
+ </p></li><li class="listitem"><p>
+ provide enrolled students day one access to Lumen’s fully customizable OER
+course materials through the institution’s learning-management system;
+ </p></li><li class="listitem"><p>
+ measure improvements in student success with metrics like passing rates,
+persistence, and course completion; and
+ </p></li><li class="listitem"><p>
+ collaborate with faculty to make ongoing improvements to OER based on
+student success research.
+ </p></li></ul></div><p>
+ Lumen has developed a suite of open, Creative Commons–licensed courseware in
+more than sixty-five subjects. All courses are freely and publicly available
+right off their website. They can be copied and used by others as long as
+they provide attribution to Lumen Learning following the terms of the
+Creative Commons license.
+ </p><p>
+ Then there are three types of bundled services that cost money. One option,
+which Lumen calls Candela courseware, offers integration with the
+institution’s learning-management system, technical and pedagogical support,
+and tracking of effectiveness. Candela courseware costs institutions ten
+dollars per enrolled student.
+ </p><p>
+ A second option is Waymaker, which offers the services of Candela but adds
+personalized learning technologies, such as study plans, automated messages,
+and assessments, and helps instructors find and support the students who
+need it most. Waymaker courses cost twenty-five dollars per enrolled
+student.
+ </p><p>
+ The third and emerging line of business for Lumen is providing guidance and
+support for institutions and state systems that are pursuing the development
+of complete OER degrees. Often called Z-Degrees, these programs eliminate
+textbook costs for students in all courses that make up the degree (both
+required and elective) by replacing commercial textbooks and other
+expensive resources with OER.
+ </p><p>
+ Lumen generates revenue by charging for their value-added tools and services
+on top of their free courses, just as solar-power companies provide the
+tools and services that help people use a free resource—sunlight. And
+Lumen’s business model focuses on getting the institutions to pay, not the
+students. With projects they did prior to Lumen, David and Kim learned that
+students who have access to all course materials from day one have greater
+success. If students had to pay, Lumen would have to restrict access to
+those who paid. Right from the start, their stance was that they would not
+put their content behind a paywall. Lumen invests zero dollars in
+technologies and processes for restricting access—no digital rights
+management, no time bombs. While this has been a challenge from a
+business-model perspective, from an open-access perspective, it has
+generated immense goodwill in the community.
+ </p><p>
+ In most cases, development of their courses is funded by the institution
+Lumen has a contract with. When creating new courses, Lumen typically works
+with the faculty who are teaching the new course. They’re often part of the
+institution paying Lumen, but sometimes Lumen has to expand the team and
+contract faculty from other institutions. First, the faculty identifies all
+of the course’s learning outcomes. Lumen then searches for, aggregates, and
+curates the best OER they can find that addresses those learning needs,
+which the faculty reviews.
+ </p><p>
+ Sometimes faculty like the existing OER but not the way it is presented. The
+open licensing of existing OER allows Lumen to pick and choose from images,
+videos, and other media to adapt and customize the course. Lumen creates new
+content as they discover gaps in existing OER. Test-bank items and feedback
+for students on their progress are areas where new content is frequently
+needed. Once a course is created, Lumen puts it on their platform with all
+the attributions and links to the original sources intact, and any of
+Lumen’s new content is given an Attribution (CC BY) license.
+ </p><p>
+ Using only OER made them experience firsthand how complex it could be to mix
+differently licensed work together. A common strategy with OER is to place
+the Creative Commons license and attribution information in the website’s
+footer, which stays the same for all pages. This doesn’t quite work,
+however, when mixing different OER together.
+ </p><p>
+ Remixing OER often results in multiple attributions on every page of every
+course—text from one place, images from another, and videos from yet
+another. Some are licensed as Attribution (CC BY), others as
+Attribution-ShareAlike (CC BY-SA). If this information is put within the
+text of the course, faculty members sometimes try to edit it and students
+find it a distraction. Lumen dealt with this challenge by capturing the
+license and attribution information as metadata, and getting it to show up
+at the end of each page.
+ </p><p>
+ Lumen’s commitment to open licensing and helping low-income students has led
+to strong relationships with institutions, open-education enthusiasts, and
+grant funders. People in their network generously increase the visibility of
+Lumen through presentations, word of mouth, and referrals. Sometimes the
+number of general inquiries exceed Lumen’s sales capacity.
+ </p><p>
+ To manage demand and ensure the success of projects, their strategy is to be
+proactive and focus on what’s going on in higher education in different
+regions of the United States, watching out for things happening at the
+system level in a way that fits with what Lumen offers. A great example is
+the Virginia community college system, which is building out
+Z-Degrees. David and Kim say there are nine other U.S. states with similar
+system-level activity where Lumen is strategically focusing its
+efforts. Where there are projects that would require a lot of resources on
+Lumen’s part, they prioritize the ones that would impact the largest number
+of students.
+ </p><p>
+ As a business, Lumen is committed to openness. There are two core
+nonnegotiables: Lumen’s use of CC BY, the most permissive of the Creative
+Commons licenses, for all the materials it creates; and day-one access for
+students. Having clear nonnegotiables allows them to then engage with the
+education community to solve for other challenges and work with institutions
+to identify new business models that achieve institution goals, while
+keeping Lumen healthy.
+ </p><p>
+ Openness also means that Lumen’s OER must necessarily be nonexclusive and
+nonrivalrous. This represents several big challenges for the business model:
+Why should you invest in creating something that people will be reluctant to
+pay for? How do you ensure that the investment the diverse education
+community makes in OER is not exploited? Lumen thinks we all need to be
+clear about how we are benefiting from and contributing to the open
+community.
+ </p><p>
+ In the OER sector, there are examples of corporations, and even
+institutions, acting as free riders. Some simply take and use open resources
+without paying anything or contributing anything back. Others give back the
+minimum amount so they can save face. Sustainability will require those
+using open resources to give back an amount that seems fair or even give
+back something that is generous.
+ </p><p>
+ Lumen does track institutions accessing and using their free content. They
+proactively contact those institutions, with an estimate of how much their
+students are saving and encouraging them to switch to a paid model. Lumen
+explains the advantages of the paid model: a more interactive relationship
+with Lumen; integration with the institution’s learning-management system; a
+guarantee of support for faculty and students; and future sustainability
+with funding supporting the evolution and improvement of the OER they are
+using.
+ </p><p>
+ Lumen works hard to be a good corporate citizen in the OER community. For
+David and Kim, a good corporate citizen gives more than they take, adds
+unique value, and is very transparent about what they are taking from
+community, what they are giving back, and what they are monetizing. Lumen
+believes these are the building blocks of a sustainable model and strives
+for a correct balance of all these factors.
+ </p><p>
+ Licensing all the content they produce with CC BY is a key part of giving
+more value than they take. They’ve also worked hard at finding the right
+structure for their value-add and how to package it in a way that is
+understandable and repeatable.
+ </p><p>
+ As of the fall 2016 term, Lumen had eighty-six different open courses,
+working relationships with ninety-two institutions, and more than
+seventy-five thousand student enrollments. Lumen received early start-up
+funding from the Bill and Melinda Gates Foundation, the Hewlett Foundation,
+and the Shuttleworth Foundation. Since then, Lumen has also attracted
+investment funding. Over the last three years, Lumen has been roughly 60
+percent grant funded, 20 percent revenue earned, and 20 percent funded with
+angel capital. Going forward, their strategy is to replace grant funding
+with revenue.
+ </p><p>
+ In creating Lumen Learning, David and Kim say they’ve landed on solutions
+they never imagined, and there is still a lot of learning taking place. For
+them, open business models are an emerging field where we are all learning
+through sharing. Their biggest recommendations for others wanting to pursue
+the open model are to make your commitment to open resources public, let
+people know where you stand, and don’t back away from it. It really is about
+trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1356" 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>
+ Jonathan Mann is a singer and songwriter who is most well known as the
+<span class="quote">“<span class="quote">Song A Day</span>”</span> guy. Based in the U.S.
+ </p><p><a class="ulink" href="http://jonathanmann.net" target="_top">http://jonathanmann.net</a> and <a class="ulink" href="http://jonathanmann.bandcamp.com" target="_top">http://jonathanmann.bandcamp.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services, pay-what-you-want, crowdfunding (subscription-based), charging for
+in-person version (speaking engagements and musical performances)
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 22, 2016
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Jonathan Mann thinks of his business model as
+<span class="quote">“<span class="quote">hustling</span>”</span>—seizing nearly every opportunity he sees to make
+money. The bulk of his income comes from writing songs under commission for
+people and companies, but he has a wide variety of income sources. He has
+supporters on the crowdfunding site Patreon. He gets advertising revenue
+from YouTube and Bandcamp, where he posts all of his music. He gives paid
+speaking engagements about creativity and motivation. He has been hired by
+major conferences to write songs summarizing what speakers have said in the
+conference sessions.
+ </p><p>
+ His entrepreneurial spirit is coupled with a willingness to take action
+quickly. A perfect illustration of his ability to act fast happened in 2010,
+when he read that Apple was having a conference the following day to address
+a snafu related to the iPhone 4. He decided to write and post a song about
+the iPhone 4 that day, and the next day he got a call from the public
+relations people at Apple wanting to use and promote his video at the Apple
+conference. The song then went viral, and the experience landed him in Time
+magazine.
+ </p><p>
+ Jonathan’s successful <span class="quote">“<span class="quote">hustling</span>”</span> is also about old-fashioned
+persistence. He is currently in his eighth straight year of writing one song
+each day. He holds the Guinness World Record for consecutive daily
+songwriting, and he is widely known as the <span class="quote">“<span class="quote">song-a-day guy.</span>”</span>
+ </p><p>
+ He fell into this role by, naturally, seizing a random opportunity a friend
+alerted him to seven years ago—an event called Fun-A-Day, where people are
+supposed to create a piece of art every day for thirty-one days straight. He
+was in need of a new project, so he decided to give it a try by writing and
+posting a song each day. He added a video component to the songs because he
+knew people were more likely to watch video online than simply listening to
+audio files.
+ </p><p>
+ He had a really good time doing the thirty-one-day challenge, so he decided
+to see if he could continue it for one year. He never stopped. He has
+written and posted a new song literally every day, seven days a week, since
+he began the project in 2009. When he isn’t writing songs that he is hired
+to write by clients, he writes songs about whatever is on his mind that
+day. His songs are catchy and mostly lighthearted, but they often contain at
+least an undercurrent of a deeper theme or meaning. Occasionally, they are
+extremely personal, like the song he cowrote with his exgirlfriend
+announcing their breakup. Rain or shine, in sickness or health, Jonathan
+posts and writes a song every day. If he is on a flight or otherwise
+incapable of getting Internet access in time to meet the deadline, he will
+prepare ahead and have someone else post the song for him.
+ </p><p>
+ Over time, the song-a-day gig became the basis of his livelihood. In the
+beginning, he made money one of two ways. The first was by entering a wide
+variety of contests and winning a handful. The second was by having the
+occasional song and video go some varying degree of viral, which would bring
+more eyeballs and mean that there were more people wanting him to write
+songs for them. Today he earns most of his money this way.
+ </p><p>
+ His website explains his gig as <span class="quote">“<span class="quote">taking any message, from the super
+simple to the totally complicated, and conveying that message through a
+heartfelt, fun and quirky song.</span>”</span> He charges $500 to create a produced
+song and $300 for an acoustic song. He has been hired for product launches,
+weddings, conferences, and even Kickstarter campaigns like the one that
+funded the production of this book.
+ </p><p>
+ Jonathan can’t recall when exactly he first learned about Creative Commons,
+but he began applying CC licenses to his songs and videos as soon as he
+discovered the option. <span class="quote">“<span class="quote">CC seems like such a no-brainer,</span>”</span>
+Jonathan said. <span class="quote">“<span class="quote">I don’t understand how anything else would make
+sense. It seems like such an obvious thing that you would want your work to
+be able to be shared.</span>”</span>
+ </p><p>
+ His songs are essentially marketing for his services, so obviously the
+further his songs spread, the better. Using CC licenses helps grease the
+wheels, letting people know that Jonathan allows and encourages them to
+copy, interact with, and remix his music. <span class="quote">“<span class="quote">If you let someone cover
+your song or remix it or use parts of it, that’s how music is supposed to
+work,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">That is how music has worked since the
+beginning of time. Our me-me, mine-mine culture has undermined that.</span>”</span>
+ </p><p>
+ There are some people who cover his songs fairly regularly, and he would
+never shut that down. But he acknowledges there is a lot more he could do to
+build community. <span class="quote">“<span class="quote">There is all of this conventional wisdom about how
+to build an audience online, and I generally think I don’t do any of
+that,</span>”</span> Jonathan said.
+ </p><p>
+ He does have a fan community he cultivates on Bandcamp, but it isn’t his
+major focus. <span class="quote">“<span class="quote">I do have a core audience that has stuck around for a
+really long time, some even longer than I’ve been doing song-a-day,</span>”</span>
+he said. <span class="quote">“<span class="quote">There is also a transitional aspect that drop in and get
+what they need and then move on.</span>”</span> Focusing less on community building
+than other artists makes sense given Jonathan’s primary income source of
+writing custom songs for clients.
+ </p><p>
+ Jonathan recognizes what comes naturally to him and leverages those
+skills. Through the practice of daily songwriting, he realized he has a gift
+for distilling complicated subjects into simple concepts and putting them to
+music. In his song <span class="quote">“<span class="quote">How to Choose a Master Password,</span>”</span> Jonathan
+explained the process of creating a secure password in a silly, simple
+song. He was hired to write the song by a client who handed him a long
+technical blog post from which to draw the information. Like a good (and
+rare) journalist, he translated the technical concepts into something
+understandable.
+ </p><p>
+ When he is hired by a client to write a song, he first asks them to send a
+list of talking points and other information they want to include in the
+song. He puts all of that into a text file and starts moving things around,
+cutting and pasting until the message starts to come together. The first
+thing he tries to do is grok the core message and develop the chorus. Then
+he looks for connections or parts he can make rhyme. The entire process
+really does resemble good journalism, but of course the final product of his
+work is a song rather than news. <span class="quote">“<span class="quote">There is something about being
+challenged and forced to take information that doesn’t seem like it should
+be sung about or doesn’t seem like it lends itself to a song,</span>”</span> he
+said. <span class="quote">“<span class="quote">I find that creative challenge really satisfying. I enjoy
+getting lost in that process.</span>”</span>
+ </p><p>
+ Jonathan admits that in an ideal world, he would exclusively write the music
+he wanted to write, rather than what clients hire him to write. But his
+business model is about capitalizing on his strengths as a songwriter, and
+he has found a way to keep it interesting for himself.
+ </p><p>
+ Jonathan uses nearly every tool possible to make money from his art, but he
+does have lines he won’t cross. He won’t write songs about things he
+fundamentally does not believe in, and there are times he has turned down
+jobs on principle. He also won’t stray too much from his natural
+style. <span class="quote">“<span class="quote">My style is silly, so I can’t really accommodate people who
+want something super serious,</span>”</span> Jonathan said. <span class="quote">“<span class="quote">I do what I do
+very easily, and it’s part of who I am.</span>”</span> Jonathan hasn’t gotten into
+writing commercials for the same reasons; he is best at using his own unique
+style rather than mimicking others.
+ </p><p>
+ Jonathan’s song-a-day commitment exemplifies the power of habit and
+grit. Conventional wisdom about creative productivity, including advice in
+books like the best-seller The Creative Habit by Twyla Tharp, routinely
+emphasizes the importance of ritual and action. No amount of planning can
+replace the value of simple practice and just doing. Jonathan Mann’s work is
+a living embodiment of these principles.
+ </p><p>
+ When he speaks about his work, he talks about how much the song-a-day
+process has changed him. Rather than seeing any given piece of work as
+precious and getting stuck on trying to make it perfect, he has become
+comfortable with just doing. If today’s song is a bust, tomorrow’s song
+might be better.
+ </p><p>
+ Jonathan seems to have this mentality about his career more generally. He is
+constantly experimenting with ways to make a living while sharing his work
+as widely as possible, seeing what sticks. While he has major
+accomplishments he is proud of, like being in the Guinness World Records or
+having his song used by Steve Jobs, he says he never truly feels successful.
+ </p><p><span class="quote">“<span class="quote">Success feels like it’s over,</span>”</span> he said. <span class="quote">“<span class="quote">To a certain
+extent, a creative person is not ever going to feel completely satisfied
+because then so much of what drives you would be gone.</span>”</span>
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="noun-project"></a>Capítulo 15. Noun Project</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ The Noun Project is a for-profit company offering an online platform to
+display visual icons from a global network of designers. Founded in 2010 in
+the U.S.
+ </p><p>
+ <a class="ulink" href="http://thenounproject.com" target="_top">http://thenounproject.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction
+fee, charging for custom services
+ </p><p><span class="strong"><strong>Interview date</strong></span>: October 6, 2015
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Edward Boatman, cofounder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The Noun Project creates and shares visual language. There are millions who
+use Noun Project symbols to simplify communication across borders,
+languages, and cultures.
+ </p><p>
+ The original idea for the Noun Project came to cofounder Edward Boatman
+while he was a student in architecture design school. He’d always done a lot
+of sketches and started to draw what used to fascinate him as a child, like
+trains, sequoias, and bulldozers. He began thinking how great it would be
+if he had a simple image or small icon of every single object or concept on
+the planet.
+ </p><p>
+ When Edward went on to work at an architecture firm, he had to make a lot of
+presentation boards for clients. But finding high-quality sources for
+symbols and icons was difficult. He couldn’t find any website that could
+provide them. Perhaps his idea for creating a library of icons could
+actually help people in similar situations.
+ </p><p>
+ With his partner, Sofya Polyakov, he began collecting symbols for a website
+and writing a business plan. Inspiration came from the book Professor and
+the Madman, which chronicles the use of crowdsourcing to create the Oxford
+English Dictionary in 1870. Edward began to imagine crowdsourcing icons and
+symbols from volunteer designers around the world.
+ </p><p>
+ Then Edward got laid off during the recession, which turned out to be a huge
+catalyst. He decided to give his idea a go, and in 2010 Edward and Sofya
+launched the Noun Project with a Kickstarter campaign, back when Kickstarter
+was in its infancy.<a href="#ftn.idm1459" class="footnote" name="idm1459"><sup class="footnote">[126]</sup></a> They thought it’d
+be a good way to introduce the global web community to their idea. Their
+goal was to raise $1,500, but in twenty days they got over $14,000. They
+realized their idea had the potential to be something much bigger.
+ </p><p>
+ They created a platform where symbols and icons could be uploaded, and
+Edward began recruiting talented designers to contribute their designs, a
+process he describes as a relatively easy sell. Lots of designers have old
+drawings just gathering <span class="quote">“<span class="quote">digital dust</span>”</span> on their hard
+drives. It’s easy to convince them to finally share them with the world.
+ </p><p>
+ The Noun Project currently has about seven thousand designers from around
+the world. But not all submissions are accepted. The Noun Project’s
+quality-review process means that only the best works become part of its
+collection. They make sure to provide encouraging, constructive feedback
+whenever they reject a piece of work, which maintains and builds the
+relationship they have with their global community of designers.
+ </p><p>
+ Creative Commons is an integral part of the Noun Project’s business model;
+this decision was inspired by Chris Anderson’s book Free: The Future of
+Radical Price, which introduced Edward to the idea that you could build a
+business model around free content.
+ </p><p>
+ Edward knew he wanted to offer a free visual language while still providing
+some protection and reward for its contributors. There is a tension between
+those two goals, but for Edward, Creative Commons licenses bring this
+idealism and business opportunity together elegantly. He chose the
+Attribution (CC BY) license, which means people can download the icons for
+free and modify them and even use them commercially. The requirement to give
+attribution to the original creator ensures that the creator can build a
+reputation and get global recognition for their work. And if they simply
+want to offer an icon that people can use without having to give credit,
+they can use CC0 to put the work into the public domain.
+ </p><p>
+ Noun Project’s business model and means of generating revenue have evolved
+significantly over time. Their initial plan was to sell T-shirts with the
+icons on it, which in retrospect Edward says was a horrible idea. They did
+get a lot of email from people saying they loved the icons but asking if
+they could pay a fee instead of giving attribution. Ad agencies (among
+others) wanted to keep marketing and presentation materials clean and free
+of attribution statements. For Edward, <span class="quote">“<span class="quote">That’s when our lightbulb went
+off.</span>”</span>
+ </p><p>
+ They asked their global network of designers whether they’d be open to
+receiving modest remuneration instead of attribution. Designers saw it as a
+win-win. The idea that you could offer your designs for free and have a
+global audience and maybe even make some money was pretty exciting for most
+designers.
+ </p><p>
+ The Noun Project first adopted a model whereby using an icon without giving
+attribution would cost $1.99 per icon. The model’s second iteration added a
+subscription component, where there would be a monthly fee to access a
+certain number of icons—ten, fifty, a hundred, or five hundred. However,
+users didn’t like these hard-count options. They preferred to try out many
+similar icons to see which worked best before eventually choosing the one
+they wanted to use. So the Noun Project moved to an unlimited model, whereby
+users have unlimited access to the whole library for a flat monthly
+fee. This service is called NounPro and costs $9.99 per month. Edward says
+this model is working well—good for customers, good for creators, and good
+for the platform.
+ </p><p>
+ Customers then began asking for an application-programming interface (API),
+which would allow Noun Project icons and symbols to be directly accessed
+from within other applications. Edward knew that the icons and symbols would
+be valuable in a lot of different contexts and that they couldn’t possibly
+know all of them in advance, so they built an API with a lot of
+flexibility. Knowing that most API applications would want to use the icons
+without giving attribution, the API was built with the aim of charging for
+its use. You can use what’s called the <span class="quote">“<span class="quote">Playground API</span>”</span> for
+free to test how it integrates with your application, but full
+implementation will require you to purchase the API Pro version.
+ </p><p>
+ The Noun Project shares revenue with its international designers. For
+one-off purchases, the revenue is split 70 percent to the designer and 30
+percent to Noun Project.
+ </p><p>
+ The revenue from premium purchases (the subscription and API options) is
+split a little differently. At the end of each month, the total revenue from
+subscriptions is divided by Noun Project’s total number of downloads,
+resulting in a rate per download—for example, it could be $0.13 per download
+for that month. For each download, the revenue is split 40 percent to the
+designer and 60 percent to the Noun Project. (For API usage, it’s per use
+instead of per download.) Noun Project’s share is higher this time as it’s
+providing more service to the user.
+ </p><p>
+ The Noun Project tries to be completely transparent about their royalty
+structure.<a href="#ftn.idm1476" class="footnote" name="idm1476"><sup class="footnote">[127]</sup></a> They tend to over
+communicate with creators about it because building trust is the top
+priority.
+ </p><p>
+ For most creators, contributing to the Noun Project is not a full-time job
+but something they do on the side. Edward categorizes monthly earnings for
+creators into three broad categories: enough money to buy beer; enough to
+pay the bills; and most successful of all, enough to pay the rent.
+ </p><p>
+ Recently the Noun Project launched a new app called Lingo. Designers can
+use Lingo to organize not just their Noun Project icons and symbols but also
+their photos, illustrations, UX designs, et cetera. You simply drag any
+visual item directly into Lingo to save it. Lingo also works for teams so
+people can share visuals with each other and search across their combined
+collections. Lingo is free for personal use. A pro version for $9.99 per
+month lets you add guests. A team version for $49.95 per month allows up to
+twenty-five team members to collaborate, and to view, use, edit, and add new
+assets to each other’s collections. And if you subscribe to NounPro, you
+can access Noun Project from within Lingo.
+ </p><p>
+ The Noun Project gives a ton of value away for free. A very large percentage
+of their roughly one million members have a free account, but there are
+still lots of paid accounts coming from digital designers, advertising and
+design agencies, educators, and others who need to communicate ideas
+visually.
+ </p><p>
+ For Edward, <span class="quote">“<span class="quote">creating, sharing, and celebrating the world’s visual
+language</span>”</span> is the most important aspect of what they do; it’s their
+stated mission. It differentiates them from others who offer graphics,
+icons, or clip art.
+ </p><p>
+ Noun Project creators agree. When surveyed on why they participate in the
+Noun Project, this is how designers rank their reasons: 1) to support the
+Noun Project mission, 2) to promote their own personal brand, and 3) to
+generate money. It’s striking to see that money comes third, and mission,
+first. If you want to engage a global network of contributors, it’s
+important to have a mission beyond making money.
+ </p><p>
+ In Edward’s view, Creative Commons is central to their mission of sharing
+and social good. Using Creative Commons makes the Noun Project’s mission
+genuine and has generated a lot of their initial traction and
+credibility. CC comes with a built-in community of users and fans.
+ </p><p>
+ Edward told us, <span class="quote">“<span class="quote">Don’t underestimate the power of a passionate
+community around your product or your business. They are going to go to bat
+for you when you’re getting ripped in the media. If you go down the road of
+choosing to work with Creative Commons, you’re taking the first step to
+building a great community and tapping into a really awesome community that
+comes with it. But you need to continue to foster that community through
+other initiatives and continue to nurture it.</span>”</span>
+ </p><p>
+ The Noun Project nurtures their creators’ second motivation—promoting a
+personal brand—by connecting every icon and symbol to the creator’s name and
+profile page; each profile features their full collection. Users can also
+search the icons by the creator’s name.
+ </p><p>
+ The Noun Project also builds community through Iconathons—hackathons for
+icons.<a href="#ftn.idm1490" class="footnote" name="idm1490"><sup class="footnote">[128]</sup></a> In partnership with a sponsoring
+organization, the Noun Project comes up with a theme (e.g., sustainable
+energy, food bank, guerrilla gardening, human rights) and a list of icons
+that are needed, which designers are invited to create at the event. The
+results are vectorized, and added to the Noun Project using CC0 so they can
+be used by anyone for free.
+ </p><p>
+ Providing a free version of their product that satisfies a lot of their
+customers’ needs has actually enabled the Noun Project to build the paid
+version, using a service-oriented model. The Noun Project’s success lies in
+creating services and content that are a strategic mix of free and paid
+while staying true to their mission—creating, sharing, and celebrating the
+world’s visual language. Integrating Creative Commons into their model has
+been key to that goal.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1459" 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>
+ The Open Data Institute is an independent nonprofit that connects, equips,
+and inspires people around the world to innovate with data. Founded in 2012
+in the UK.
+ </p><p>
+ <a class="ulink" href="http://theodi.org" target="_top">http://theodi.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grant and government
+funding, charging for custom services, donations
+ </p><p><span class="strong"><strong>Interview date</strong></span>: November 11, 2015
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Jeni Tennison, technical
+director
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the
+London-based Open Data Institute (ODI) offers data-related training, events,
+consulting services, and research. For ODI, Creative Commons licenses are
+central to making their own business model and their customers’ open. CC BY
+(Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the
+public domain) all play a critical role in ODI’s mission to help people
+around the world innovate with data.
+ </p><p>
+ Data underpins planning and decision making across all aspects of
+society. Weather data helps farmers know when to plant their crops, flight
+time data from airplane companies helps us plan our travel, data on local
+housing informs city planning. When this data is not only accurate and
+timely, but open and accessible, it opens up new possibilities. Open data
+can be a resource businesses use to build new products and services. It can
+help governments measure progress, improve efficiency, and target
+investments. It can help citizens improve their lives by better
+understanding what is happening around them.
+ </p><p>
+ The Open Data Institute’s 2012–17 business plan starts out by describing its
+vision to establish itself as a world-leading center and to research and be
+innovative with the opportunities created by the UK government’s open data
+policy. (The government was an early pioneer in open policy and open-data
+initiatives.) It goes on to say that the ODI wants to—
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ demonstrate the commercial value of open government data and how open-data
+policies affect this;
+ </p></li><li class="listitem"><p>
+ develop the economic benefits case and business models for open data;
+ </p></li><li class="listitem"><p>
+ help UK businesses use open data; and
+ </p></li><li class="listitem"><p>
+ show how open data can improve public services.<a href="#ftn.idm1519" class="footnote" name="idm1519"><sup class="footnote">[129]</sup></a>
+ </p></li></ul></div><p>
+ ODI is very explicit about how it wants to make open business models, and
+defining what this means. Jeni Tennison, ODI’s technical director, puts it
+this way: <span class="quote">“<span class="quote">There is a whole ecosystem of open—open-source software,
+open government, open-access research—and a whole ecosystem of data. ODI’s
+work cuts across both, with an emphasis on where they overlap—with open
+data.</span>”</span> ODI’s particular focus is to show open data’s potential for
+revenue.
+ </p><p>
+ As an independent nonprofit, ODI secured £10 million over five years from
+the UK government via Innovate UK, an agency that promotes innovation in
+science and technology. For this funding, ODI has to secure matching funds
+from other sources, some of which were met through a $4.75-million
+investment from the Omidyar Network.
+ </p><p>
+ Jeni started out as a developer and technical architect for data.gov.uk, the
+UK government’s pioneering open-data initiative. She helped make data sets
+from government departments available as open data. She joined ODI in 2012
+when it was just starting up, as one of six people. It now has a staff of
+about sixty.
+ </p><p>
+ ODI strives to have half its annual budget come from the core UK government
+and Omidyar grants, and the other half from project-based research and
+commercial work. In Jeni’s view, having this balance of revenue sources
+establishes some stability, but also keeps them motivated to go out and
+generate these matching funds in response to market needs.
+ </p><p>
+ On the commercial side, ODI generates funding through memberships, training,
+and advisory services.
+ </p><p>
+ You can join the ODI as an individual or commercial member. Individual
+membership is pay-what-you-can, with options ranging from £1 to
+£100. Members receive a newsletter and related communications and a discount
+on ODI training courses and the annual summit, and they can display an
+ODI-supporter badge on their website. Commercial membership is divided into
+two tiers: small to medium size enterprises and nonprofits at £720 a year,
+and corporations and government organizations at £2,200 a year. Commercial
+members have greater opportunities to connect and collaborate, explore the
+benefits of open data, and unlock new business opportunities. (All members
+are listed on their website.)<a href="#ftn.idm1529" class="footnote" name="idm1529"><sup class="footnote">[130]</sup></a>
+ </p><p>
+ ODI provides standardized open data training courses in which anyone can
+enroll. The initial idea was to offer an intensive and academically oriented
+diploma in open data, but it quickly became clear there was no market for
+that. Instead, they offered a five-day-long public training course, which
+has subsequently been reduced to three days; now the most popular course is
+one day long. The fee, in addition to the time commitment, can be a barrier
+for participation. Jeni says, <span class="quote">“<span class="quote">Most of the people who would be able to
+pay don’t know they need it. Most who know they need it can’t pay.</span>”</span>
+Public-sector organizations sometimes give vouchers to their employees so
+they can attend as a form of professional development.
+ </p><p>
+ ODI customizes training for clients as well, for which there is more
+demand. Custom training usually emerges through an established relationship
+with an organization. The training program is based on a definition of
+open-data knowledge as applicable to the organization and on the skills
+needed by their high-level executives, management, and technical staff. The
+training tends to generate high interest and commitment.
+ </p><p>
+ Education about open data is also a part of ODI’s annual summit event, where
+curated presentations and speakers showcase the work of ODI and its members
+across the entire ecosystem. Tickets to the summit are available to the
+public, and hundreds of people and organizations attend and participate. In
+2014, there were four thematic tracks and over 750 attendees.
+ </p><p>
+ In addition to memberships and training, ODI provides advisory services to
+help with technical-data support, technology development, change management,
+policies, and other areas. ODI has advised large commercial organizations,
+small businesses, and international governments; the focus at the moment is
+on government, but ODI is working to shift more toward commercial
+organizations.
+ </p><p>
+ On the commercial side, the following value propositions seem to resonate:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ Data-driven insights. Businesses need data from outside their business to
+get more insight. Businesses can generate value and more effectively pursue
+their own goals if they open up their own data too. Big data is a hot topic.
+ </p></li><li class="listitem"><p>
+ Open innovation. Many large-scale enterprises are aware they don’t innovate
+very well. One way they can innovate is to open up their data. ODI
+encourages them to do so even if it exposes problems and challenges. The key
+is to invite other people to help while still maintaining organizational
+autonomy.
+ </p></li><li class="listitem"><p>
+ Corporate social responsibility. While this resonates with businesses, ODI
+cautions against having it be the sole reason for making data open. If a
+business is just thinking about open data as a way to be transparent and
+accountable, they can miss out on efficiencies and opportunities.
+ </p></li></ul></div><p>
+ During their early years, ODI wanted to focus solely on the United
+Kingdom. But in their first year, large delegations of government visitors
+from over fifty countries wanted to learn more about the UK government’s
+open-data practices and how ODI saw that translating into economic
+value. They were contracted as a service provider to international
+governments, which prompted a need to set up international ODI
+<span class="quote">“<span class="quote">nodes.</span>”</span>
+ </p><p>
+ Nodes are franchises of the ODI at a regional or city level. Hosted by
+existing (for-profit or not-for-profit) organizations, they operate locally
+but are part of the global network. Each ODI node adopts the charter, a set
+of guiding principles and rules under which ODI operates. They develop and
+deliver training, connect people and businesses through membership and
+events, and communicate open-data stories from their part of the
+world. There are twenty-seven different nodes across nineteen countries. ODI
+nodes are charged a small fee to be part of the network and to use the
+brand.
+ </p><p>
+ ODI also runs programs to help start-ups in the UK and across Europe develop
+a sustainable business around open data, offering mentoring, advice,
+training, and even office space.<a href="#ftn.idm1549" class="footnote" name="idm1549"><sup class="footnote">[131]</sup></a>
+ </p><p>
+ A big part of ODI’s business model revolves around community
+building. Memberships, training, summits, consulting services, nodes, and
+start-up programs create an ever-growing network of open-data users and
+leaders. (In fact, ODI even operates something called an Open Data Leaders
+Network.) For ODI, community is key to success. They devote significant time
+and effort to build it, not just online but through face-to-face events.
+ </p><p>
+ ODI has created an online tool that organizations can use to assess the
+legal, practical, technical, and social aspects of their open data. If it is
+of high quality, the organization can earn ODI’s Open Data Certificate, a
+globally recognized mark that signals that their open data is useful,
+reliable, accessible, discoverable, and supported.<a href="#ftn.idm1555" class="footnote" name="idm1555"><sup class="footnote">[132]</sup></a>
+ </p><p>
+ Separate from commercial activities, the ODI generates funding through
+research grants. Research includes looking at evidence on the impact of open
+data, development of open-data tools and standards, and how to deploy open
+data at scale.
+ </p><p>
+ Creative Commons 4.0 licenses cover database rights and ODI recommends CC
+BY, CC BY-SA, and CC0 for data releases. ODI encourages publishers of data
+to use Creative Commons licenses rather than creating new <span class="quote">“<span class="quote">open
+licenses</span>”</span> of their own.
+ </p><p>
+ For ODI, open is at the heart of what they do. They also release any
+software code they produce under open-source-software licenses, and
+publications and reports under CC BY or CC BY-SA licenses. ODI’s mission is
+to connect and equip people around the world so they can innovate with
+data. Disseminating stories, research, guidance, and code under an open
+license is essential for achieving that mission. It also demonstrates that
+it is perfectly possible to generate sustainable revenue streams that do not
+rely on restrictive licensing of content, data, or code. People pay to have
+ODI experts provide training to them, not for the content of the training;
+people pay for the advice ODI gives them, not for the methodologies they
+use. Producing open content, data, and source code helps establish
+credibility and creates leads for the paid services that they
+offer. According to Jeni, <span class="quote">“<span class="quote">The biggest lesson we have learned is that
+it is completely possible to be open, get customers, and make money.</span>”</span>
+ </p><p>
+ To serve as evidence of a successful open business model and return on
+investment, ODI has a public dashboard of key performance indicators. Here
+are a few metrics as of April 27, 2016:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ Total amount of cash investments unlocked in direct investments in ODI,
+competition funding, direct contracts, and partnerships, and income that ODI
+nodes and ODI start-ups have generated since joining the ODI program: £44.5
+million
+ </p></li><li class="listitem"><p>
+ Total number of active members and nodes across the globe: 1,350
+ </p></li><li class="listitem"><p>
+ Total sales since ODI began: £7.44 million
+ </p></li><li class="listitem"><p>
+ Total number of unique people reached since ODI began, in person and online:
+2.2 million
+ </p></li><li class="listitem"><p>
+ Total Open Data Certificates created: 151,000
+ </p></li><li class="listitem"><p>
+ Total number of people trained by ODI and its nodes since ODI began:
+5,080<a href="#ftn.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.idm1519" 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>
+ Opendesk is a for-profit company offering an online platform that connects
+furniture designers around the world with customers and local makers who
+bring the designs to life. Founded in 2014 in the UK.
+ </p><p>
+ <a class="ulink" href="http://www.opendesk.cc" target="_top">http://www.opendesk.cc</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
+ </p><p><span class="strong"><strong>Interview date</strong></span>: November 4, 2015
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: Nick Ierodiaconou and Joni
+Steiner, cofounders
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Opendesk is an online platform that connects furniture designers around the
+world not just with customers but also with local registered makers who
+bring the designs to life. Opendesk and the designer receive a portion of
+every sale that is made by a maker.
+ </p><p>
+ Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as
+architects together. They also made goods. Their first client was Mint
+Digital, who had an interest in open licensing. Nick and Joni were exploring
+digital fabrication, and Mint’s interest in open licensing got them to
+thinking how the open-source world may interact and apply to physical
+goods. They sought to design something for their client that was also
+reproducible. As they put it, they decided to <span class="quote">“<span class="quote">ship the recipe, but
+not the goods.</span>”</span> They created the design using software, put it under
+an open license, and had it manufactured locally near the client. This was
+the start of the idea for Opendesk. The idea for Wikihouse—another open
+project dedicated to accessible housing for all—started as discussions
+around the same table. The two projects ultimately went on separate paths,
+with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit
+company.
+ </p><p>
+ When Nick and Joni set out to create Opendesk, there were a lot of questions
+about the viability of distributed manufacturing. No one was doing it in a
+way that was even close to realistic or competitive. The design community
+had the intent, but fulfilling this vision was still a long way away.
+ </p><p>
+ And now this sector is emerging, and Nick and Joni are highly interested in
+the commercialization aspects of it. As part of coming up with a business
+model, they began investigating intellectual property and licensing
+options. It was a thorny space, especially for designs. Just what aspect of
+a design is copyrightable? What is patentable? How can allowing for digital
+sharing and distribution be balanced against the designer’s desire to still
+hold ownership? In the end, they decided there was no need to reinvent the
+wheel and settled on using Creative Commons.
+ </p><p>
+ When designing the Opendesk system, they had two goals. They wanted anyone,
+anywhere in the world, to be able to download designs so that they could be
+made locally, and they wanted a viable model that benefited designers when
+their designs were sold. Coming up with a business model was going to be
+complex.
+ </p><p>
+ They gave a lot of thought to three angles—the potential for social sharing,
+allowing designers to choose their license, and the impact these choices
+would have on the business model.
+ </p><p>
+ In support of social sharing, Opendesk actively advocates for (but doesn’t
+demand) open licensing. And Nick and Joni are agnostic about which Creative
+Commons license is used; it’s up to the designer. They can be proprietary or
+choose from the full suite of Creative Commons licenses, deciding for
+themselves how open or closed they want to be.
+ </p><p>
+ For the most part, designers love the idea of sharing content. They
+understand that you get positive feedback when you’re attributed, what Nick
+and Joni called <span class="quote">“<span class="quote">reputational glow.</span>”</span> And Opendesk does an
+awesome job profiling the designers.<a href="#ftn.idm1603" class="footnote" name="idm1603"><sup class="footnote">[134]</sup></a>
+ </p><p>
+ While designers are largely OK with personal sharing, there is a concern
+that someone will take the design and manufacture the furniture in bulk,
+with the designer not getting any benefits. So most Opendesk designers
+choose the Attribution-NonCommercial license (CC BY-NC).
+ </p><p>
+ Anyone can download a design and make it themselves, provided it’s for
+noncommercial use — and there have been many, many downloads. Or users can
+buy the product from Opendesk, or from a registered maker in Opendesk’s
+network, for on-demand personal fabrication. The network of Opendesk makers
+currently is made up of those who do digital fabrication using a
+computer-controlled CNC (Computer Numeric Control) machining device that
+cuts shapes out of wooden sheets according to the specifications in the
+design file.
+ </p><p>
+ Makers benefit from being part of Opendesk’s network. Making furniture for
+local customers is paid work, and Opendesk generates business for them. Joni
+said, <span class="quote">“<span class="quote">Finding a whole network and community of makers was pretty easy
+because we built a site where people could write in about their
+capabilities. Building the community by learning from the maker community is
+how we have moved forward.</span>”</span> Opendesk now has relationships with
+hundreds of makers in countries all around the world.<a href="#ftn.idm1610" class="footnote" name="idm1610"><sup class="footnote">[135]</sup></a>
+ </p><p>
+ The makers are a critical part of the Opendesk business model. Their model
+builds off the makers’ quotes. Here’s how it’s expressed on Opendesk’s
+website:
+ </p><p>
+ When customers buy an Opendesk product directly from a registered maker,
+they pay:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ the manufacturing cost as set by the maker (this covers material and labour
+costs for the product to be manufactured and any extra assembly costs
+charged by the maker)
+ </p></li><li class="listitem"><p>
+ a design fee for the designer (a design fee that is paid to the designer
+every time their design is used)
+ </p></li><li class="listitem"><p>
+ a percentage fee to the Opendesk platform (this supports the infrastructure
+and ongoing development of the platform that helps us build out our
+marketplace)
+ </p></li><li class="listitem"><p>
+ a percentage fee to the channel through which the sale is made (at the
+moment this is Opendesk, but in the future we aim to open this up to
+third-party sellers who can sell Opendesk products through their own
+channels—this covers sales and marketing fees for the relevant channel)
+ </p></li><li class="listitem"><p>
+ a local delivery service charge (the delivery is typically charged by the
+maker, but in some cases may be paid to a third-party delivery partner)
+ </p></li><li class="listitem"><p>
+ charges for any additional services the customer chooses, such as on-site
+assembly (additional services are discretionary—in many cases makers will be
+happy to quote for assembly on-site and designers may offer bespoke design
+options)
+ </p></li><li class="listitem"><p>
+ local sales taxes (variable by customer and maker location)<a href="#ftn.idm1630" class="footnote" name="idm1630"><sup class="footnote">[136]</sup></a>
+ </p></li></ul></div><p>
+ They then go into detail how makers’ quotes are created:
+ </p><p>
+ When a customer wants to buy an Opendesk . . . they are provided with a
+transparent breakdown of fees including the manufacturing cost, design fee,
+Opendesk platform fee and channel fees. If a customer opts to buy by getting
+in touch directly with a registered local maker using a downloaded Opendesk
+file, the maker is responsible for ensuring the design fee, Opendesk
+platform fee and channel fees are included in any quote at the time of
+sale. Percentage fees are always based on the underlying manufacturing cost
+and are typically apportioned as follows:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ manufacturing cost: fabrication, finishing and any other costs as set by the
+maker (excluding any services like delivery or on-site assembly)
+ </p></li><li class="listitem"><p>
+ design fee: 8 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ platform fee: 12 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ channel fee: 18 percent of the manufacturing cost
+ </p></li><li class="listitem"><p>
+ sales tax: as applicable (depends on product and location)
+ </p></li></ul></div><p>
+ Opendesk shares revenue with their community of designers. According to
+Nick and Joni, a typical designer fee is around 2.5 percent, so Opendesk’s 8
+percent is more generous, and providing a higher value to the designer.
+ </p><p>
+ The Opendesk website features stories of designers and makers. Denis Fuzii
+published the design for the Valovi Chair from his studio in São Paulo. His
+designs have been downloaded over five thousand times in ninety-five
+countries. I.J. CNC Services is Ian Jinks, a professional maker based in the
+United Kingdom. Opendesk now makes up a large proportion of his business.
+ </p><p>
+ To manage resources and remain effective, Opendesk has so far focused on a
+very narrow niche—primarily office furniture of a certain simple aesthetic,
+which uses only one type of material and one manufacturing technique. This
+allows them to be more strategic and more disruptive in the market, by
+getting things to market quickly with competitive prices. It also reflects
+their vision of creating reproducible and functional pieces.
+ </p><p>
+ On their website, Opendesk describes what they do as <span class="quote">“<span class="quote">open
+making</span>”</span>: <span class="quote">“<span class="quote">Designers get a global distribution channel. Makers
+get profitable jobs and new customers. You get designer products without the
+designer price tag, a more social, eco-friendly alternative to
+mass-production and an affordable way to buy custom-made products.</span>”</span>
+ </p><p>
+ Nick and Joni say that customers like the fact that the furniture has a
+known provenance. People really like that their furniture was designed by a
+certain international designer but was made by a maker in their local
+community; it’s a great story to tell. It certainly sets apart Opendesk
+furniture from the usual mass-produced items from a store.
+ </p><p>
+ Nick and Joni are taking a community-based approach to define and evolve
+Opendesk and the <span class="quote">“<span class="quote">open making</span>”</span> business model. They’re
+engaging thought leaders and practitioners to define this new movement. They
+have a separate Open Making site, which includes a manifesto, a field guide,
+and an invitation to get involved in the Open Making community.<a href="#ftn.idm1655" class="footnote" name="idm1655"><sup class="footnote">[137]</sup></a> People can submit ideas and discuss the principles
+and business practices they’d like to see used.
+ </p><p>
+ Nick and Joni talked a lot with us about intellectual property (IP) and
+commercialization. Many of their designers fear the idea that someone could
+take one of their design files and make and sell infinite number of pieces
+of furniture with it. As a consequence, most Opendesk designers choose the
+Attribution-NonCommercial license (CC BY-NC).
+ </p><p>
+ Opendesk established a set of principles for what their community considers
+commercial and noncommercial use. Their website states:
+ </p><p>
+ It is unambiguously commercial use when anyone:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ charges a fee or makes a profit when making an Opendesk
+ </p></li><li class="listitem"><p>
+ sells (or bases a commercial service on) an Opendesk
+ </p></li></ul></div><p>
+ It follows from this that noncommercial use is when you make an Opendesk
+yourself, with no intention to gain commercial advantage or monetary
+compensation. For example, these qualify as noncommercial:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ you are an individual with your own CNC machine, or access to a shared CNC
+machine, and will personally cut and make a few pieces of furniture yourself
+ </p></li><li class="listitem"><p>
+ you are a student (or teacher) and you use the design files for educational
+purposes or training (and do not intend to sell the resulting pieces)
+ </p></li><li class="listitem"><p>
+ you work for a charity and get furniture cut by volunteers, or by employees
+at a fab lab or maker space
+ </p></li></ul></div><p>
+ Whether or not people technically are doing things that implicate IP, Nick
+and Joni have found that people tend to comply with the wishes of creators
+out of a sense of fairness. They have found that behavioral economics can
+replace some of the thorny legal issues. In their business model, Nick and
+Joni are trying to suspend the focus on IP and build an open business model
+that works for all stakeholders—designers, channels, manufacturers, and
+customers. For them, the value Opendesk generates hangs off
+<span class="quote">“<span class="quote">open,</span>”</span> not IP.
+ </p><p>
+ The mission of Opendesk is about relocalizing manufacturing, which changes
+the way we think about how goods are made. Commercialization is integral to
+their mission, and they’ve begun to focus on success metrics that track how
+many makers and designers are engaged through Opendesk in revenue-making
+work.
+ </p><p>
+ As a global platform for local making, Opendesk’s business model has been
+built on honesty, transparency, and inclusivity. As Nick and Joni describe
+it, they put ideas out there that get traction and then have faith in
+people.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1603" 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>
+ OpenStax is a nonprofit that provides free, openly licensed textbooks for
+high-enrollment introductory college courses and Advanced Placement
+courses. Founded in 2012 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://www.openstaxcollege.org" target="_top">http://www.openstaxcollege.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding, charging
+for custom services, charging for physical copies (textbook sales)
+ </p><p><span class="strong"><strong>Interview date</strong></span>: December 16, 2015
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: David Harris,
+editor-in-chief
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ OpenStax is an extension of a program called Connexions, which was started
+in 1999 by Dr. Richard Baraniuk, the Victor E. Cameron Professor of
+Electrical and Computer Engineering at Rice University in Houston,
+Texas. Frustrated by the limitations of traditional textbooks and courses,
+Dr. Baraniuk wanted to provide authors and learners a way to share and
+freely adapt educational materials such as courses, books, and
+reports. Today, Connexions (now called OpenStax CNX) is one of the world’s
+best libraries of customizable educational materials, all licensed with
+Creative Commons and available to anyone, anywhere, anytime—for free.
+ </p><p>
+ In 2008, while in a senior leadership role at WebAssign and looking at ways
+to reduce the risk that came with relying on publishers, David Harris began
+investigating open educational resources (OER) and discovered Connexions. A
+year and a half later, Connexions received a grant to help grow the use of
+OER so that it could meet the needs of students who couldn’t afford
+textbooks. David came on board to spearhead this effort. Connexions became
+OpenStax CNX; the program to create open textbooks became OpenStax College,
+now simply called OpenStax.
+ </p><p>
+ David brought with him a deep understanding of the best practices of
+publishing along with where publishers have inefficiencies. In David’s view,
+peer review and high standards for quality are critically important if you
+want to scale easily. Books have to have logical scope and sequence, they
+have to exist as a whole and not in pieces, and they have to be easy to
+find. The working hypothesis for the launch of OpenStax was to
+professionally produce a turnkey textbook by investing effort up front, with
+the expectation that this would lead to rapid growth through easy downstream
+adoptions by faculty and students.
+ </p><p>
+ In 2012, OpenStax College launched as a nonprofit with the aim of producing
+high-quality, peer-reviewed full-color textbooks that would be available for
+free for the twenty-five most heavily attended college courses in the
+nation. Today they are fast approaching that number. There is data that
+proves the success of their original hypothesis on how many students they
+could help and how much money they could help save.<a href="#ftn.idm1695" class="footnote" name="idm1695"><sup class="footnote">[138]</sup></a> Professionally produced content scales rapidly. All
+with no sales force!
+ </p><p>
+ OpenStax textbooks are all Attribution (CC BY) licensed, and each textbook
+is available as a PDF, an e-book, or web pages. Those who want a physical
+copy can buy one for an affordable price. Given the cost of education and
+student debt in North America, free or very low-cost textbooks are very
+appealing. OpenStax encourages students to talk to their professor and
+librarians about these textbooks and to advocate for their use.
+ </p><p>
+ Teachers are invited to try out a single chapter from one of the textbooks
+with students. If that goes well, they’re encouraged to adopt the entire
+book. They can simply paste a URL into their course syllabus, for free and
+unlimited access. And with the CC BY license, teachers are free to delete
+chapters, make changes, and customize any book to fit their needs.
+ </p><p>
+ Any teacher can post corrections, suggest examples for difficult concepts,
+or volunteer as an editor or author. As many teachers also want supplemental
+material to accompany a textbook, OpenStax also provides slide
+presentations, test banks, answer keys, and so on.
+ </p><p>
+ Institutions can stand out by offering students a lower-cost education
+through the use of OpenStax textbooks; there’s even a textbook-savings
+calculator they can use to see how much students would save. OpenStax keeps
+a running list of institutions that have adopted their
+textbooks.<a href="#ftn.idm1702" class="footnote" name="idm1702"><sup class="footnote">[139]</sup></a>
+ </p><p>
+ Unlike traditional publishers’ monolithic approach of controlling
+intellectual property, distribution, and so many other aspects, OpenStax has
+adopted a model that embraces open licensing and relies on an extensive
+network of partners.
+ </p><p>
+ Up-front funding of a professionally produced all-color turnkey textbook is
+expensive. For this part of their model, OpenStax relies on
+philanthropy. They have initially been funded by the William and Flora
+Hewlett Foundation, the Laura and John Arnold Foundation, the Bill and
+Melinda Gates Foundation, the 20 Million Minds Foundation, the Maxfield
+Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To
+develop additional titles and supporting technology is probably still going
+to require philanthropic investment.
+ </p><p>
+ However, ongoing operations will not rely on foundation grants but instead
+on funds received through an ecosystem of over forty partners, whereby a
+partner takes core content from OpenStax and adds features that it can
+create revenue from. For example, WebAssign, an online homework and
+assessment tool, takes the physics book and adds algorithmically generated
+physics problems, with problem-specific feedback, detailed solutions, and
+tutorial support. WebAssign resources are available to students for a fee.
+ </p><p>
+ Another example is Odigia, who has turned OpenStax books into interactive
+learning experiences and created additional tools to measure and promote
+student engagement. Odigia licenses its learning platform to
+institutions. Partners like Odigia and WebAssign give a percentage of the
+revenue they earn back to OpenStax, as mission-support fees. OpenStax has
+already published revisions of their titles, such as Introduction to
+Sociology 2e, using these funds.
+ </p><p>
+ In David’s view, this approach lets the market operate at peak
+efficiency. OpenStax’s partners don’t have to worry about developing
+textbook content, freeing them up from those development costs and letting
+them focus on what they do best. With OpenStax textbooks available at no
+cost, they can provide their services at a lower cost—not free, but still
+saving students money. OpenStax benefits not only by receiving
+mission-support fees but through free publicity and marketing. OpenStax
+doesn’t have a sales force; partners are out there showcasing their
+materials.
+ </p><p>
+ OpenStax’s cost of sales to acquire a single student is very, very low and
+is a fraction of what traditional players in the market face. This year,
+Tyton Partners is actually evaluating the costs of sales for an OER effort
+like OpenStax in comparison with incumbents. David looks forward to sharing
+these findings with the community.
+ </p><p>
+ While OpenStax books are available online for free, many students still want
+a print copy. Through a partnership with a print and courier company,
+OpenStax offers a complete solution that scales. OpenStax sells tens of
+thousands of print books. The price of an OpenStax sociology textbook is
+about twenty-eight dollars, a fraction of what sociology textbooks usually
+cost. OpenStax keeps the prices low but does aim to earn a small margin on
+each book sold, which also contributes to ongoing operations.
+ </p><p>
+ Campus-based bookstores are part of the OpenStax solution. OpenStax
+collaborates with NACSCORP (the National Association of College Stores
+Corporation) to provide print versions of their textbooks in the
+stores. While the overall cost of the textbook is significantly less than a
+traditional textbook, bookstores can still make a profit on sales. Sometimes
+students take the savings they have from the lower-priced book and use it to
+buy other things in the bookstore. And OpenStax is trying to break the
+expensive behavior of excessive returns by having a no-returns policy. This
+is working well, since the sell-through of their print titles is virtually a
+hundred percent.
+ </p><p>
+ David thinks of the OpenStax model as <span class="quote">“<span class="quote">OER 2.0.</span>”</span> So what is OER
+1.0? Historically in the OER field, many OER initiatives have been locally
+funded by institutions or government ministries. In David’s view, this
+results in content that has high local value but is infrequently adopted
+nationally. It’s therefore difficult to show payback over a time scale that
+is reasonable.
+ </p><p>
+ OER 2.0 is about OER intended to be used and adopted on a national level
+right from the start. This requires a bigger investment up front but pays
+off through wide geographic adoption. The OER 2.0 process for OpenStax
+involves two development models. The first is what David calls the
+acquisition model, where OpenStax purchases the rights from a publisher or
+author for an already published book and then extensively revises it. The
+OpenStax physics textbook, for example, was licensed from an author after
+the publisher released the rights back to the authors. The second model is
+to develop a book from scratch, a good example being their biology book.
+ </p><p>
+ The process is similar for both models. First they look at the scope and
+sequence of existing textbooks. They ask questions like what does the
+customer need? Where are students having challenges? Then they identify
+potential authors and put them through a rigorous evaluation—only one in ten
+authors make it through. OpenStax selects a team of authors who come
+together to develop a template for a chapter and collectively write the
+first draft (or revise it, in the acquisitions model). (OpenStax doesn’t do
+books with just a single author as David says it risks the project going
+longer than scheduled.) The draft is peer-reviewed with no less than three
+reviewers per chapter. A second draft is generated, with artists producing
+illustrations and visuals to go along with the text. The book is then
+copyedited to ensure grammatical correctness and a singular voice. Finally,
+it goes into production and through a final proofread. The whole process is
+very time-consuming.
+ </p><p>
+ All the people involved in this process are paid. OpenStax does not rely on
+volunteers. Writers, reviewers, illustrators, and editors are all paid an
+up-front fee—OpenStax does not use a royalty model. A best-selling author
+might make more money under the traditional publishing model, but that is
+only maybe 5 percent of all authors. From David’s perspective, 95 percent of
+all authors do better under the OER 2.0 model, as there is no risk to them
+and they earn all the money up front.
+ </p><p>
+ David thinks of the Attribution license (CC BY) as the <span class="quote">“<span class="quote">innovation
+license.</span>”</span> It’s core to the mission of OpenStax, letting people use
+their textbooks in innovative ways without having to ask for permission. It
+frees up the whole market and has been central to OpenStax being able to
+bring on partners. OpenStax sees a lot of customization of their
+materials. By enabling frictionless remixing, CC BY gives teachers control
+and academic freedom.
+ </p><p>
+ Using CC BY is also a good example of using strategies that traditional
+publishers can’t. Traditional publishers rely on copyright to prevent others
+from making copies and heavily invest in digital rights management to ensure
+their books aren’t shared. By using CC BY, OpenStax avoids having to deal
+with digital rights management and its costs. OpenStax books can be copied
+and shared over and over again. CC BY changes the rules of engagement and
+takes advantage of traditional market inefficiencies.
+ </p><p>
+ As of September 16, 2016, OpenStax has achieved some impressive
+results. From the OpenStax at a Glance fact sheet from their recent press
+kit:
+ </p><div class="itemizedlist"><ul class="itemizedlist compact" style="list-style-type: disc; "><li class="listitem"><p>
+ Books published: 23
+ </p></li><li class="listitem"><p>
+ Students who have used OpenStax: 1.6 million
+ </p></li><li class="listitem"><p>
+ Money saved for students: $155 million
+ </p></li><li class="listitem"><p>
+ Money saved for students in the 2016/17 academic year: $77 million
+ </p></li><li class="listitem"><p>
+ Schools that have used OpenStax: 2,668 (This number reflects all
+institutions using at least one OpenStax textbook. Out of 2,668 schools, 517
+are two-year colleges, 835 four-year colleges and universities, and 344
+colleges and universities outside the U.S.)
+ </p></li></ul></div><p>
+ While OpenStax has to date been focused on the United States, there is
+overseas adoption especially in the science, technology, engineering, and
+math (STEM) fields. Large scale adoption in the United States is seen as a
+necessary precursor to international interest.
+ </p><p>
+ OpenStax has primarily focused on introductory-level college courses where
+there is high enrollment, but they are starting to think about verticals—a
+broad offering for a specific group or need. David thinks it would be
+terrific if OpenStax could provide access to free textbooks through the
+entire curriculum of a nursing degree, for example.
+ </p><p>
+ Finally, for OpenStax success is not just about the adoption of their
+textbooks and student savings. There is a human aspect to the work that is
+hard to quantify but incredibly important. They get emails from students
+saying how OpenStax saved them from making difficult choices like buying
+food or a textbook. OpenStax would also like to assess the impact their
+books have on learning efficiency, persistence, and completion. By building
+an open business model based on Creative Commons, OpenStax is making it
+possible for every student who wants access to education to get it.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1695" 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>
+ Amanda Palmer is a musician, artist, and writer. Based in the U.S.
+ </p><p>
+ <a class="ulink" href="http://amandapalmer.net" target="_top">http://amandapalmer.net</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: crowdfunding
+(subscription-based), pay-what-you-want, charging for physical copies (book
+and album sales), charg-ing for in-person version (performances), selling
+merchandise
+ </p><p><span class="strong"><strong>Interview date</strong></span>: December 15, 2015
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Since the beginning of her career, Amanda Palmer has been on what she calls
+a <span class="quote">“<span class="quote">journey with no roadmap,</span>”</span> continually experimenting to find
+new ways to sustain her creative work.<a href="#ftn.idm1749" class="footnote" name="idm1749"><sup class="footnote">[140]</sup></a>
+ </p><p>
+ In her best-selling book, The Art of Asking, Amanda articulates exactly what
+she has been and continues to strive for—<span class="quote">“<span class="quote">the ideal sweet spot
+. . . in which the artist can share freely and directly feel the
+reverberations of their artistic gifts to the community, and make a living
+doing that.</span>”</span>
+ </p><p>
+ While she seems to have successfully found that sweet spot for herself,
+Amanda is the first to acknowledge there is no silver bullet. She thinks the
+digital age is both an exciting and frustrating time for creators. <span class="quote">“<span class="quote">On
+the one hand, we have this beautiful shareability,</span>”</span> Amanda
+said. <span class="quote">“<span class="quote">On the other, you’ve got a bunch of confused artists wondering
+how to make money to buy food so we can make more art.</span>”</span>
+ </p><p>
+ Amanda began her artistic career as a street performer. She would dress up
+in an antique wedding gown, paint her face white, stand on a stack of milk
+crates, and hand out flowers to strangers as part of a silent dramatic
+performance. She collected money in a hat. Most people walked by her without
+stopping, but an essential few stopped to watch and drop some money into her
+hat to show their appreciation. Rather than dwelling on the majority of
+people who ignored her, she felt thankful for those who stopped. <span class="quote">“<span class="quote">All
+I needed was . . . some people,</span>”</span> she wrote in her book. <span class="quote">“<span class="quote">Enough
+people. Enough to make it worth coming back the next day, enough people to
+help me make rent and put food on the table. Enough so I could keep making
+art.</span>”</span>
+ </p><p>
+ Amanda has come a long way from her street-performing days, but her career
+remains dominated by that same sentiment—finding ways to reach <span class="quote">“<span class="quote">her
+crowd</span>”</span> and feeling gratitude when she does. With her band the Dresden
+Dolls, Amanda tried the traditional path of signing with a record label. It
+didn’t take for a variety of reasons, but one of them was that the label had
+absolutely no interest in Amanda’s view of success. They wanted hits, but
+making music for the masses was never what Amanda and the Dresden Dolls set
+out to do.
+ </p><p>
+ After leaving the record label in 2008, she began experimenting with
+different ways to make a living. She released music directly to the public
+without involving a middle man, releasing digital files on a <span class="quote">“<span class="quote">pay what
+you want</span>”</span> basis and selling CDs and vinyl. She also made money from
+live performances and merchandise sales. Eventually, in 2012 she decided to
+try her hand at the sort of crowdfunding we know so well today. Her
+Kickstarter project started with a goal of $100,000, and she made $1.2
+million. It remains one of the most successful Kickstarter projects of all
+time.
+ </p><p>
+ Today, Amanda has switched gears away from crowdfunding for specific
+projects to instead getting consistent financial support from her fan base
+on Patreon, a crowdfunding site that allows artists to get recurring
+donations from fans. More than eight thousand people have signed up to
+support her so she can create music, art, and any other creative
+<span class="quote">“<span class="quote">thing</span>”</span> that she is inspired to make. The recurring pledges are
+made on a <span class="quote">“<span class="quote">per thing</span>”</span> basis. All of the content she makes is
+made freely available under an Attribution-NonCommercial-ShareAlike license
+(CC BY-NC-SA).
+ </p><p>
+ Making her music and art available under Creative Commons licensing
+undoubtedly limits her options for how she makes a living. But sharing her
+work has been part of her model since the beginning of her career, even
+before she discovered Creative Commons. Amanda says the Dresden Dolls used
+to get ten emails per week from fans asking if they could use their music
+for different projects. They said yes to all of the requests, as long as it
+wasn’t for a completely for-profit venture. At the time, they used a
+short-form agreement written by Amanda herself. <span class="quote">“<span class="quote">I made everyone sign
+that contract so at least I wouldn’t be leaving the band vulnerable to
+someone later going on and putting our music in a Camel cigarette
+ad,</span>”</span> Amanda said. Once she discovered Creative Commons, adopting the
+licenses was an easy decision because it gave them a more formal,
+standardized way of doing what they had been doing all along. The
+NonCommercial licenses were a natural fit.
+ </p><p>
+ Amanda embraces the way her fans share and build upon her music. In The Art
+of Asking, she wrote that some of her fans’ unofficial videos using her
+music surpass the official videos in number of views on YouTube. Rather than
+seeing this sort of thing as competition, Amanda celebrates it. <span class="quote">“<span class="quote">We
+got into this because we wanted to share the joy of music,</span>”</span> she said.
+ </p><p>
+ This is symbolic of how nearly everything she does in her career is
+motivated by a desire to connect with her fans. At the start of her career,
+she and the band would throw concerts at house parties. As the gatherings
+grew, the line between fans and friends was completely blurred. <span class="quote">“<span class="quote">Not
+only did most our early fans know where I lived and where we practiced, but
+most of them had also been in my kitchen,</span>”</span> Amanda wrote in The Art of
+Asking.
+ </p><p>
+ Even though her fan base is now huge and global, she continues to seek this
+sort of human connection with her fans. She seeks out face-to-face contact
+with her fans every chance she can get. Her hugely successful Kickstarter
+featured fifty concerts at house parties for backers. She spends hours in
+the signing line after shows. It helps that Amanda has the kind of dynamic,
+engaging personality that instantly draws people to her, but a big component
+of her ability to connect with people is her willingness to
+listen. <span class="quote">“<span class="quote">Listening fast and caring immediately is a skill unto
+itself,</span>”</span> Amanda wrote.
+ </p><p>
+ Another part of the connection fans feel with Amanda is how much they know
+about her life. Rather than trying to craft a public persona or image, she
+essentially lives her life as an open book. She has written openly about
+incredibly personal events in her life, and she isn’t afraid to be
+vulnerable. Having that kind of trust in her fans—the trust it takes to be
+truly honest—begets trust from her fans in return. When she meets fans for
+the first time after a show, they can legitimately feel like they know her.
+ </p><p><span class="quote">“<span class="quote">With social media, we’re so concerned with the picture looking
+palatable and consumable that we forget that being human and showing the
+flaws and exposing the vulnerability actually create a deeper connection
+than just looking fantastic,</span>”</span> Amanda said. <span class="quote">“<span class="quote">Everything in our
+culture is telling us otherwise. But my experience has shown me that the
+risk of making yourself vulnerable is almost always worth it.</span>”</span>
+ </p><p>
+ Not only does she disclose intimate details of her life to them, she sleeps
+on their couches, listens to their stories, cries with them. In short, she
+treats her fans like friends in nearly every possible way, even when they
+are complete strangers. This mentality—that fans are friends—is completely
+intertwined with Amanda’s success as an artist. It is also intertwined with
+her use of Creative Commons licenses. Because that is what you do with your
+friends—you share.
+ </p><p>
+ After years of investing time and energy into building trust with her fans,
+she has a strong enough relationship with them to ask for support—through
+pay-what-you-want donations, Kickstarter, Patreon, or even asking them to
+lend a hand at a concert. As Amanda explains it, crowdfunding (which is
+really what all of these different things are) is about asking for support
+from people who know and trust you. People who feel personally invested in
+your success.
+ </p><p><span class="quote">“<span class="quote">When you openly, radically trust people, they not only take care of
+you, they become your allies, your family,</span>”</span> she wrote. There really
+is a feeling of solidarity within her core fan base. From the beginning,
+Amanda and her band encouraged people to dress up for their shows. They
+consciously cultivated a feeling of belonging to their <span class="quote">“<span class="quote">weird little
+family.</span>”</span>
+ </p><p>
+ This sort of intimacy with fans is not possible or even desirable for every
+creator. <span class="quote">“<span class="quote">I don’t take for granted that I happen to be the type of
+person who loves cavorting with strangers,</span>”</span> Amanda said. <span class="quote">“<span class="quote">I
+recognize that it’s not necessarily everyone’s idea of a good time. Everyone
+does it differently. Replicating what I have done won’t work for others if
+it isn’t joyful to them. It’s about finding a way to channel energy in a way
+that is joyful to you.</span>”</span>
+ </p><p>
+ Yet while Amanda joyfully interacts with her fans and involves them in her
+work as much as possible, she does keep one job primarily to herself—writing
+the music. She loves the creativity with which her fans use and adapt her
+work, but she intentionally does not involve them at the first stage of
+creating her artistic work. And, of course, the songs and music are what
+initially draw people to Amanda Palmer. It is only once she has connected to
+people through her music that she can then begin to build ties with them on
+a more personal level, both in person and online. In her book, Amanda
+describes it as casting a net. It starts with the art and then the bond
+strengthens with human connection.
+ </p><p>
+ For Amanda, the entire point of being an artist is to establish and maintain
+this connection. <span class="quote">“<span class="quote">It sounds so corny,</span>”</span> she said, <span class="quote">“<span class="quote">but my
+experience in forty years on this planet has pointed me to an obvious
+truth—that connection with human beings feels so much better and more
+fulfilling than approaching art through a capitalist lens. There is no more
+satisfying end goal than having someone tell you that what you do is
+genuinely of value to them.</span>”</span>
+ </p><p>
+ As she explains it, when a fan gives her a ten-dollar bill, usually what
+they are saying is that the money symbolizes some deeper value the music
+provided them. For Amanda, art is not just a product; it’s a
+relationship. Viewed from this lens, what Amanda does today is not that
+different from what she did as a young street performer. She shares her
+music and other artistic gifts. She shares herself. And then rather than
+forcing people to help her, she lets them.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1749" 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>
+ PLOS (Public Library of Science) is a nonprofit that publishes a library of
+academic journals and other scientific literature. Founded in 2000 in the
+U.S.
+ </p><p>
+ <a class="ulink" href="http://plos.org" target="_top">http://plos.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging content creators
+an author processing charge to be featured in the journal
+ </p><p><span class="strong"><strong>Interview date</strong></span>: March 7, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Louise Page, publisher
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The Public Library of Science (PLOS) began in 2000 when three leading
+scientists—Harold E. Varmus, Patrick O. Brown, and Michael Eisen—started an
+online petition. They were calling for scientists to stop submitting papers
+to journals that didn’t make the full text of their papers freely available
+immediately or within six months. Although tens of thousands signed the
+petition, most did not follow through. In August 2001, Patrick and Michael
+announced that they would start their own nonprofit publishing operation to
+do just what the petition promised. With start-up grant support from the
+Gordon and Betty Moore Foundation, PLOS was launched to provide new
+open-access journals for biomedicine, with research articles being released
+under Attribution (CC BY) licenses.
+ </p><p>
+ Traditionally, academic publishing begins with an author submitting a
+manuscript to a publisher. After in-house technical and ethical
+considerations, the article is then peer-reviewed to determine if the
+quality of the work is acceptable for publishing. Once accepted, the
+publisher takes the article through the process of copyediting, typesetting,
+and eventual publishing in a print or online publication. Traditional
+journal publishers recover costs and earn profit by charging a subscription
+fee to libraries or an access fee to users wanting to read the journal or
+article.
+ </p><p>
+ For Louise Page, the current publisher of PLOS, this traditional model
+results in inequity. Access is restricted to those who can pay. Most
+research is funded through government-appointed agencies, that is, with
+public funds. It’s unjust that the public who funded the research would be
+required to pay again to access the results. Not everyone can afford the
+ever-escalating subscription fees publishers charge, especially when library
+budgets are being reduced. Restricting access to the results of scientific
+research slows the dissemination of this research and advancement of the
+field. It was time for a new model.
+ </p><p>
+ That new model became known as open access. That is, free and open
+availability on the Internet. Open-access research articles are not behind a
+paywall and do not require a login. A key benefit of open access is that it
+allows people to freely use, copy, and distribute the articles, as they are
+primarily published under an Attribution (CC BY) license (which only
+requires the user to provide appropriate attribution). And more importantly,
+policy makers, clinicians, entrepreneurs, educators, and students around the
+world have free and timely access to the latest research immediately on
+publication.
+ </p><p>
+ However, open access requires rethinking the business model of research
+publication. Rather than charge a subscription fee to access the journal,
+PLOS decided to turn the model on its head and charge a publication fee,
+known as an article-processing charge. This up-front fee, generally paid by
+the funder of the research or the author’s institution, covers the expenses
+such as editorial oversight, peer-review management, journal production,
+online hosting, and support for discovery. Fees are per article and are
+billed upon acceptance for publishing. There are no additional charges based
+on word length, figures, or other elements.
+ </p><p>
+ Calculating the article-processing charge involves taking all the costs
+associated with publishing the journal and determining a cost per article
+that collectively recovers costs. For PLOS’s journals in biology, medicine,
+genetics, computational biology, neglected tropical diseases, and pathogens,
+the article-processing charge ranges from $2,250 to
+$2,900. Article-publication charges for PLOS ONE, a journal started in 2006,
+are just under $1,500.
+ </p><p>
+ PLOS believes that lack of funds should not be a barrier to
+publication. Since its inception, PLOS has provided fee support for
+individuals and institutions to help authors who can’t afford the
+article-processing charges.
+ </p><p>
+ Louise identifies marketing as one area of big difference between PLOS and
+traditional journal publishers. Traditional journals have to invest heavily
+in staff, buildings, and infrastructure to market their journal and convince
+customers to subscribe. Restricting access to subscribers means that tools
+for managing access control are necessary. They spend millions of dollars on
+access-control systems, staff to manage them, and sales staff. With PLOS’s
+open-access publishing, there’s no need for these massive expenses; the
+articles are free, open, and accessible to all upon
+publication. Additionally, traditional publishers tend to spend more on
+marketing to libraries, who ultimately pay the subscription fees. PLOS
+provides a better service for authors by promoting their research directly
+to the research community and giving the authors exposure. And this
+encourages other authors to submit their work for publication.
+ </p><p>
+ For Louise, PLOS would not exist without the Attribution license (CC
+BY). This makes it very clear what rights are associated with the content
+and provides a safe way for researchers to make their work available while
+ensuring they get recognition (appropriate attribution). For PLOS, all of
+this aligns with how they think research content should be published and
+disseminated.
+ </p><p>
+ PLOS also has a broad open-data policy. To get their research paper
+published, PLOS authors must also make their data available in a public
+repository and provide a data-availability statement.
+ </p><p>
+ Business-operation costs associated with the open-access model still largely
+follow the existing publishing model. PLOS journals are online only, but the
+editorial, peer-review, production, typesetting, and publishing stages are
+all the same as for a traditional publisher. The editorial teams must be top
+notch. PLOS has to function as well as or better than other premier
+journals, as researchers have a choice about where to publish.
+ </p><p>
+ Researchers are influenced by journal rankings, which reflect the place of a
+journal within its field, the relative difficulty of being published in that
+journal, and the prestige associated with it. PLOS journals rank high, even
+though they are relatively new.
+ </p><p>
+ The promotion and tenure of researchers are partially based how many times
+other researchers cite their articles. Louise says when researchers want to
+discover and read the work of others in their field, they go to an online
+aggregator or search engine, and not typically to a particular journal. The
+CC BY licensing of PLOS research articles ensures easy access for readers
+and generates more discovery and citations for authors.
+ </p><p>
+ Louise believes that open access has been a huge success, progressing from a
+movement led by a small cadre of researchers to something that is now
+widespread and used in some form by every journal publisher. PLOS has had a
+big impact. In 2012 to 2014, they published more open-access articles than
+BioMed Central, the original open-access publisher, or anyone else.
+ </p><p>
+ PLOS further disrupted the traditional journal-publishing model by
+pioneering the concept of a megajournal. The PLOS ONE megajournal, launched
+in 2006, is an open-access peer-reviewed academic journal that is much
+larger than a traditional journal, publishing thousands of articles per year
+and benefiting from economies of scale. PLOS ONE has a broad scope, covering
+science and medicine as well as social sciences and the humanities. The
+review and editorial process is less subjective. Articles are accepted for
+publication based on whether they are technically sound rather than
+perceived importance or relevance. This is very important in the current
+debate about the integrity and reproducibility of research because negative
+or null results can then be published as well, which are generally rejected
+by traditional journals. PLOS ONE, like all the PLOS journals, is online
+only with no print version. PLOS passes on the financial savings accrued
+through economies of scale to researchers and the public by lowering the
+article-processing charges, which are below that of other journals. PLOS ONE
+is the biggest journal in the world and has really set the bar for
+publishing academic journal articles on a large scale. Other publishers see
+the value of the PLOS ONE model and are now offering their own
+multidisciplinary forums for publishing all sound science.
+ </p><p>
+ Louise outlined some other aspects of the research-journal business model
+PLOS is experimenting with, describing each as a kind of slider that could
+be adjusted to change current practice.
+ </p><p>
+ One slider is time to publication. Time to publication may shorten as
+journals get better at providing quicker decisions to authors. However,
+there is always a trade-off with scale, as the bigger the volume of
+articles, the more time the approval process inevitably takes.
+ </p><p>
+ Peer review is another part of the process that could change. It’s possible
+to redefine what peer review actually is, when to review, and what
+constitutes the final article for publication. Louise talked about the
+potential to shift to an open-review process, placing the emphasis on
+transparency rather than double-blind reviews. Louise thinks we’re moving
+into a direction where it’s actually beneficial for an author to know who is
+reviewing their paper and for the reviewer to know their review will be
+public. An open-review process can also ensure everyone gets credit; right
+now, credit is limited to the publisher and author.
+ </p><p>
+ Louise says research with negative outcomes is almost as important as
+positive results. If journals published more research with negative
+outcomes, we’d learn from what didn’t work. It could also reduce how much
+the research wheel gets reinvented around the world.
+ </p><p>
+ Another adjustable practice is the sharing of articles at early preprint
+stages. Publication of research in a peer-reviewed journal can take a long
+time because articles must undergo extensive peer review. The need to
+quickly circulate current results within a scientific community has led to a
+practice of distributing pre-print documents that have not yet undergone
+peer review. Preprints broaden the peer-review process, allowing authors to
+receive early feedback from a wide group of peers, which can help revise and
+prepare the article for submission. Offsetting the advantages of preprints
+are author concerns over ensuring their primacy of being first to come up
+with findings based on their research. Other researches may see findings the
+preprint author has not yet thought of. However, preprints help researchers
+get their discoveries out early and establish precedence. A big challenge is
+that researchers don’t have a lot of time to comment on preprints.
+ </p><p>
+ What constitutes a journal article could also change. The idea of a research
+article as printed, bound, and in a library stack is outdated. Digital and
+online open up new possibilities, such as a living document evolving over
+time, inclusion of audio and video, and interactivity, like discussion and
+recommendations. Even the size of what gets published could change. With
+these changes the current form factor for what constitutes a research
+article would undergo transformation.
+ </p><p>
+ As journals scale up, and new journals are introduced, more and more
+information is being pushed out to readers, making the experience feel like
+drinking from a fire hose. To help mitigate this, PLOS aggregates and
+curates content from PLOS journals and their network of blogs.<a href="#ftn.idm1827" class="footnote" name="idm1827"><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
+journal model could evolve to provide a more friendly and interactive user
+experience, including a way for readers to communicate with authors.
+ </p><p>
+ The big picture for PLOS going forward is to combine and adjust these
+experimental practices in ways that continue to improve accessibility and
+dissemination of research, while ensuring its integrity and reliability. The
+ways they interlink are complex. The process of change and adjustment is
+not linear. PLOS sees itself as a very flexible publisher interested in
+exploring all the permutations research-publishing can take, with authors
+and readers who are open to experimentation.
+ </p><p>
+ For PLOS, success is not about revenue. Success is about proving that
+scientific research can be communicated rapidly and economically at scale,
+for the benefit of researchers and society. The CC BY license makes it
+possible for PLOS to publish in a way that is unfettered, open, and fast,
+while ensuring that the authors get credit for their work. More than two
+million scientists, scholars, and clinicians visit PLOS every month, with
+more than 135,000 quality articles to peruse for free.
+ </p><p>
+ Ultimately, for PLOS, its authors, and its readers, success is about making
+research discoverable, available, and reproducible for the advancement of
+science.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1827" 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>
+ The Rijksmuseum is a Dutch national museum dedicated to art and
+history. Founded in 1800 in the Netherlands
+ </p><p>
+ <a class="ulink" href="http://www.rijksmuseum.nl" target="_top">http://www.rijksmuseum.nl</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grants and government
+funding, charging for in-person version (museum admission), selling
+merchandise
+ </p><p><span class="strong"><strong>Interview date</strong></span>: December 11, 2015
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Lizzy Jongma, the data
+manager of the collections information department
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ The Rijksmuseum, a national museum in the Netherlands dedicated to art and
+history, has been housed in its current building since 1885. The monumental
+building enjoyed more than 125 years of intensive use before needing a
+thorough overhaul. In 2003, the museum was closed for renovations. Asbestos
+was found in the roof, and although the museum was scheduled to be closed
+for only three to four years, renovations ended up taking ten years. During
+this time, the collection was moved to a different part of Amsterdam, which
+created a physical distance with the curators. Out of necessity, they
+started digitally photographing the collection and creating metadata
+(information about each object to put into a database). With the renovations
+going on for so long, the museum became largely forgotten by the public. Out
+of these circumstances emerged a new and more open model for the museum.
+ </p><p>
+ By the time Lizzy Jongma joined the Rijksmuseum in 2011 as a data manager,
+staff were fed up with the situation the museum was in. They also realized
+that even with the new and larger space, it still wouldn’t be able to show
+very much of the whole collection—eight thousand of over one million works
+representing just 1 percent. Staff began exploring ways to express
+themselves, to have something to show for all of the work they had been
+doing. The Rijksmuseum is primarily funded by Dutch taxpayers, so was there
+a way for the museum provide benefit to the public while it was closed? They
+began thinking about sharing Rijksmuseum’s collection using information
+technology. And they put up a card-catalog like database of the entire
+collection online.
+ </p><p>
+ It was effective but a bit boring. It was just data. A hackathon they were
+invited to got them to start talking about events like that as having
+potential. They liked the idea of inviting people to do cool stuff with
+their collection. What about giving online access to digital representations
+of the one hundred most important pieces in the Rijksmuseum collection? That
+eventually led to why not put the whole collection online?
+ </p><p>
+ Then, Lizzy says, Europeana came along. Europeana is Europe’s digital
+library, museum, and archive for cultural heritage.<a href="#ftn.idm1853" class="footnote" name="idm1853"><sup class="footnote">[143]</sup></a> As an online portal to museum collections all
+across Europe, Europeana had become an important online platform. In October
+2010 Creative Commons released CC0 and its public-domain mark as tools
+people could use to identify works as free of known copyright. Europeana was
+the first major adopter, using CC0 to release metadata about their
+collection and the public domain mark for millions of digital works in their
+collection. Lizzy says the Rijksmuseum initially found this change in
+business practice a bit scary, but at the same time it stimulated even more
+discussion on whether the Rijksmuseum should follow suit.
+ </p><p>
+ They realized that they don’t <span class="quote">“<span class="quote">own</span>”</span> the collection and couldn’t
+realistically monitor and enforce compliance with the restrictive licensing
+terms they currently had in place. For example, many copies and versions of
+Vermeer’s Milkmaid (part of their collection) were already online, many of
+them of very poor quality. They could spend time and money policing its use,
+but it would probably be futile and wouldn’t make people stop using their
+images online. They ended up thinking it’s an utter waste of time to hunt
+down people who use the Rijksmuseum collection. And anyway, restricting
+access meant the people they were frustrating the most were schoolkids.
+ </p><p>
+ In 2011 the Rijksmuseum began making their digital photos of works known to
+be free of copyright available online, using Creative Commons CC0 to place
+works in the public domain. A medium-resolution image was offered for free,
+but a high-resolution version cost forty euros. People started paying, but
+Lizzy says getting the money was frequently a nightmare, especially from
+overseas customers. The administrative costs often offset revenue, and
+income above costs was relatively low. In addition, having to pay for an
+image of a work in the public domain from a collection owned by the Dutch
+government (i.e., paid for by the public) was contentious and frustrating
+for some. Lizzy says they had lots of fierce debates about what to do.
+ </p><p>
+ In 2013 the Rijksmuseum changed its business model. They Creative Commons
+licensed their highest-quality images and released them online for
+free. Digitization still cost money, however; they decided to define
+discrete digitization projects and find sponsors willing to fund each
+project. This turned out to be a successful strategy, generating high
+interest from sponsors and lower administrative effort for the
+Rijksmuseum. They started out making 150,000 high-quality images of their
+collection available, with the goal to eventually have the entire collection
+online.
+ </p><p>
+ Releasing these high-quality images for free reduced the number of
+poor-quality images that were proliferating. The high-quality image of
+Vermeer’s Milkmaid, for example, is downloaded two to three thousand times a
+month. On the Internet, images from a source like the Rijksmuseum are more
+trusted, and releasing them with a Creative Commons CC0 means they can
+easily be found in other platforms. For example, Rijksmuseum images are now
+used in thousands of Wikipedia articles, receiving ten to eleven million
+views per month. This extends Rijksmuseum’s reach far beyond the scope of
+its website. Sharing these images online creates what Lizzy calls the
+<span class="quote">“<span class="quote">Mona Lisa effect,</span>”</span> where a work of art becomes so famous that
+people want to see it in real life by visiting the actual museum.
+ </p><p>
+ Every museum tends to be driven by the number of physical visitors. The
+Rijksmuseum is primarily publicly funded, receiving roughly 70 percent of
+its operating budget from the government. But like many museums, it must
+generate the rest of the funding through other means. The admission fee has
+long been a way to generate revenue generation, including for the
+Rijksmuseum.
+ </p><p>
+ As museums create a digital presence for themselves and put up digital
+representations of their collection online, there’s frequently a worry that
+it will lead to a drop in actual physical visits. For the Rijksmuseum, this
+has not turned out to be the case. Lizzy told us the Rijksmuseum used to get
+about one million visitors a year before closing and now gets more than two
+million a year. Making the collection available online has generated
+publicity and acts as a form of marketing. The Creative Commons mark
+encourages reuse as well. When the image is found on protest leaflets, milk
+cartons, and children’s toys, people also see what museum the image comes
+from and this increases the museum’s visibility.
+ </p><p>
+ In 2011 the Rijksmuseum received €1 million from the Dutch lottery to create
+a new web presence that would be different from any other museum’s. In
+addition to redesigning their main website to be mobile friendly and
+responsive to devices like the iPad, the Rijksmuseum also created the
+Rijksstudio, where users and artists could use and do various things with
+the Rijksmuseum collection.<a href="#ftn.idm1865" class="footnote" name="idm1865"><sup class="footnote">[144]</sup></a>
+ </p><p>
+ The Rijksstudio gives users access to over two hundred thousand high-quality
+digital representations of masterworks from the collection. Users can zoom
+in to any work and even clip small parts of images they like. Rijksstudio is
+a bit like Pinterest. You can <span class="quote">“<span class="quote">like</span>”</span> works and compile your
+personal favorites, and you can share them with friends or download them
+free of charge. All the images in the Rijksstudio are copyright and royalty
+free, and users are encouraged to use them as they like, for private or even
+commercial purposes.
+ </p><p>
+ Users have created over 276,000 Rijksstudios, generating their own themed
+virtual exhibitions on a wide variety of topics ranging from tapestries to
+ugly babies and birds. Sets of images have also been created for educational
+purposes including use for school exams.
+ </p><p>
+ Some contemporary artists who have works in the Rijksmuseum collection
+contacted them to ask why their works were not included in the
+Rijksstudio. The answer was that contemporary artists’ works are still bound
+by copyright. The Rijksmuseum does encourage contemporary artists to use a
+Creative Commons license for their works, usually a CC BY-SA license
+(Attribution-ShareAlike), or a CC BY-NC (Attribution-NonCommercial) if they
+want to preclude commercial use. That way, their works can be made available
+to the public, but within limits the artists have specified.
+ </p><p>
+ The Rijksmuseum believes that art stimulates entrepreneurial activity. The
+line between creative and commercial can be blurry. As Lizzy says, even
+Rembrandt was commercial, making his livelihood from selling his
+paintings. The Rijksmuseum encourages entrepreneurial commercial use of the
+images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy
+to inspire people to sell their creations. One great example you can find on
+Etsy is a kimono designed by Angie Johnson, who used an image of an
+elaborate cabinet along with an oil painting by Jan Asselijn called The
+Threatened Swan.<a href="#ftn.idm1873" class="footnote" name="idm1873"><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
+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
+with the results. Entries range from the fun to the weird to the
+inspirational. The third international edition of the Rijksstudio Award
+started in September 2016.
+ </p><p>
+ For the next iteration of the Rijksstudio, the Rijksmuseum is considering an
+upload tool, for people to upload their own works of art, and enhanced
+social elements so users can interact with each other more.
+ </p><p>
+ Going with a more open business model generated lots of publicity for the
+Rijksmuseum. They were one of the first museums to open up their collection
+(that is, give free access) with high-quality images. This strategy, along
+with the many improvements to the Rijksmuseum’s website, dramatically
+increased visits to their website from thirty-five thousand visits per month
+to three hundred thousand.
+ </p><p>
+ The Rijksmuseum has been experimenting with other ways to invite the public
+to look at and interact with their collection. On an international day
+celebrating animals, they ran a successful bird-themed event. The museum put
+together a showing of two thousand works that featured birds and invited
+bird-watchers to identify the birds depicted. Lizzy notes that while museum
+curators know a lot about the works in their collections, they may not know
+about certain details in the paintings such as bird species. Over eight
+hundred different birds were identified, including a specific species of
+crane bird that was unknown to the scientific community at the time of the
+painting.
+ </p><p>
+ For the Rijksmuseum, adopting an open business model was scary. They came
+up with many worst-case scenarios, imagining all kinds of awful things
+people might do with the museum’s works. But Lizzy says those fears did not
+come true because <span class="quote">“<span class="quote">ninety-nine percent of people have respect for
+great art.</span>”</span> Many museums think they can make a lot of money by
+selling things related to their collection. But in Lizzy’s experience,
+museums are usually bad at selling things, and sometimes efforts to generate
+a small amount of money block something much bigger—the real value that the
+collection has. For Lizzy, clinging to small amounts of revenue is being
+penny-wise but pound-foolish. For the Rijksmuseum, a key lesson has been to
+never lose sight of its vision for the collection. Allowing access to and
+use of their collection has generated great promotional value—far more than
+the previous practice of charging fees for access and use. Lizzy sums up
+their experience: <span class="quote">“<span class="quote">Give away; get something in return. Generosity
+makes people happy to join you and help out.</span>”</span>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1853" 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
+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.idm1882" 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>
+ Shareable is an online magazine about sharing. Founded in 2009 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://www.shareable.net" target="_top">http://www.shareable.net</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: grant funding,
+crowdfunding (project-based), donations, sponsorships
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 24, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Neal Gorenflo, cofounder and
+executive editor
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In 2013, Shareable faced an impasse. The nonprofit online publication had
+helped start a sharing movement four years prior, but over time, they
+watched one part of the movement stray from its ideals. As giants like Uber
+and Airbnb gained ground, attention began to center on the <span class="quote">“<span class="quote">sharing
+economy</span>”</span> we know now—profit-driven, transactional, and loaded with
+venture-capital money. Leaders of corporate start-ups in this domain invited
+Shareable to advocate for them. The magazine faced a choice: ride the wave
+or stand on principle.
+ </p><p>
+ As an organization, Shareable decided to draw a line in the sand. In 2013,
+the cofounder and executive editor Neal Gorenflo wrote an opinion piece in
+the PandoDaily that charted Shareable’s new critical stance on the Silicon
+Valley version of the sharing economy, while contrasting it with aspects of
+the real sharing economy like open-source software, participatory budgeting
+(where citizens decide how a public budget is spent), cooperatives, and
+more. He wrote, <span class="quote">“<span class="quote">It’s not so much that collaborative consumption is
+dead, it’s more that it risks dying as it gets absorbed by the
+<span class="quote">‘<span class="quote">Borg.</span>’</span></span>”</span>
+ </p><p>
+ Neal said their public critique of the corporate sharing economy defined
+what Shareable was and is. He does not think the magazine would still be
+around had they chosen differently. <span class="quote">“<span class="quote">We would have gotten another type
+of audience, but it would have spelled the end of us,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a small, mission-driven organization. We would never
+have been able to weather the criticism that Airbnb and Uber are getting
+now.</span>”</span>
+ </p><p>
+ Interestingly, impassioned supporters are only a small sliver of Shareable’s
+total audience. Most are casual readers who come across a Shareable story
+because it happens to align with a project or interest they have. But
+choosing principles over the possibility of riding the coattails of the
+major corporate players in the sharing space saved Shareable’s
+credibility. Although they became detached from the corporate sharing
+economy, the online magazine became the voice of the <span class="quote">“<span class="quote">real sharing
+economy</span>”</span> and continued to grow their audience.
+ </p><p>
+ Shareable is a magazine, but the content they publish is a means to
+furthering their role as a leader and catalyst of a movement. Shareable
+became a leader in the movement in 2009. <span class="quote">“<span class="quote">At that time, there was a
+sharing movement bubbling beneath the surface, but no one was connecting the
+dots,</span>”</span> Neal said. <span class="quote">“<span class="quote">We decided to step into that space and take
+on that role.</span>”</span> The small team behind the nonprofit publication truly
+believed sharing could be central to solving some of the major problems
+human beings face—resource inequality, social isolation, and global warming.
+ </p><p>
+ They have worked hard to find ways to tell stories that show different
+metrics for success. <span class="quote">“<span class="quote">We wanted to change the notion of what
+constitutes the good life,</span>”</span> Neal said. While they started out with a
+very broad focus on sharing generally, today they emphasize stories about
+the physical commons like <span class="quote">“<span class="quote">sharing cities</span>”</span> (i.e., urban areas
+managed in a sustainable, cooperative way), as well as digital platforms
+that are run democratically. They particularly focus on how-to content that
+help their readers make changes in their own lives and communities.
+ </p><p>
+ More than half of Shareable’s stories are written by paid journalists that
+are contracted by the magazine. <span class="quote">“<span class="quote">Particularly in content areas that
+are a priority for us, we really want to go deep and control the
+quality,</span>”</span> Neal said. The rest of the content is either contributed by
+guest writers, often for free, or written by other publications from their
+network of content publishers. Shareable is a member of the Post Growth
+Alliance, which facilitates the sharing of content and audiences among a
+large and growing group of mostly nonprofits. Each organization gets a
+chance to present stories to the group, and the organizations can use and
+promote each other’s stories. Much of the content created by the network is
+licensed with Creative Commons.
+ </p><p>
+ All of Shareable’s original content is published under the Attribution
+license (CC BY), meaning it can be used for any purpose as long as credit is
+given to Shareable. Creative Commons licensing is aligned with Shareable’s
+vision, mission, and identity. That alone explains the organization’s
+embrace of the licenses for their content, but Neal also believes CC
+licensing helps them increase their reach. <span class="quote">“<span class="quote">By using CC
+licensing,</span>”</span> he said, <span class="quote">“<span class="quote">we realized we could reach far more
+people through a formal and informal network of republishers or
+affiliates. That has definitely been the case. It’s hard for us to measure
+the reach of other media properties, but most of the outlets who republish
+our work have much bigger audiences than we do.</span>”</span>
+ </p><p>
+ In addition to their regular news and commentary online, Shareable has also
+experimented with book publishing. In 2012, they worked with a traditional
+publisher to release Share or Die: Voices of the Get Lost Generation in an
+Age of Crisis. The CC-licensed book was available in print form for purchase
+or online for free. To this day, the book—along with their CC-licensed guide
+Policies for Shareable Cities—are two of the biggest generators of traffic
+on their website.
+ </p><p>
+ In 2016, Shareable self-published a book of curated Shareable stories called
+How to: Share, Save Money and Have Fun. The book was available for sale, but
+a PDF version of the book was available for free. Shareable plans to offer
+the book in upcoming fund-raising campaigns.
+ </p><p>
+ This recent book is one of many fund-raising experiments Shareable has
+conducted in recent years. Currently, Shareable is primarily funded by
+grants from foundations, but they are actively moving toward a more
+diversified model. They have organizational sponsors and are working to
+expand their base of individual donors. Ideally, they will eventually be a
+hundred percent funded by their audience. Neal believes being fully
+community-supported will better represent their vision of the world.
+ </p><p>
+ For Shareable, success is very much about their impact on the world. This is
+true for Neal, but also for everyone who works for Shareable. <span class="quote">“<span class="quote">We
+attract passionate people,</span>”</span> Neal said. At times, that means
+employees work so hard they burn out. Neal tries to stress to the Shareable
+team that another part of success is having fun and taking care of yourself
+while you do something you love. <span class="quote">“<span class="quote">A central part of human beings is
+that we long to be on a great adventure with people we love,</span>”</span> he
+said. <span class="quote">“<span class="quote">We are a species who look over the horizon and imagine and
+create new worlds, but we also seek the comfort of hearth and home.</span>”</span>
+ </p><p>
+ In 2013, Shareable ran its first crowdfunding campaign to launch their
+Sharing Cities Network. Neal said at first they were on pace to fail
+spectacularly. They called in their advisers in a panic and asked for
+help. The advice they received was simple—<span class="quote">“<span class="quote">Sit your ass in a chair and
+start making calls.</span>”</span> That’s exactly what they did, and they ended up
+reaching their $50,000 goal. Neal said the campaign helped them reach new
+people, but the vast majority of backers were people in their existing base.
+ </p><p>
+ For Neal, this symbolized how so much of success comes down to
+relationships. Over time, Shareable has invested time and energy into the
+relationships they have forged with their readers and supporters. They have
+also invested resources into building relationships between their readers
+and supporters.
+ </p><p>
+ Shareable began hosting events in 2010. These events were designed to bring
+the sharing community together. But over time they realized they could reach
+far more people if they helped their readers to host their own
+events. <span class="quote">“<span class="quote">If we wanted to go big on a conference, there was a huge risk
+and huge staffing needs, plus only a fraction of our community could travel
+to the event,</span>”</span> Neal said. Enabling others to create their own events
+around the globe allowed them to scale up their work more effectively and
+reach far more people. Shareable has catalyzed three hundred different
+events reaching over twenty thousand people since implementing this strategy
+three years ago. Going forward, Shareable is focusing the network on
+creating and distributing content meant to spur local action. For instance,
+Shareable will publish a new CC-licensed book in 2017 filled with ideas for
+their network to implement.
+ </p><p>
+ Neal says Shareable stumbled upon this strategy, but it seems to perfectly
+encapsulate just how the commons is supposed to work. Rather than a
+one-size-fits-all approach, Shareable puts the tools out there for people
+take the ideas and adapt them to their own communities.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="siyavula"></a>Capítulo 23. Siyavula</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Siyavula is a for-profit educational-technology company that creates
+textbooks and integrated learning experiences. Founded in 2012 in South
+Africa.
+ </p><p>
+ <a class="ulink" href="http://www.siyavula.com" target="_top">http://www.siyavula.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for custom
+services, sponsorships
+ </p><p><span class="strong"><strong>Interview date</strong></span>: April 5, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Mark Horner, CEO
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Openness is a key principle for Siyavula. They believe that every learner
+and teacher should have access to high-quality educational resources, as
+this forms the basis for long-term growth and development. Siyavula has been
+a pioneer in creating high-quality open textbooks on mathematics and science
+subjects for grades 4 to 12 in South Africa.
+ </p><p>
+ In terms of creating an open business model that involves Creative Commons,
+Siyavula—and its founder, Mark Horner—have been around the block a few
+times. Siyavula has significantly shifted directions and strategies to
+survive and prosper. Mark says it’s been very organic.
+ </p><p>
+ It all started in 2002, when Mark and several other colleagues at the
+University of Cape Town in South Africa founded the Free High School Science
+Texts project. Most students in South Africa high schools didn’t have access
+to high-quality, comprehensive science and math textbooks, so Mark and his
+colleagues set out to write them and make them freely available.
+ </p><p>
+ As physicists, Mark and his colleagues were advocates of open-source
+software. To make the books open and free, they adopted the Free Software
+Foundation’s GNU Free Documentation License.<a href="#ftn.idm1955" class="footnote" name="idm1955"><sup class="footnote">[148]</sup></a> They chose LaTeX, a typesetting program used to publish scientific
+documents, to author the books. Over a period of five years, the Free High
+School Science Texts project produced math and physical-science textbooks
+for grades 10 to 12.
+ </p><p>
+ In 2007, the Shuttleworth Foundation offered funding support to make the
+textbooks available for trial use at more schools. Surveys before and after
+the textbooks were adopted showed there were no substantial criticisms of
+the textbooks’ pedagogical content. This pleased both the authors and
+Shuttleworth; Mark remains incredibly proud of this accomplishment.
+ </p><p>
+ But the development of new textbooks froze at this stage. Mark shifted his
+focus to rural schools, which didn’t have textbooks at all, and looked into
+the printing and distribution options. A few sponsors came on board but not
+enough to meet the need.
+ </p><p>
+ In 2007, Shuttleworth and the Open Society Institute convened a group of
+open-education activists for a small but lively meeting in Cape Town. One
+result was the Cape Town Open Education Declaration, a statement of
+principles, strategies, and commitment to help the open-education movement
+grow.<a href="#ftn.idm1961" class="footnote" name="idm1961"><sup class="footnote">[149]</sup></a> Shuttleworth also invited Mark to
+run a project writing open content for all subjects for K–12 in
+English. That project became Siyavula.
+ </p><p>
+ They wrote six original textbooks. A small publishing company offered
+Shuttleworth the option to buy out the publisher’s existing K–9 content for
+every subject in South African schools in both English and Afrikaans. A deal
+was struck, and all the acquired content was licensed with Creative Commons,
+significantly expanding the collection beyond the six original books.
+ </p><p>
+ Mark wanted to build out the remaining curricula collaboratively through
+communities of practice—that is, with fellow educators and writers. Although
+sharing is fundamental to teaching, there can be a few challenges when you
+create educational resources collectively. One concern is legal. It is
+standard practice in education to copy diagrams and snippets of text, but of
+course this doesn’t always comply with copyright law. Another concern is
+transparency. Sharing what you’ve authored means everyone can see it and
+opens you up to criticism. To alleviate these concerns, Mark adopted a
+team-based approach to authoring and insisted the curricula be based
+entirely on resources with Creative Commons licenses, thereby ensuring they
+were safe to share and free from legal repercussions.
+ </p><p>
+ Not only did Mark want the resources to be shareable, he wanted all teachers
+to be able to remix and edit the content. Mark and his team had to come up
+with an open editable format and provide tools for editing. They ended up
+putting all the books they’d acquired and authored on a platform called
+Connexions.<a href="#ftn.idm1967" class="footnote" name="idm1967"><sup class="footnote">[150]</sup></a> Siyavula trained many
+teachers to use Connexions, but it proved to be too complex and the
+textbooks were rarely edited.
+ </p><p>
+ Then the Shuttleworth Foundation decided to completely restructure its work
+as a foundation into a fellowship model (for reasons completely unrelated to
+Siyavula). As part of that transition in 2009–10, Mark inherited Siyavula as
+an independent entity and took ownership over it as a Shuttleworth fellow.
+ </p><p>
+ Mark and his team experimented with several different strategies. They
+tried creating an authoring and hosting platform called Full Marks so that
+teachers could share assessment items. They tried creating a service called
+Open Press, where teachers could ask for open educational resources to be
+aggregated into a package and printed for them. These services never really
+panned out.
+ </p><p>
+ Then the South African government approached Siyavula with an interest in
+printing out the original six Free High School Science Texts (math and
+physical-science textbooks for grades 10 to 12) for all high school
+students in South Africa. Although at this point Siyavula was a bit
+discouraged by open educational resources, they saw this as a big
+opportunity.
+ </p><p>
+ They began to conceive of the six books as having massive marketing
+potential for Siyavula. Printing Siyavula books for every kid in South
+Africa would give their brand huge exposure and could drive vast amounts of
+traffic to their website. In addition to print books, Siyavula could also
+make the books available on their website, making it possible for learners
+to access them using any device—computer, tablet, or mobile phone.
+ </p><p>
+ Mark and his team began imagining what they could develop beyond what was in
+the textbooks as a service they charge for. One key thing you can’t do well
+in a printed textbook is demonstrate solutions. Typically, a one-line answer
+is given at the end of the book but nothing on the process for arriving at
+that solution. Mark and his team developed practice items and detailed
+solutions, giving learners plenty of opportunity to test out what they’ve
+learned. Furthermore, an algorithm could adapt these practice items to the
+individual needs of each learner. They called this service Intelligent
+Practice and embedded links to it in the open textbooks.
+ </p><p>
+ The costs for using Intelligent Practice were set very low, making it
+accessible even to those with limited financial means. Siyavula was going
+for large volumes and wide-scale use rather than an expensive product
+targeting only the high end of the market.
+ </p><p>
+ The government distributed the books to 1.5 million students, but there was
+an unexpected wrinkle: the books were delivered late. Rather than wait,
+schools who could afford it provided students with a different textbook. The
+Siyavula books were eventually distributed, but with well-off schools mainly
+using a different book, the primary market for Siyavula’s Intelligent
+Practice service inadvertently became low-income learners.
+ </p><p>
+ Siyavula’s site did see a dramatic increase in traffic. They got five
+hundred thousand visitors per month to their math site and the same number
+to their science site. Two-fifths of the traffic was reading on a
+<span class="quote">“<span class="quote">feature phone</span>”</span> (a nonsmartphone with no apps). People on basic
+phones were reading math and science on a two-inch screen at all hours of
+the day. To Mark, it was quite amazing and spoke to a need they were
+servicing.
+ </p><p>
+ At first, the Intelligent Practice services could only be paid using a
+credit card. This proved problematic, especially for those in the low-income
+demographic, as credit cards were not prevalent. Mark says Siyavula got a
+harsh business-model lesson early on. As he describes it, it’s not just
+about product, but how you sell it, who the market is, what the price is,
+and what the barriers to entry are.
+ </p><p>
+ Mark describes this as the first version of Siyavula’s business model: open
+textbooks serving as marketing material and driving traffic to your site,
+where you can offer a related service and convert some people into a paid
+customer.
+ </p><p>
+ For Mark a key decision for Siyavula’s business was to focus on how they can
+add value on top of their basic service. They’ll charge only if they are
+adding unique value. The actual content of the textbook isn’t unique at all,
+so Siyavula sees no value in locking it down and charging for it. Mark
+contrasts this with traditional publishers who charge over and over again
+for the same content without adding value.
+ </p><p>
+ Version two of Siyavula’s business model was a big, ambitious idea—scale
+up. They also decided to sell the Intelligent Practice service to schools
+directly. Schools can subscribe on a per-student, per-subject basis. A
+single subscription gives a learner access to a single subject, including
+practice content from every grade available for that subject. Lower
+subscription rates are provided when there are over two hundred students,
+and big schools have a price cap. A 40 percent discount is offered to
+schools where both the science and math departments subscribe.
+ </p><p>
+ Teachers get a dashboard that allows them to monitor the progress of an
+entire class or view an individual learner’s results. They can see the
+questions that learners are working on, identify areas of difficulty, and be
+more strategic in their teaching. Students also have their own personalized
+dashboard, where they can view the sections they’ve practiced, how many
+points they’ve earned, and how their performance is improving.
+ </p><p>
+ Based on the success of this effort, Siyavula decided to substantially
+increase the production of open educational resources so they could provide
+the Intelligent Practice service for a wider range of books. Grades 10 to 12
+math and science books were reworked each year, and new books created for
+grades 4 to 6 and later grades 7 to 9.
+ </p><p>
+ In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula
+produced a series of natural sciences and technology workbooks for grades 4
+to 6 called Thunderbolt Kids that uses a fun comic-book style.<a href="#ftn.idm1986" class="footnote" name="idm1986"><sup class="footnote">[151]</sup></a> It’s a complete curriculum that also comes with
+teacher’s guides and other resources.
+ </p><p>
+ Through this experience, Siyavula learned they could get sponsors to help
+fund openly licensed textbooks. It helped that Siyavula had by this time
+nailed the production model. It cost roughly $150,000 to produce a book in
+two languages. Sponsors liked the social-benefit aspect of textbooks
+unlocked via a Creative Commons license. They also liked the exposure their
+brand got. For roughly $150,000, their logo would be visible on books
+distributed to over one million students.
+ </p><p>
+ The Siyavula books that are reviewed, approved, and branded by the
+government are freely and openly available on Siyavula’s website under an
+Attribution-NoDerivs license (CC BY-ND) —NoDerivs means that these books
+cannot be modified. Non-government-branded books are available under an
+Attribution license (CC BY), allowing others to modify and redistribute the
+books.
+ </p><p>
+ Although the South African government paid to print and distribute hard
+copies of the books to schoolkids, Siyavula itself received no funding from
+the government. Siyavula initially tried to convince the government to
+provide them with five rand per book (about US35¢). With those funds, Mark
+says that Siyavula could have run its entire operation, built a
+community-based model for producing more books, and provide Intelligent
+Practice for free to every child in the country. But after a lengthy
+negotiation, the government said no.
+ </p><p>
+ Using Siyavula books generated huge savings for the government. Providing
+students with a traditionally published grade 12 science or math textbook
+costs around 250 rand per book (about US$18). Providing the Siyavula
+version cost around 36 rand (about $2.60), a savings of over 200 rand per
+book. But none of those savings were passed on to Siyavula. In retrospect,
+Mark thinks this may have turned out in their favor as it allowed them to
+remain independent from the government.
+ </p><p>
+ Just as Siyavula was planning to scale up the production of open textbooks
+even more, the South African government changed its textbook policy. To save
+costs, the government declared there would be only one authorized textbook
+for each grade and each subject. There was no guarantee that Siyavula’s
+would be chosen. This scared away potential sponsors.
+ </p><p>
+ Rather than producing more textbooks, Siyavula focused on improving its
+Intelligent Practice technology for its existing books. Mark calls this
+version three of Siyavula’s business model—focusing on the technology that
+provides the revenue-generating service and generating more users of this
+service. Version three got a significant boost in 2014 with an investment by
+the Omidyar Network (the philanthropic venture started by eBay founder
+Pierre Omidyar and his spouse), and continues to be the model Siyavula uses
+today.
+ </p><p>
+ Mark says sales are way up, and they are really nailing Intelligent
+Practice. Schools continue to use their open textbooks. The
+government-announced policy that there would be only one textbook per
+subject turned out to be highly contentious and is in limbo.
+ </p><p>
+ Siyavula is exploring a range of enhancements to their business model. These
+include charging a small amount for assessment services provided over the
+phone, diversifying their market to all English-speaking countries in
+Africa, and setting up a consortium that makes Intelligent Practice free to
+all kids by selling the nonpersonal data Intelligent Practice collects.
+ </p><p>
+ Siyavula is a for-profit business but one with a social mission. Their
+shareholders’ agreement lists lots of requirements around openness for
+Siyavula, including stipulations that content always be put under an open
+license and that they can’t charge for something that people volunteered to
+do for them. They believe each individual should have access to the
+resources and support they need to achieve the education they
+deserve. Having educational resources openly licensed with Creative Commons
+means they can fulfill their social mission, on top of which they can build
+revenue-generating services to sustain the ongoing operation of Siyavula. In
+terms of open business models, Mark and Siyavula may have been around the
+block a few times, but both he and the company are stronger for it.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm1955" 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>
+ SparkFun is an online electronics retailer specializing in open
+hardware. Founded in 2003 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://www.sparkfun.com" target="_top">http://www.sparkfun.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging for physical
+copies (electronics sales)
+ </p><p><span class="strong"><strong>Interview date</strong></span>: February 29, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Nathan Seidle, founder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ SparkFun founder and former CEO Nathan Seidle has a picture of himself
+holding up a clone of a SparkFun product in an electronics market in China,
+with a huge grin on his face. He was traveling in China when he came across
+their LilyPad wearable technology being made by someone else. His reaction
+was glee.
+ </p><p><span class="quote">“<span class="quote">Being copied is the greatest earmark of flattery and success,</span>”</span>
+Nathan said. <span class="quote">“<span class="quote">I thought it was so cool that they were selling to a
+market we were never going to get access to otherwise. It was evidence of
+our impact on the world.</span>”</span>
+ </p><p>
+ This worldview runs through everything SparkFun does. SparkFun is an
+electronics manufacturer. The company sells its products directly to the
+public online, and it bundles them with educational tools to sell to schools
+and teachers. SparkFun applies Creative Commons licenses to all of its
+schematics, images, tutorial content, and curricula, so anyone can make
+their products on their own. Being copied is part of the design.
+ </p><p>
+ Nathan believes open licensing is good for the world. <span class="quote">“<span class="quote">It touches on
+our natural human instinct to share,</span>”</span> he said. But he also strongly
+believes it makes SparkFun better at what they do. They encourage copying,
+and their products are copied at a very fast rate, often within ten to
+twelve weeks of release. This forces the company to compete on something
+other than product design, or what most commonly consider their intellectual
+property.
+ </p><p><span class="quote">“<span class="quote">We compete on business principles,</span>”</span> Nathan said.
+<span class="quote">“<span class="quote">Claiming your territory with intellectual property allows you to get
+comfy and rest on your laurels. It gives you a safety net. We took away that
+safety net.</span>”</span>
+ </p><p>
+ The result is an intense company-wide focus on product development and
+improvement. <span class="quote">“<span class="quote">Our products are so much better than they were five
+years ago,</span>”</span> Nathan said. <span class="quote">“<span class="quote">We used to just sell products. Now
+it’s a product plus a video, a seventeen-page hookup guide, and example
+firmware on three different platforms to get you up and running faster. We
+have gotten better because we had to in order to compete. As painful as it
+is for us, it’s better for the customers.</span>”</span>
+ </p><p>
+ SparkFun parts are available on eBay for lower prices. But people come
+directly to SparkFun because SparkFun makes their lives easier. The example
+code works; there is a service number to call; they ship replacement parts
+the day they get a service call. They invest heavily in service and
+support. <span class="quote">“<span class="quote">I don’t believe businesses should be competing with IP
+[intellectual property] barriers,</span>”</span> Nathan said. <span class="quote">“<span class="quote">This is the
+stuff they should be competing on.</span>”</span>
+ </p><p>
+ SparkFun’s company history began in Nathan’s college dorm room. He spent a
+lot of time experimenting with and building electronics, and he realized
+there was a void in the market. <span class="quote">“<span class="quote">If you wanted to place an order for
+something,</span>”</span> he said, <span class="quote">“<span class="quote">you first had to search far and wide to
+find it, and then you had to call or fax someone.</span>”</span> In 2003, during
+his third year of college, he registered <a class="ulink" href="http://sparkfun.com" target="_top">http://sparkfun.com</a>
+and started reselling products out of his bedroom. After he graduated, he
+started making and selling his own products.
+ </p><p>
+ Once he started designing his own products, he began putting the software
+and schematics online to help with technical support. After doing some
+research on licensing options, he chose Creative Commons licenses because he
+was drawn to the <span class="quote">“<span class="quote">human-readable deeds</span>”</span> that explain the
+licensing terms in simple terms. SparkFun still uses CC licenses for all of
+the schematics and firmware for the products they create.
+ </p><p>
+ The company has grown from a solo project to a corporation with 140
+employees. In 2015, SparkFun earned $33 million in revenue. Selling
+components and widgets to hobbyists, professionals, and artists remains a
+major part of SparkFun’s business. They sell their own products, but they
+also partner with Arduino (also profiled in this book) by manufacturing
+boards for resale using Arduino’s brand.
+ </p><p>
+ SparkFun also has an educational department dedicated to creating a hands-on
+curriculum to teach students about electronics using prototyping
+parts. Because SparkFun has always been dedicated to enabling others to
+re-create and fix their products on their own, the more recent focus on
+introducing young people to technology is a natural extension of their core
+business.
+ </p><p><span class="quote">“<span class="quote">We have the burden and opportunity to educate the next generation of
+technical citizens,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Our goal is to affect the
+lives of three hundred and fifty thousand high school students by
+2020.</span>”</span>
+ </p><p>
+ The Creative Commons license underlying all of SparkFun’s products is
+central to this mission. The license not only signals a willingness to
+share, but it also expresses a desire for others to get in and tinker with
+their products, both to learn and to make their products better. SparkFun
+uses the Attribution-ShareAlike license (CC BY-SA), which is a
+<span class="quote">“<span class="quote">copyleft</span>”</span> license that allows people to do anything with the
+content as long as they provide credit and make any adaptations available
+under the same licensing terms.
+ </p><p>
+ From the beginning, Nathan has tried to create a work environment at
+SparkFun that he himself would want to work in. The result is what appears
+to be a pretty fun workplace. The U.S. company is based in Boulder,
+Colorado. They have an eighty-thousand-square-foot facility (approximately
+seventy-four-hundred square meters), where they design and manufacture their
+products. They offer public tours of the space several times a week, and
+they open their doors to the public for a competition once a year.
+ </p><p>
+ The public event, called the Autonomous Vehicle Competition, brings in a
+thousand to two thousand customers and other technology enthusiasts from
+around the area to race their own self-created bots against each other,
+participate in training workshops, and socialize. From a business
+perspective, Nathan says it’s a terrible idea. But they don’t hold the event
+for business reasons. <span class="quote">“<span class="quote">The reason we do it is because I get to travel
+and have interactions with our customers all the time, but most of our
+employees don’t,</span>”</span> he said. <span class="quote">“<span class="quote">This event gives our employees the
+opportunity to get face-to-face contact with our customers.</span>”</span> The
+event infuses their work with a human element, which makes it more
+meaningful.
+ </p><p>
+ Nathan has worked hard to imbue a deeper meaning into the work SparkFun
+does. The company is, of course, focused on being fiscally responsible, but
+they are ultimately driven by something other than money. <span class="quote">“<span class="quote">Profit is
+not the goal; it is the outcome of a well-executed plan,</span>”</span> Nathan
+said. <span class="quote">“<span class="quote">We focus on having a bigger impact on the world.</span>”</span> Nathan
+believes they get some of the brightest and most amazing employees because
+they aren’t singularly focused on the bottom line.
+ </p><p>
+ The company is committed to transparency and shares all of its financials
+with its employees. They also generally strive to avoid being another
+soulless corporation. They actively try to reveal the humans behind the
+company, and they work to ensure people coming to their site don’t find only
+unchanging content.
+ </p><p>
+ SparkFun’s customer base is largely made up of industrious electronics
+enthusiasts. They have customers who are regularly involved in the company’s
+customer support, independently responding to questions in forums and
+product-comment sections. Customers also bring product ideas to the
+company. SparkFun regularly sifts through suggestions from customers and
+tries to build on them where they can. <span class="quote">“<span class="quote">From the beginning, we have
+been listening to the community,</span>”</span> Nathan said. <span class="quote">“<span class="quote">Customers
+would identify a pain point, and we would design something to address
+it.</span>”</span>
+ </p><p>
+ However, this sort of customer engagement does not always translate to
+people actively contributing to SparkFun’s projects. The company has a
+public repository of software code for each of its devices online. On a
+particularly active project, there will only be about two dozen people
+contributing significant improvements. The vast majority of projects are
+relatively untouched by the public. <span class="quote">“<span class="quote">There is a theory that if you
+open-source it, they will come,</span>”</span> Nathan said. <span class="quote">“<span class="quote">That’s not
+really true.</span>”</span>
+ </p><p>
+ Rather than focusing on cocreation with their customers, SparkFun instead
+focuses on enabling people to copy, tinker, and improve products on their
+own. They heavily invest in tutorials and other material designed to help
+people understand how the products work so they can fix and improve things
+independently. <span class="quote">“<span class="quote">What gives me joy is when people take open-source
+layouts and then build their own circuit boards from our designs,</span>”</span>
+Nathan said.
+ </p><p>
+ Obviously, opening up the design of their products is a necessary step if
+their goal is to empower the public. Nathan also firmly believes it makes
+them more money because it requires them to focus on how to provide maximum
+value. Rather than designing a new product and protecting it in order to
+extract as much money as possible from it, they release the keys necessary
+for others to build it themselves and then spend company time and resources
+on innovation and service. From a short-term perspective, SparkFun may lose
+a few dollars when others copy their products. But in the long run, it makes
+them a more nimble, innovative business. In other words, it makes them the
+kind of company they set out to be.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="teachaids"></a>Capítulo 25. TeachAIDS</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ TeachAIDS is a nonprofit that creates educational materials designed to
+teach people around the world about HIV and AIDS. Founded in 2005 in the
+U.S.
+ </p><p>
+ <a class="ulink" href="http://teachaids.org" target="_top">http://teachaids.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: sponsorships
+ </p><p><span class="strong"><strong>Interview date</strong></span>: March 24, 2016
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: Piya Sorcar, the CEO, and
+Shuman Ghosemajumder, the chair
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ TeachAIDS is an unconventional media company with a conventional revenue
+model. Like most media companies, they are subsidized by
+advertising. Corporations pay to have their logos appear on the educational
+materials TeachAIDS distributes.
+ </p><p>
+ But unlike most media companies, Teach-AIDS is a nonprofit organization with
+a purely social mission. TeachAIDS is dedicated to educating the global
+population about HIV and AIDS, particularly in parts of the world where
+education efforts have been historically unsuccessful. Their educational
+content is conveyed through interactive software, using methods based on the
+latest research about how people learn. TeachAIDS serves content in more
+than eighty countries around the world. In each instance, the content is
+translated to the local language and adjusted to conform to local norms and
+customs. All content is free and made available under a Creative Commons
+license.
+ </p><p>
+ TeachAIDS is a labor of love for founder and CEO Piya Sorcar, who earns a
+salary of one dollar per year from the nonprofit. The project grew out of
+research she was doing while pursuing her doctorate at Stanford
+University. She was reading reports about India, noting it would be the next
+hot zone of people living with HIV. Despite international and national
+entities pouring in hundreds of millions of dollars on HIV-prevention
+efforts, the reports showed knowledge levels were still low. People were
+unaware of whether the virus could be transmitted through coughing and
+sneezing, for instance. Supported by an interdisciplinary team of experts at
+Stanford, Piya conducted similar studies, which corroborated the previous
+research. They found that the primary cause of the limited understanding was
+that HIV, and issues relating to it, were often considered too taboo to
+discuss comprehensively. The other major problem was that most of the
+education on this topic was being taught through television advertising,
+billboards, and other mass-media campaigns, which meant people were only
+receiving bits and pieces of information.
+ </p><p>
+ In late 2005, Piya and her team used research-based design to create new
+educational materials and worked with local partners in India to help
+distribute them. As soon as the animated software was posted online, Piya’s
+team started receiving requests from individuals and governments who were
+interested in bringing this model to more countries. <span class="quote">“<span class="quote">We realized
+fairly quickly that educating large populations about a topic that was
+considered taboo would be challenging. We began by identifying optimal local
+partners and worked toward creating an effective, culturally appropriate
+education,</span>”</span> Piya said.
+ </p><p>
+ Very shortly after the initial release, Piya’s team decided to spin the
+endeavor into an independent nonprofit out of Stanford University. They also
+decided to use Creative Commons licenses on the materials.
+ </p><p>
+ Given their educational mission, TeachAIDS had an obvious interest in seeing
+the materials as widely shared as possible. But they also needed to preserve
+the integrity of the medical information in the content. They chose the
+Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND), which essentially
+gives the public the right to distribute only verbatim copies of the
+content, and for noncommercial purposes. <span class="quote">“<span class="quote">We wanted attribution for
+TeachAIDS, and we couldn’t stand by derivatives without vetting
+them,</span>”</span> the cofounder and chair Shuman Ghosemajumder said. <span class="quote">“<span class="quote">It
+was almost a no-brainer to go with a CC license because it was a
+plug-and-play solution to this exact problem. It has allowed us to scale our
+materials safely and quickly worldwide while preserving our content and
+protecting us at the same time.</span>”</span>
+ </p><p>
+ Choosing a license that does not allow adaptation of the content was an
+outgrowth of the careful precision with which TeachAIDS crafts their
+content. The organization invests heavily in research and testing to
+determine the best method of conveying the information. <span class="quote">“<span class="quote">Creating
+high-quality content is what matters most to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">Research drives everything we do.</span>”</span>
+ </p><p>
+ One important finding was that people accept the message best when it comes
+from familiar voices they trust and admire. To achieve this, TeachAIDS
+researches cultural icons that would best resonate with their target
+audiences and recruits them to donate their likenesses and voices for use in
+the animated software. The celebrities involved vary for each localized
+version of the materials.
+ </p><p>
+ Localization is probably the single-most important aspect of the way
+TeachAIDS creates its content. While each regional version builds from the
+same core scientific materials, they pour a lot of resources into
+customizing the content for a particular population. Because they use a CC
+license that does not allow the public to adapt the content, TeachAIDS
+retains careful control over the localization process. The content is
+translated into the local language, but there are also changes in substance
+and format to reflect cultural differences. This process results in minor
+changes, like choosing different idioms based on the local language, and
+significant changes, like creating gendered versions for places where people
+are more likely to accept information from someone of the same gender.
+ </p><p>
+ The localization process relies heavily on volunteers. Their volunteer base
+is deeply committed to the cause, and the organization has had better luck
+controlling the quality of the materials when they tap volunteers instead of
+using paid translators. For quality control, TeachAIDS has three separate
+volunteer teams translate the materials from English to the local language
+and customize the content based on local customs and norms. Those three
+versions are then analyzed and combined into a single master
+translation. TeachAIDS has additional teams of volunteers then translate
+that version back into English to see how well it lines up with the original
+materials. They repeat this process until they reach a translated version
+that meets their standards. For the Tibetan version, they went through this
+cycle eleven times.
+ </p><p>
+ TeachAIDS employs full-time employees, contractors, and volunteers, all in
+different capacities and organizational configurations. They are careful to
+use people from diverse backgrounds to create the materials, including
+teachers, students, and doctors, as well as individuals experienced in
+working in the NGO space. This diversity and breadth of knowledge help
+ensure their materials resonate with people from all walks of life.
+Additionally, TeachAIDS works closely with film writers and directors to
+help keep the concepts entertaining and easy to understand. The inclusive,
+but highly controlled, creative process is undertaken entirely by people who
+are specifically brought on to help with a particular project, rather than
+ongoing staff. The final product they create is designed to require zero
+training for people to implement in practice. <span class="quote">“<span class="quote">In our research, we
+found we can’t depend on people passing on the information correctly, even
+if they have the best of intentions,</span>”</span> Piya said. <span class="quote">“<span class="quote">We need
+materials where you can push play and they will work.</span>”</span>
+ </p><p>
+ Piya’s team was able to produce all of these versions over several years
+with a head count that never exceeded eight full-time employees. The
+organization is able to reduce costs by relying heavily on volunteers and
+in-kind donations. Nevertheless, the nonprofit needed a sustainable revenue
+model to subsidize content creation and physical distribution of the
+materials. Charging even a low price was simply not an
+option. <span class="quote">“<span class="quote">Educators from various nonprofits around the world were just
+creating their own materials using whatever they could find for free
+online,</span>”</span> Shuman said. <span class="quote">“<span class="quote">The only way to persuade them to use our
+highly effective model was to make it completely free.</span>”</span>
+ </p><p>
+ Like many content creators offering their work for free, they settled on
+advertising as a funding model. But they were extremely careful not to let
+the advertising compromise their credibility or undermine the heavy
+investment they put into creating quality content. Sponsors of the content
+have no ability to influence the substance of the content, and they cannot
+even create advertising content. Sponsors only get the right to have their
+logo appear before and after the educational content. All of the content
+remains branded as TeachAIDS.
+ </p><p>
+ TeachAIDS is careful not to seek funding to cover the costs of a specific
+project. Instead, sponsorships are structured as unrestricted donations to
+the nonprofit. This gives the nonprofit more stability, but even more
+importantly, it enables them to subsidize projects being localized for an
+area with no sponsors. <span class="quote">“<span class="quote">If we just created versions based on where we
+could get sponsorships, we would only have materials for wealthier
+countries,</span>”</span> Shuman said.
+ </p><p>
+ As of 2016, TeachAIDS has dozens of sponsors. <span class="quote">“<span class="quote">When we go into a new
+country, various companies hear about us and reach out to us,</span>”</span> Piya
+said. <span class="quote">“<span class="quote">We don’t have to do much to find or attract them.</span>”</span> They
+believe the sponsorships are easy to sell because they offer so much value
+to sponsors. TeachAIDS sponsorships give corporations the chance to reach
+new eyeballs with their brand, but at a much lower cost than other
+advertising channels. The audience for TeachAIDS content also tends to skew
+young, which is often a desirable demographic for brands. Unlike traditional
+advertising, the content is not time-sensitive, so an investment in a
+sponsorship can benefit a brand for many years to come.
+ </p><p>
+ Importantly, the value to corporate sponsors goes beyond commercial
+considerations. As a nonprofit with a clearly articulated social mission,
+corporate sponsorships are donations to a cause. <span class="quote">“<span class="quote">This is something
+companies can be proud of internally,</span>”</span> Shuman said. Some companies
+have even built publicity campaigns around the fact that they have sponsored
+these initiatives.
+ </p><p>
+ The core mission of TeachAIDS—ensuring global access to life-saving
+education—is at the root of everything the organization does. It underpins
+the work; it motivates the funders. The CC license on the materials they
+create furthers that mission, allowing them to safely and quickly scale
+their materials worldwide. <span class="quote">“<span class="quote">The Creative Commons license has been a
+game changer for TeachAIDS,</span>”</span> Piya said.
+ </p></div><div class="chapter"><div class="titlepage"><div><div><h2 class="title"><a name="tribe-of-noise"></a>Capítulo 26. Tribe of Noise</h2></div></div></div><div class="blockquote"><table border="0" class="blockquote" style="width: 100%; cellspacing: 0; cellpadding: 0;" summary="Block quote"><tr><td width="10%" valign="top"> </td><td width="80%" valign="top"><p>
+ Tribe of Noise is a for-profit online music platform serving the film, TV,
+video, gaming, and in-store-media industries. Founded in 2008 in the
+Netherlands.
+ </p><p>
+ <a class="ulink" href="http://www.tribeofnoise.com" target="_top">http://www.tribeofnoise.com</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: charging a transaction fee
+ </p><p><span class="strong"><strong>Interview date</strong></span>: January 26, 2016
+ </p><p><span class="strong"><strong>Interviewee</strong></span>: Hessel van Oorschot,
+cofounder
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Paul Stacey
+ }
+ \end{flushright}</td></tr></table></div><p>
+ In the early 2000s, Hessel van Oorschot was an entrepreneur running a
+business where he coached other midsize entrepreneurs how to create an
+online business. He also coauthored a number of workbooks for small- to
+medium-size enterprises to use to optimize their business for the
+Web. Through this early work, Hessel became familiar with the principles of
+open licensing, including the use of open-source software and Creative
+Commons.
+ </p><p>
+ In 2005, Hessel and Sandra Brandenburg launched a niche video-production
+initiative. Almost immediately, they ran into issues around finding and
+licensing music tracks. All they could find was standard, cold
+stock-music. They thought of looking up websites where you could license
+music directly from the musician without going through record labels or
+agents. But in 2005, the ability to directly license music from a rights
+holder was not readily available.
+ </p><p>
+ They hired two lawyers to investigate further, and while they uncovered five
+or six examples, Hessel found the business models lacking. The lawyers
+expressed interest in being their legal team should they decide to pursue
+this as an entrepreneurial opportunity. Hessel says, <span class="quote">“<span class="quote">When lawyers are
+interested in a venture like this, you might have something special.</span>”</span>
+So after some more research, in early 2008, Hessel and Sandra decided to
+build a platform.
+ </p><p>
+ Building a platform posed a real chicken-and-egg problem. The platform had
+to build an online community of music-rights holders and, at the same time,
+provide the community with information and ideas about how the new economy
+works. Community willingness to try new music business models requires a
+trust relationship.
+ </p><p>
+ In July 2008, Tribe of Noise opened its virtual doors with a couple hundred
+musicians willing to use the CC BY-SA license (Attribution-ShareAlike) for a
+limited part of their repertoire. The two entrepreneurs wanted to take the
+pain away for media makers who wanted to license music and solve the
+problems the two had personally experienced finding this music.
+ </p><p>
+ As they were growing the community, Hessel got a phone call from a company
+that made in-store music playlists asking if they had enough music licensed
+with Creative Commons that they could use. Stores need quality,
+good-listening music but not necessarily hits, a bit like a radio show
+without the DJ. This opened a new opportunity for Tribe of Noise. They
+started their In-store Music Service, using music (licensed with CC BY-SA)
+uploaded by the Tribe of Noise community of musicians.<a href="#ftn.idm2121" class="footnote" name="idm2121"><sup class="footnote">[152]</sup></a>
+ </p><p>
+ In most countries, artists, authors, and musicians join a collecting society
+that manages the licensing and helps collect the royalties. Copyright
+collecting societies in the European Union usually hold monopolies in their
+respective national markets. In addition, they require their members to
+transfer exclusive administration rights to them of all of their works.
+This complicates the picture for Tribe of Noise, who wants to represent
+artists, or at least a portion of their repertoire. Hessel and his legal
+team reached out to collecting societies, starting with those in the
+Netherlands. What would be the best legal way forward that would respect the
+wishes of composers and musicians who’d be interested in trying out new
+models like the In-store Music Service? Collecting societies at first were
+hesitant and said no, but Tribe of Noise persisted arguing that they
+primarily work with unknown artists and provide them exposure in parts of
+the world where they don’t get airtime normally and a source of revenue—and
+this convinced them that it was OK. However, Hessel says, <span class="quote">“<span class="quote">We are
+still fighting for a good cause every single day.</span>”</span>
+ </p><p>
+ Instead of building a large sales force, Tribe of Noise partnered with big
+organizations who have lots of clients and can act as a kind of Tribe of
+Noise reseller. The largest telecom network in the Netherlands, for example,
+sells Tribe’s In-store Music Service subscriptions to their business
+clients, which include fashion retailers and fitness centers. They have a
+similar deal with the leading trade association representing hotels and
+restaurants in the country. Hessel hopes to <span class="quote">“<span class="quote">copy and paste</span>”</span>
+this service into other countries where collecting societies understand what
+you can do with Creative Commons. Outside of the Netherlands, early
+adoptions have happened in Scandinavia, Belgium, and the U.S.
+ </p><p>
+ Tribe of Noise doesn’t pay the musicians up front; they get paid when their
+music ends up in Tribe of Noise’s in-store music channels. The musicians’
+share is 42.5 percent. It’s not uncommon in a traditional model for the
+artist to get only 5 to 10 percent, so a share of over 40 percent is a
+significantly better deal. Here’s how they give an example on their
+website:
+ </p><p>
+ A few of your songs [licensed with CC BY-SA], for example five in total, are
+selected for a bespoke in-store music channel broadcasting at a large
+retailer with 1,000 stores nationwide. In this case the overall playlist
+contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee
+agreed with this retailer is US$12 per month per play-out. So if 42.5% is
+shared with the Tribe musicians in this playlist and your share is 1.43%,
+you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per
+month.<a href="#ftn.idm2130" class="footnote" name="idm2130"><sup class="footnote">[153]</sup></a>
+ </p><p>
+ Tribe of Noise has another model that does not involve Creative Commons. In
+a survey with members, most said they liked the exposure using Creative
+Commons gets them and the way it lets them reach out to others to share and
+remix. However, they had a bit of a mental struggle with Creative Commons
+licenses being perpetual. A lot of musicians have the mind-set that one day
+one of their songs may become an overnight hit. If that happened the CC
+BY-SA license would preclude them getting rich off the sale of that song.
+ </p><p>
+ Hessel’s legal team took this feedback and created a second model and
+separate area of the platform called Tribe of Noise Pro. Songs uploaded to
+Tribe of Noise Pro aren’t Creative Commons licensed; Tribe of Noise has
+instead created a <span class="quote">“<span class="quote">nonexclusive exploitation</span>”</span> contract, similar
+to a Creative Commons license but allowing musicians to opt out whenever
+they want. When you opt out, Tribe of Noise agrees to take your music off
+the Tribe of Noise platform within one to two months. This lets the musician
+reuse their song for a better deal.
+ </p><p>
+ Tribe of Noise Pro is primarily geared toward media makers who are looking
+for music. If they buy a license from this catalog, they don’t have to state
+the name of the creator; they just license the song for a specific
+amount. This is a big plus for media makers. And musicians can pull their
+repertoire at any time. Hessel sees this as a more direct and clean deal.
+ </p><p>
+ Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and
+the community area of Tribe of Noises. There aren’t that many artists who
+upload only to Tribe of Noise Pro, which has a smaller repertoire of music
+than the community area.
+ </p><p>
+ Hessel sees the two as complementary. Both are needed for the model to
+work. With a whole generation of musicians interested in the sharing
+economy, the community area of Tribe of Noise is where they can build trust,
+create exposure, and generate money. And after that, musicians may become
+more interested in exploring other models like Tribe of Noise Pro.
+ </p><p>
+ Every musician who joins Tribe of Noise gets their own home page and free
+unlimited Web space to upload as much of their own music as they like. Tribe
+of Noise is also a social network; fellow musicians and professionals can
+vote for, comment on, and like your music. Community managers interact with
+and support members, and music supervisors pick and choose from the uploaded
+songs for in-store play or to promote them to media producers. Members
+really like having people working for the platform who truly engage with
+them.
+ </p><p>
+ Another way Tribe of Noise creates community and interest is with contests,
+which are organized in partnership with Tribe of Noise clients. The client
+specifies what they want, and any member can submit a song. Contests usually
+involve prizes, exposure, and money. In addition to building member
+engagement, contests help members learn how to work with clients: listening
+to them, understanding what they want, and creating a song to meet that
+need.
+ </p><p>
+ Tribe of Noise now has twenty-seven thousand members from 192 countries, and
+many are exploring do-it-yourself models for generating revenue. Some came
+from music labels and publishers, having gone through the traditional way of
+music licensing and now seeing if this new model makes sense for
+them. Others are young musicians, who grew up with a DIY mentality and see
+little reason to sign with a third party or hand over some of the
+control. Still a small but growing group of Tribe members are pursuing a
+hybrid model by licensing some of their songs under CC BY-SA and opting in
+others with collecting societies like ASCAP or BMI.
+ </p><p>
+ It’s not uncommon for performance-rights organizations, record labels, or
+music publishers to sign contracts with musicians based on exclusivity. Such
+an arrangement prevents those musicians from uploading their music to Tribe
+of Noise. In the United States, you can have a collecting society handle
+only some of your tracks, whereas in many countries in Europe, a collecting
+society prefers to represent your entire repertoire (although the European
+Commission is making some changes). Tribe of Noise deals with this issue all
+the time and gives you a warning whenever you upload a song. If collecting
+societies are willing to be open and flexible and do the most they can for
+their members, then they can consider organizations like Tribe of Noise as a
+nice add-on, generating more exposure and revenue for the musicians they
+represent. So far, Tribe of Noise has been able to make all this work
+without litigation.
+ </p><p>
+ For Hessel the key to Tribe of Noise’s success is trust. The fact that
+Creative Commons licenses work the same way all over the world and have been
+translated into all languages really helps build that trust. Tribe of Noise
+believes in creating a model where they work together with musicians. They
+can only do that if they have a live and kicking community, with people who
+think that the Tribe of Noise team has their best interests in
+mind. Creative Commons makes it possible to create a new business model for
+music, a model that’s based on trust.
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2121" 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>
+ The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia
+and its sister projects. Founded in 2003 in the U.S.
+ </p><p>
+ <a class="ulink" href="http://wikimediafoundation.org" target="_top">http://wikimediafoundation.org</a>
+ </p><p><span class="strong"><strong>Revenue model</strong></span>: donations
+ </p><p><span class="strong"><strong>Interview date</strong></span>: December 18, 2015
+ </p><p><span class="strong"><strong>Interviewees</strong></span>: Luis Villa, former Chief
+Officer of Community Engagement, and Stephen LaPorte, legal counsel
+ </p></td><td width="10%" valign="top"> </td></tr><tr><td width="10%" valign="top"> </td><td colspan="2" align="right" valign="top">--\begin{flushright}
+ \textit{
+ Profile written by Sarah Hinchliff Pearson
+ }
+ \end{flushright}</td></tr></table></div><p>
+ Nearly every person with an online presence knows Wikipedia.
+ </p><p>
+ In many ways, it is the preeminent open project: The online encyclopedia is
+created entirely by volunteers. Anyone in the world can edit the
+articles. All of the content is available for free to anyone online. All of
+the content is released under a Creative Commons license that enables people
+to reuse and adapt it for any purpose.
+ </p><p>
+ As of December 2016, there were more than forty-two million articles in the
+295 language editions of the online encyclopedia, according to—what
+else?—the Wikipedia article about Wikipedia.
+ </p><p>
+ The Wikimedia Foundation is a U.S.-based nonprofit organization that owns
+the Wikipedia domain name and hosts the site, along with many other related
+sites like Wikidata and Wikimedia Commons. The foundation employs about two
+hundred and eighty people, who all work to support the projects it
+hosts. But the true heart of Wikipedia and its sister projects is its
+community. The numbers of people in the community are variable, but about
+seventy-five thousand volunteers edit and improve Wikipedia articles every
+month. Volunteers are organized in a variety of ways across the globe,
+including formal Wikimedia chapters (mostly national), groups focused on a
+particular theme, user groups, and many thousands who are not connected to a
+particular organization.
+ </p><p>
+ As Wikimedia legal counsel Stephen LaPorte told us, <span class="quote">“<span class="quote">There is a common
+saying that Wikipedia works in practice but not in theory.</span>”</span> While it
+undoubtedly has its challenges and flaws, Wikipedia and its sister projects
+are a striking testament to the power of human collaboration.
+ </p><p>
+ Because of its extraordinary breadth and scope, it does feel a bit like a
+unicorn. Indeed, there is nothing else like Wikipedia. Still, much of what
+makes the projects successful—community, transparency, a strong mission,
+trust—are consistent with what it takes to be successfully Made with
+Creative Commons more generally. With Wikipedia, everything just happens at
+an unprecedented scale.
+ </p><p>
+ The story of Wikipedia has been told many times. For our purposes, it is
+enough to know the experiment started in 2001 at a small scale, inspired by
+the crazy notion that perhaps a truly open, collaborative project could
+create something meaningful. At this point, Wikipedia is so ubiquitous and
+ingrained in our digital lives that the fact of its existence seems less
+remarkable. But outside of software, Wikipedia is perhaps the single most
+stunning example of successful community cocreation. Every day, seven
+thousand new articles are created on Wikipedia, and nearly fifteen thousand
+edits are made every hour.
+ </p><p>
+ The nature of the content the community creates is ideal for asynchronous
+cocreation. <span class="quote">“<span class="quote">An encyclopedia is something where incremental community
+improvement really works,</span>”</span> Luis Villa, former Chief Officer of
+Community Engagement, told us. The rules and processes that govern
+cocreation on Wikipedia and its sister projects are all community-driven and
+vary by language edition. There are entire books written on the intricacies
+of their systems, but generally speaking, there are very few exceptions to
+the rule that anyone can edit any article, even without an account on their
+system. The extensive peer-review process includes elaborate systems to
+resolve disputes, methods for managing particularly controversial subject
+areas, talk pages explaining decisions, and much, much more. The Wikimedia
+Foundation’s decision to leave governance of the projects to the community
+is very deliberate. <span class="quote">“<span class="quote">We look at the things that the community can do
+well, and we want to let them do those things,</span>”</span> Stephen told
+us. Instead, the foundation focuses its time and resources on what the
+community cannot do as effectively, like the software engineering that
+supports the technical infrastructure of the sites. In 2015-16, about half
+of the foundation’s budget went to direct support for the Wikimedia sites.
+ </p><p>
+ Some of that is directed at servers and general IT support, but the
+foundation also invests a significant amount on architecture designed to
+help the site function as effectively as possible. <span class="quote">“<span class="quote">There is a
+constantly evolving system to keep the balance in place to avoid Wikipedia
+becoming the world’s biggest graffiti wall,</span>”</span> Luis said. Depending on
+how you measure it, somewhere between 90 to 98 percent of edits to Wikipedia
+are positive. Some portion of that success is attributable to the tools
+Wikimedia has in place to try to incentivize good actors. <span class="quote">“<span class="quote">The secret
+to having any healthy community is bringing back the right people,</span>”</span>
+Luis said. <span class="quote">“<span class="quote">Vandals tend to get bored and go away. That is partially
+our model working, and partially just human nature.</span>”</span> Most of the
+time, people want to do the right thing.
+ </p><p>
+ Wikipedia not only relies on good behavior within its community and on its
+sites, but also by everyone else once the content leaves Wikipedia. All of
+the text of Wikipedia is available under an Attribution-ShareAlike license
+(CC BY-SA), which means it can be used for any purpose and modified so long
+as credit is given and anything new is shared back with the public under the
+same license. In theory, that means anyone can copy the content and start a
+new Wikipedia. But as Stephen explained, <span class="quote">“<span class="quote">Being open has only made
+Wikipedia bigger and stronger. The desire to protect is not always what is
+best for everyone.</span>”</span>
+ </p><p>
+ Of course, the primary reason no one has successfully co-opted Wikipedia is
+that copycat efforts do not have the Wikipedia community to sustain what
+they do. Wikipedia is not simply a source of up-to-the-minute content on
+every given topic—it is also a global patchwork of humans working together
+in a million different ways, in a million different capacities, for a
+million different reasons. While many have tried to guess what makes
+Wikipedia work as well it does, the fact is there is no single
+explanation. <span class="quote">“<span class="quote">In a movement as large as ours, there is an incredible
+diversity of motivations,</span>”</span> Stephen said. For example, there is one
+editor of the English Wikipedia edition who has corrected a single
+grammatical error in articles more than forty-eight thousand
+times.<a href="#ftn.idm2176" class="footnote" name="idm2176"><sup class="footnote">[154]</sup></a> Only a fraction of Wikipedia
+users are also editors. But editing is not the only way to contribute to
+Wikipedia. <span class="quote">“<span class="quote">Some donate text, some donate images, some donate
+financially,</span>”</span> Stephen told us. <span class="quote">“<span class="quote">They are all
+contributors.</span>”</span>
+ </p><p>
+ But the vast majority of us who use Wikipedia are not contributors; we are
+passive readers. The Wikimedia Foundation survives primarily on individual
+donations, with about $15 as the average. Because Wikipedia is one of the
+ten most popular websites in terms of total page views, donations from a
+small portion of that audience can translate into a lot of money. In the
+2015-16 fiscal year, they received more than $77 million from more than five
+million donors.
+ </p><p>
+ The foundation has a fund-raising team that works year-round to raise money,
+but the bulk of their revenue comes in during the December campaign in
+Australia, Canada, Ireland, New Zealand, the United Kingdom, and the United
+States. They engage in extensive user testing and research to maximize the
+reach of their fund-raising campaigns. Their basic fund-raising message is
+simple: We provide our readers and the world immense value, so give
+back. Every little bit helps. With enough eyeballs, they are right.
+ </p><p>
+ The vision of the Wikimedia Foundation is a world in which every single
+human being can freely share in the sum of all knowledge. They work to
+realize this vision by empowering people around the globe to create
+educational content made freely available under an open license or in the
+public domain. Stephen and Luis said the mission, which is rooted in the
+same philosophy behind Creative Commons, drives everything the foundation
+does.
+ </p><p>
+ The philosophy behind the endeavor also enables the foundation to be
+financially sustainable. It instills trust in their readership, which is
+critical for a revenue strategy that relies on reader donations. It also
+instills trust in their community.
+ </p><p>
+ Any given edit on Wikipedia could be motivated by nearly an infinite number
+of reasons. But the social mission of the project is what binds the global
+community together. <span class="quote">“<span class="quote">Wikipedia is an example of how a mission can
+motivate an entire movement,</span>”</span> Stephen told us.
+ </p><p>
+ Of course, what results from that movement is one of the Internet’s great
+public resources. <span class="quote">“<span class="quote">The Internet has a lot of businesses and stores,
+but it is missing the digital equivalent of parks and open public
+spaces,</span>”</span> Stephen said. <span class="quote">“<span class="quote">Wikipedia has found a way to be that
+open public space.</span>”</span>
+ </p><div class="footnotes"><br><hr style="width:100; text-align:left;margin-left: 0"><div id="ftn.idm2176" 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>
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+ </p><p>
+ Lessig, Lawrence. Remix: Making Art and Commerce Thrive in the Hybrid
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+ </p><p>
+ Menzies, Heather. Reclaiming the Commons for the Common Good: A Memoir and
+Manifesto. Gabriola Island, BC: New Society, 2014.
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+ Mason, Paul. Postcapitalism: A Guide to Our Future. New York: Farrar, Straus
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+ New York Times Customer Insight Group. The Psychology of Sharing: Why Do
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+ Osterwalder, Alex, and Yves Pigneur. Business Model Generation. Hoboken,
+NJ: John Wiley and Sons, 2010. A preview of the book is available at <a class="ulink" href="http://strategyzer.com/books/business-model-generation" target="_top">http://strategyzer.com/books/business-model-generation</a>.
+ </p><p>
+ Osterwalder, Alex, Yves Pigneur, Greg Bernarda, and Adam Smith. Value
+Proposition Design. Hoboken, NJ: John Wiley and Sons, 2014. A preview of the
+book is available at <a class="ulink" href="http://strategyzer.com/books/value-proposition-design" target="_top">http://strategyzer.com/books/value-proposition-design</a>.
+ </p><p>
+ Palmer, Amanda. The Art of Asking: Or How I Learned to Stop Worrying and Let
+People Help. New York: Grand Central, 2014.
+ </p><p>
+ Pekel, Joris. Democratising the Rijksmuseum: Why Did the Rijksmuseum Make
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+(licensed under CC BY-SA).
+ </p><p>
+ Ramos, José Maria, ed. The City as Commons: A Policy Reader. Melbourne,
+Australia: Commons Transition Coalition, 2016. <a class="ulink" href="http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader" target="_top">http://www.academia.edu/27143172/The_City_as_Commons_a_Policy_Reader</a>
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+Innovation to Create Radically Successful Businesses. New York: Crown
+Business, 2011.
+ </p><p>
+ Rifkin, Jeremy. The Zero Marginal Cost Society: The Internet of Things, the
+Collaborative Commons, and the Eclipse of Capitalism. New York: Palgrave
+Macmillan, 2014.
+ </p><p>
+ Rowe, Jonathan. Our Common Wealth. San Francisco: Berrett-Koehler, 2013.
+ </p><p>
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+Enemy of Prosperity. New York: Portfolio, 2016.
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+ Sandel, Michael J. What Money Can’t Buy: The Moral Limits of Markets. New
+York: Farrar, Straus and Giroux, 2012.
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+ Stephany, Alex. The Business of Sharing: Making in the New Sharing
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+ Stepper, John. Working Out Loud: For a Better Career and Life. New York:
+Ikigai Press, 2015.
+ </p><p>
+ Sull, Donald, and Kathleen M. Eisenhardt. Simple Rules: How to Thrive in a
+Complex World. Boston: Houghton Mifflin Harcourt, 2015.
+ </p><p>
+ Sundararajan, Arun. The Sharing Economy: The End of Employment and the Rise
+of Crowd-Based Capitalism. Cambridge, MA: MIT Press, 2016.
+ </p><p>
+ Surowiecki, James. The Wisdom of Crowds. New York: Anchor Books, 2005.
+ </p><p>
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+Behind Bitcoin Is Changing Money, Business, and the World. Toronto:
+Portfolio, 2016.
+ </p><p>
+ Tharp, Twyla. The Creative Habit: Learn It and Use It for Life. With Mark
+Reiter. New York: Simon and Schuster, 2006.
+ </p><p>
+ Tkacz, Nathaniel. Wikipedia and the Politics of Openness. Chicago:
+University of Chicago Press, 2015.
+ </p><p>
+ Van Abel, Bass, Lucas Evers, Roel Klaassen, and Peter Troxler, eds. Open
+Design Now: Why Design Cannot Remain Exclusive. Amsterdam: BIS Publishers,
+with Creative Commons Netherlands; Premsela, the Netherlands Institute for
+Design and Fashion; and the Waag Society, 2011. <a class="ulink" href="http://opendesignnow.org" target="_top">http://opendesignnow.org</a> (licensed under CC BY-NC-SA).
+ </p><p>
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+3.0. Utrecht, the Netherlands: Society 3.0 Foundation, 2014. <a class="ulink" href="http://society30.com/get-the-book/" target="_top">http://society30.com/get-the-book/</a> (licensed under CC BY-NC-ND).
+ </p><p>
+ Von Hippel, Eric. Democratizing Innovation. London: MIT Press, 2005. <a class="ulink" href="http://web.mit.edu/evhippel/www/democ1.htm" target="_top">http://web.mit.edu/evhippel/www/democ1.htm</a> (licensed under CC
+BY-NC-ND).
+ </p><p>
+ Whitehurst, Jim. The Open Organization: Igniting Passion and
+Performance. Boston: Harvard Business Review Press, 2015.
+ </p>\chapter*{<title>Acknowledgments</title>}\addcontentsline{toc}{chapter}{<title>Acknowledgments</title>}<p>
+ We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative
+Commons Board, and all of our Creative Commons colleagues for
+enthusiastically supporting our work. Special gratitude to the William and
+Flora Hewlett Foundation for the initial seed funding that got us started on
+this project.
+ </p><p>
+ Huge appreciation to all the Made with Creative Commons interviewees for
+sharing their stories with us. You make the commons come alive. Thanks for
+the inspiration.
+ </p><p>
+ We interviewed more than the twenty-four organizations profiled in this
+book. We extend special thanks to Gooru, OERu, Sage Bionetworks, and Medium
+for sharing their stories with us. While not featured as case studies in
+this book, you all are equally interesting, and we encourage our readers to
+visit your sites and explore your work.
+ </p><p>
+ This book was made possible by the generous support of 1,687 Kickstarter
+backers listed below. We especially acknowledge our many Kickstarter
+co-editors who read early drafts of our work and provided invaluable
+feedback. Heartfelt thanks to all of you.
+ </p><p>
+ Co-editor Kickstarter backers (alphabetically by first name): Abraham
+Taherivand, Alan Graham, Alfredo Louro, Anatoly Volynets, Aurora Thornton,
+Austin Tolentino, Ben Sheridan, Benedikt Foit, Benjamin Costantini, Bernd
+Nurnberger, Bernhard Seefeld, Bethanye Blount, Bradford Benn, Bryan Mock,
+Carmen Garcia Wiedenhoeft, Carolyn Hinchliff, Casey Milford, Cat Cooper,
+Chip McIntosh, Chris Thorne, Chris Weber, Chutika Udomsinn, Claire Wardle,
+Claudia Cristiani, Cody Allard, Colleen Cressman, Craig Thomler, Creative
+Commons Uruguay, Curt McNamara, Dan Parson, Daniel Dominguez, Daniel Morado,
+Darius Irvin, Dave Taillefer, David Lewis, David Mikula, David Varnes, David
+Wiley, Deborah Nas, Diderik van Wingerden, Dirk Kiefer, Dom Lane, Domi
+Enders, Douglas Van Houweling, Dylan Field, Einar Joergensen, Elad Wieder,
+Elie Calhoun, Erika Reid, Evtim Papushev, Fauxton Software, Felix
+Maximiliano Obes, Ferdies Food Lab, Gatien de Broucker, Gaurav Kapil, Gavin
+Romig-Koch, George Baier IV, George De Bruin, Gianpaolo Rando, Glenn Otis
+Brown, Govindarajan Umakanthan, Graham Bird, Graham Freeman, Hamish MacEwan,
+Harry Kaczka, Humble Daisy, Ian Capstick, Iris Brest, James Cloos, Jamie
+Stevens, Jamil Khatib, Jane Finette, Jason Blasso, Jason E. Barkeloo, Jay M
+Williams, Jean-Philippe Turcotte, Jeanette Frey, Jeff De Cagna, Jérôme
+Mizeret, Jessica Dickinson Goodman, Jessy Kate Schingler, Jim O’Flaherty,
+Jim Pellegrini, Jiří Marek, Jo Allum, Joachim von Goetz, Johan Adda, John
+Benfield, John Bevan, Jonas Öberg, Jonathan Lin, JP Rangaswami, Juan Carlos
+Belair, Justin Christian, Justin Szlasa, Kate Chapman, Kate Stewart, Kellie
+Higginbottom, Kendra Byrne, Kevin Coates, Kristina Popova, Kristoffer Steen,
+Kyle Simpson, Laurie Racine, Leonardo Bueno Postacchini, Leticia Britos
+Cavagnaro, Livia Leskovec, Louis-David Benyayer, Maik Schmalstich, Mairi
+Thomson, Marcia Hofmann, Maria Liberman, Marino Hernandez, Mario R. Hemsley,
+MD, Mark Cohen, Mark Mullen, Mary Ellen Davis, Mathias Bavay, Matt Black,
+Matt Hall, Max van Balgooy, Médéric Droz-dit-Busset, Melissa Aho, Menachem
+Goldstein, Michael Harries, Michael Lewis, Michael Weiss, Miha Batic, Mike
+Stop Continues, Mike Stringer, Mustafa K Calik, MD, Neal Stimler, Niall
+McDonagh, Niall Twohig, Nicholas Norfolk, Nick Coghlan, Nicole Hickman,
+Nikki Thompson, Norrie Mailer, Omar Kaminski, OpenBuilds, Papp István Péter,
+Pat Sticks, Patricia Brennan, Paul and Iris Brest, Paul Elosegui, Penny
+Pearson, Peter Mengelers, Playground Inc., Pomax, Rafaela Kunz, Rajiv
+Jhangiani, Rayna Stamboliyska, Rob Berkley, Rob Bertholf, Robert Jones,
+Robert Thompson, Ronald van den Hoff, Rusi Popov, Ryan Merkley, S Searle,
+Salomon Riedo, Samuel A. Rebelsky, Samuel Tait, Sarah McGovern, Scott
+Gillespie, Seb Schmoller, Sharon Clapp, Sheona Thomson, Siena Oristaglio,
+Simon Law, Solomon Simon, Stefano Guidotti, Subhendu Ghosh, Susan Chun,
+Suzie Wiley, Sylvain Carle, Theresa Bernardo, Thomas Hartman, Thomas Kent,
+Timothée Planté, Timothy Hinchliff, Traci Long DeForge, Trevor Hogue,
+Tumuult, Vickie Goode, Vikas Shah, Virginia Kopelman, Wayne Mackintosh,
+William Peter Nash, Winie Evers, Wolfgang Renninger, Xavier Antoviaque,
+Yancey Strickler
+ </p><p>
+ All other Kickstarter backers (alphabetically by first name): A. Lee, Aaron
+C. Rathbun, Aaron Stubbs, Aaron Suggs, Abdul Razak Manaf, Abraham
+Taherivand, Adam Croom, Adam Finer, Adam Hansen, Adam Morris, Adam Procter,
+Adam Quirk, Adam Rory Porter, Adam Simmons, Adam Tinworth, Adam Zimmerman,
+Adrian Ho, Adrian Smith, Adriane Ruzak, Adriano Loconte, Al Sweigart, Alain
+Imbaud, Alan Graham, Alan M. Ford, Alan Swithenbank, Alan Vonlanthen, Albert
+O’Connor, Alec Foster, Alejandro Suarez Cebrian, Aleks Degtyarev, Alex
+Blood, Alex C. Ion, Alex Ross Shaw, Alexander Bartl, Alexander Brown,
+Alexander Brunner, Alexander Eliesen, Alexander Hawson, Alexander Klar,
+Alexander Neumann, Alexander Plaum, Alexander Wendland, Alexandre
+Rafalovitch, Alexey Volkow, Alexi Wheeler, Alexis Sevault, Alfredo Louro,
+Ali Sternburg, Alicia Gibb & Lunchbox Electronics, Alison Link, Alison
+Pentecost, Alistair Boettiger, Alistair Walder, Alix Bernier, Allan
+Callaghan, Allen Riddell, Allison Breland Crotwell, Allison Jane Smith,
+Álvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare,
+Amos Blanton, Amy Sept, Anatoly Volynets, Anders Ericsson, Andi Popp, André
+Bose Do Amaral, Andre Dickson, André Koot, André Ricardo, Andre van Rooyen,
+Andre Wallace, Andrea Bagnacani, Andrea Pepe, Andrea Pigato, Andreas
+Jagelund, Andres Gomez Casanova, Andrew A. Farke, Andrew Berhow, Andrew
+Hearse, Andrew Matangi, Andrew R McHugh, Andrew Tam, Andrew Turvey, Andrew
+Walsh, Andrew Wilson, Andrey Novoseltsev, Andy McGhee, Andy Reeve, Andy
+Woods, Angela Brett, Angeliki Kapoglou, Angus Keenan, Anne-Marie Scott,
+Antero Garcia, Antoine Authier, Antoine Michard, Anton Kurkin, Anton
+Porsche, Antònia Folguera, António Ornelas, Antonis Triantafyllakis, aois21
+publishing, April Johnson, Aria F. Chernik, Ariane Allan, Ariel Katz,
+Arithmomaniac, Arnaud Tessier, Arnim Sommer, Ashima Bawa, Ashley Elsdon,
+Athanassios Diacakis, Aurora Thornton, Aurore Chavet Henry, Austin
+Hartzheim, Austin Tolentino, Avner Shanan, Axel Pettersson, Axel
+Stieglbauer, Ay Okpokam, Barb Bartkowiak, Barbara Lindsey, Barry Dayton,
+Bastian Hougaard, Ben Chad, Ben Doherty, Ben Hansen, Ben Nuttall, Ben
+Rosenthal, Ben Sheridan, Benedikt Foit, Benita Tsao, Benjamin Costantini,
+Benjamin Daemon, Benjamin Keele, Benjamin Pflanz, Berglind Ósk Bergsdóttir,
+Bernardo Miguel Antunes, Bernd Nurnberger, Bernhard Seefeld, Beth Gis, Beth
+Tillinghast, Bethanye Blount, Bill Bonwitt, Bill Browne, Bill Keaggy, Bill
+Maiden, Bill Rafferty, Bill Scanlon, Bill Shields, Bill Slankard, BJ Becker,
+Bjorn Freeman-Benson, Bjørn Otto Wallevik, BK Bitner, Bo Ilsøe Hansen, Bo
+Sprotte Kofod, Bob Doran, Bob Recny, Bob Stuart, Bonnie Chiu, Boris Mindzak,
+Boriss Lariushin, Borjan Tchakaloff, Brad Kik, Braden Hassett, Bradford
+Benn, Bradley Keyes, Bradley L’Herrou, Brady Forrest, Brandon McGaha, Branka
+Tokic, Brant Anderson, Brenda Sullivan, Brendan O’Brien, Brendan Schlagel,
+Brett Abbott, Brett Gaylor, Brian Dysart, Brian Lampl, Brian Lipscomb, Brian
+S. Weis, Brian Schrader, Brian Walsh, Brian Walsh, Brooke Dukes, Brooke
+Schreier Ganz, Bruce Lerner, Bruce Wilson, Bruno Boutot, Bruno Girin, Bryan
+Mock, Bryant Durrell, Bryce Barbato, Buzz Technology Limited, Byung-Geun
+Jeon, C. Glen Williams, C. L. Couch, Cable Green, Callum Gare, Cameron
+Callahan, Cameron Colby Thomson, Cameron Mulder, Camille Bissuel / Nylnook,
+Candace Robertson, Carl Morris, Carl Perry, Carl Rigney, Carles Mateu,
+Carlos Correa Loyola, Carlos Solis, Carmen Garcia Wiedenhoeft, Carol Long,
+Carol marquardsen, Caroline Calomme, Caroline Mailloux, Carolyn Hinchliff,
+Carolyn Rude, Carrie Cousins, Carrie Watkins, Casey Hunt, Casey Milford,
+Casey Powell Shorthouse, Cat Cooper, Cecilie Maria, Cedric Howe, Cefn Hoile,
+@ShrimpingIt, Celia Muller, Ces Keller, Chad Anderson, Charles Butler,
+Charles Carstensen, Charles Chi Thoi Le, Charles Kobbe, Charles S. Tritt,
+Charles Stanhope, Charlotte Ong-Wisener, Chealsye Bowley, Chelle Destefano,
+Chenpang Chou, Cheryl Corte, Cheryl Todd, Chip Dickerson, Chip McIntosh,
+Chris Bannister, Chris Betcher, Chris Coleman, Chris Conway, Chris Foote
+(Spike), Chris Hurst, Chris Mitchell, Chris Muscat Azzopardi, Chris
+Niewiarowski, Chris Opperwall, Chris Stieha, Chris Thorne, Chris Weber,
+Chris Woolfrey, Chris Zabriskie, Christi Reid, Christian Holzberger,
+Christian Schubert, Christian Sheehy, Christian Thibault, Christian Villum,
+Christian Wachter, Christina Bennett, Christine Henry, Christine Rico,
+Christopher Burrows, Christopher Chan, Christopher Clay, Christopher Harris,
+Christopher Opiah, Christopher Swenson, Christos Keramitsis, Chuck Roslof,
+Chutika Udomsinn, Claire Wardle, Clare Forrest, Claudia Cristiani, Claudio
+Gallo, Claudio Ruiz, Clayton Dewey, Clement Delort, Cliff Church, Clint
+Lalonde, Clint O’Connor, Cody Allard, Cody Taylor, Colin Ayer, Colin
+Campbell, Colin Dean, Colin Mutchler, Colleen Cressman, Comfy Nomad, Connie
+Roberts, Connor Bär, Connor Merkley, Constantin Graf, Corbett Messa, Cory
+Chapman, Cosmic Wombat Games, Craig Engler, Craig Heath, Craig Maloney,
+Craig Thomler, Creative Commons Uruguay, Crina Kienle, Cristiano Gozzini,
+Curt McNamara, D C Petty, D. Moonfire, D. Rohhyn, D. Schulz, Dacian Herbei,
+Dagmar M. Meyer, Dan Mcalister, Dan Mohr, Dan Parson, Dana Freeman, Dana
+Ospina, Dani Leviss, Daniel Bustamante, Daniel Demmel, Daniel Dominguez,
+Daniel Dultz, Daniel Gallant, Daniel Kossmann, Daniel Kruse, Daniel Morado,
+Daniel Morgan, Daniel Pimley, Daniel Sabo, Daniel Sobey, Daniel Stein,
+Daniel Wildt, Daniele Prati, Danielle Moss, Danny Mendoza, Dario
+Taraborelli, Darius Irvin, Darius Whelan, Darla Anderson, Dasha Brezinova,
+Dave Ainscough, Dave Bull, Dave Crosby, Dave Eagle, Dave Moskovitz, Dave
+Neeteson, Dave Taillefer, Dave Witzel, David Bailey, David Cheung, David
+Eriksson, David Gallagher, David H. Bronke, David Hartley, David Hellam,
+David Hood, David Hunter, David jlaietta, David Lewis, David Mason, David
+Mcconville, David Mikula, David Nelson, David Orban, David Parry, David
+Spira, David T. Kindler, David Varnes, David Wiley, David Wormley, Deborah
+Nas, Denis Jean, dennis straub, Dennis Whittle, Denver Gingerich, Derek
+Slater, Devon Cooke, Diana Pasek-Atkinson, Diane Johnston Graves, Diane
+K. Kovacs, Diane Trout, Diderik van Wingerden, Diego Cuevas, Diego De La
+Cruz, Dimitrie Grigorescu, Dina Marie Rodriguez, Dinah Fabela, Dirk Haun,
+Dirk Kiefer, Dirk Loop, DJ Fusion - FuseBox Radio Broadcast, Dom jurkewitz,
+Dom Lane, Domi Enders, Domingo Gallardo, Dominic de Haas, Dominique
+Karadjian, Dongpo Deng, Donnovan Knight, Door de Flines, Doug Fitzpatrick,
+Doug Hoover, Douglas Craver, Douglas Van Camp, Douglas Van Houweling,
+Dr. Braddlee, Drew Spencer, Duncan Sample, Durand D’souza, Dylan Field, E C
+Humphries, Eamon Caddigan, Earleen Smith, Eden Sarid, Eden Spodek, Eduardo
+Belinchon, Eduardo Castro, Edwin Vandam, Einar Joergensen, Ejnar Brendsdal,
+Elad Wieder, Elar Haljas, Elena Valhalla, Eli Doran, Elias Bouchi, Elie
+Calhoun, Elizabeth Holloway, Ellen Buecher, Ellen Kaye- Cheveldayoff, Elli
+Verhulst, Elroy Fernandes, Emery Hurst Mikel, Emily Catedral, Enrique
+Mandujano R., Eric Astor, Eric Axelrod, Eric Celeste, Eric Finkenbiner, Eric
+Hellman, Eric Steuer, Erica Fletcher, Erik Hedman, Erik Lindholm Bundgaard,
+Erika Reid, Erin Hawley, Erin McKean of Wordnik, Ernest Risner, Erwan
+Bousse, Erwin Bell, Ethan Celery, Étienne Gilli, Eugeen Sablin, Evan
+Tangman, Evonne Okafor, Evtim Papushev, Fabien Cambi, Fabio Natali, Fauxton
+Software, Felix Deierlein, Felix Gebauer, Felix Maximiliano Obes, Felix
+Schmidt, Felix Zephyr Hsiao, Ferdies Food Lab, Fernand Deschambault, Filipe
+Rodrigues, Filippo Toso, Fiona MacAlister, fiona.mac.uk, Floor Scheffer,
+Florent Darrault, Florian Hähnel, Florian Schneider, Floyd Wilde, Foxtrot
+Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois
+Grey, François Gros, François Pelletier, Fred Benenson, Frédéric Abella,
+Frédéric Schütz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel
+Staples, Gabriel Véjar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath,
+Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de
+Valensart, Gavin Gray, Gavin Romig-Koch, Geoff Wood, Geoffrey Lehr, George
+Baier IV, George De Bruin, George Lawie, George Strakhov, Gerard Gorman,
+Geronimo de la Lama, Gianpaolo Rando, Gil Stendig, Gino Cingolani Trucco,
+Giovanna Sala, Glen Moffat, Glenn D. Jones, Glenn Otis Brown, Global Lives
+Project, Gorm Lai, Govindarajan Umakanthan, Graham Bird, Graham Freeman,
+Graham Heath, Graham Jones, Graham Smith-Gordon, Graham Vowles, Greg
+Brodsky, Greg Malone, Grégoire Detrez, Gregory Chevalley, Gregory Flynn,
+Grit Matthias, Gui Louback, Guillaume Rischard, Gustavo Vaz de Carvalho
+Gonçalves, Gustin Johnson, Gwen Franck, Gwilym Lucas, Haggen So, Håkon T
+Sønderland, Hamid Larbi, Hamish MacEwan, Hannes Leo, Hans Bickhofe, Hans de
+Raad, Hans Vd Horst, Harold van Ingen, Harold Watson, Harry Chapman, Harry
+Kaczka, Harry Torque, Hayden Glass, Hayley Rosenblum, Heather Leson, Helen
+Crisp, Helen Michaud, Helen Qubain, Helle Rekdal Schønemann, Henrique Flach
+Latorre Moreno, Henry Finn, Henry Kaiser, Henry Lahore, Henry Steingieser,
+Hermann Paar, Hillary Miller, Hironori Kuriaki, Holly Dykes, Holly Lyne,
+Hubert Gertis, Hugh Geenen, Humble Daisy, Hüppe Keith, Iain Davidson, Ian
+Capstick, Ian Johnson, Ian Upton, Icaro Ferracini, Igor Lesko, Imran Haider,
+Inma de la Torre, Iris Brest, Irwin Madriaga, Isaac Sandaljian, Isaiah
+Tanenbaum, Ivan F. Villanueva B., J P Cleverdon, Jaakko Tammela Jr, Jacek
+Darken Gołębiowski, Jack Hart, Jacky Hood, Jacob Dante Leffler, Jaime Perla,
+Jaime Woo, Jake Campbell, Jake Loeterman, Jakes Rawlinson, James Allenspach,
+James Chesky, James Cloos, James Docherty, James Ellars, James K Wood, James
+Tyler, Jamie Finlay, Jamie Stevens, Jamil Khatib, Jan E Ellison, Jan Gondol,
+Jan Sepp, Jan Zuppinger, Jane Finette, jane Lofton, Jane Mason, Jane Park,
+Janos Kovacs, Jasmina Bricic, Jason Blasso, Jason Chu, Jason Cole, Jason
+E. Barkeloo, Jason Hibbets, Jason Owen, Jason Sigal, Jay M Williams, Jazzy
+Bear Brown, JC Lara, Jean-Baptiste Carré, Jean-Philippe Dufraigne,
+Jean-Philippe Turcotte, Jean-Yves Hemlin, Jeanette Frey, Jeff Atwood, Jeff
+De Cagna, Jeff Donoghue, Jeff Edwards, Jeff Hilnbrand, Jeff Lowe, Jeff
+Rasalla, Jeff Ski Kinsey, Jeff Smith, Jeffrey L Tucker, Jeffrey Meyer, Jen
+Garcia, Jens Erat, Jeppe Bager Skjerning, Jeremy Dudet, Jeremy Russell,
+Jeremy Sabo, Jeremy Zauder, Jerko Grubisic, Jerome Glacken, Jérôme Mizeret,
+Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate
+Schingler, Jesús Longás Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim
+O’Flaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, Jiří Marek, Jo
+Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim
+Bang Larsen, Joan Rieu, Joanna Penn, João Almeida, Jochen Muetsch, Jodi
+Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda,
+Johan Meeusen, Johannes Förstner, Johannes Visintini, John Benfield, John
+Bevan, John C Patterson, John Crumrine, John Dimatos, John Feyler, John
+Huntsman, John Manoogian III, John Muller, John Ober, John Paul Blodgett,
+John Pearce, John Shale, John Sharp, John Simpson, John Sumser, John Weeks,
+John Wilbanks, John Worland, Johnny Mayall, Jollean Matsen, Jon Alberdi, Jon
+Andersen, Jon Cohrs, Jon Gotlin, Jon Schull, Jon Selmer Friborg, Jon Smith,
+Jonas Öberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan
+Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, Jörg
+Schwarz, Jose Antonio Gallego Vázquez, Joseph Mcarthur, Joseph Noll, Joseph
+Sullivan, Joseph Tucker, Josh Bernhard, Josh Tong, Joshua Tobkin, JP
+Rangaswami, Juan Carlos Belair, Juan Irming, Juan Pablo Carbajal, Juan Pablo
+Marin Diaz, Judith Newman, Judy Tuan, Jukka Hellén, Julia Benson-Slaughter,
+Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien
+Leroy, Juliet Chen, Julio Terra, Julius Mikkelä, Justin Christian, Justin
+Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J.
+Przybylski, Kaloyan Raev, Kamil Śliwowski, Kaniska Padhi, Kara Malenfant,
+Kara Monroe, Karen Pe, Karl Jahn, Karl Jonsson, Karl Nelson, Kasia
+Zygmuntowicz, Kat Lim, Kate Chapman, Kate Stewart, Kathleen Beck, Kathleen
+Hanrahan, Kathryn Abuzzahab, Kathryn Deiss, Kathryn Rose, Kathy Payne, Katie
+Lynn Daniels, Katie Meek, Katie Teague, Katrina Hennessy, Katriona Main,
+Kavan Antani, Keith Adams, Keith Berndtson, MD, Keith Luebke, Kellie
+Higginbottom, Ken Friis Larsen, Ken Haase, Ken Torbeck, Kendel Ratley,
+Kendra Byrne, Kerry Hicks, Kevin Brown, Kevin Coates, Kevin Flynn, Kevin
+Rumon, Kevin Shannon, Kevin Taylor, Kevin Tostado, Kewhyun Kelly-Yuoh, Kiane
+l’Azin, Kianosh Pourian, Kiran Kadekoppa, Kit Walsh, Klaus Mickus, Konrad
+Rennert, Kris Kasianovitz, Kristian Lundquist, Kristin Buxton, Kristina
+Popova, Kristofer Bratt, Kristoffer Steen, Kumar McMillan, Kurt Whittemore,
+Kyle Pinches, Kyle Simpson, L Eaton, Lalo Martins, Lane Rasberry, Larry
+Garfield, Larry Singer, Lars Josephsen, Lars Klaeboe, Laura Anne Brown,
+Laura Billings, Laura Ferejohn, Lauren Pedersen, Laurence Gonsalves, Laurent
+Muchacho, Laurie Racine, Laurie Reynolds, Lawrence M. Schoen, Leandro
+Pangilinan, Leigh Verlandson, Lenka Gondolova, Leonardo Bueno Postacchini,
+leonardo menegola, Lesley Mitchell, Leslie Krumholz, Leticia Britos
+Cavagnaro, Levi Bostian, Leyla Acaroglu, Liisa Ummelas, Lilly Kashmir
+Marques, Lior Mazliah, Lisa Bjerke, Lisa Brewster, Lisa Canning, Lisa
+Cronin, Lisa Di Valentino, Lisandro Gaertner, Livia Leskovec, Liynn
+Worldlaw, Liz Berg, Liz White, Logan Cox, Loki Carbis, Lora Lynn, Lorna
+Prescott, Lou Yufan, Louie Amphlett, Louis-David Benyayer, Louise Denman,
+Luca Corsato, Luca Lesinigo, Luca Palli, Luca Pianigiani, Luca S.G. de
+Marinis, Lucas Lopez, Lukas Mathis, Luke Chamberlin, Luke Chesser, Luke
+Woodbury, Lulu Tang, Lydia Pintscher, M Alexander Jurkat, Maarten Sander,
+Macie J Klosowski, Magnus Adamsson, Magnus Killingberg, Mahmoud Abu-Wardeh,
+Maik Schmalstich, Maiken Håvarstein, Maira Sutton, Mairi Thomson, Mandy
+Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc
+Martí, Marc Olivier Bastien, Marc Stober, Marc-André Martin, Marcel de
+Leeuwe, Marcel Hill, Marcia Hofmann, Marcin Olender, Marco Massarotto, Marco
+Montanari, Marco Morales, Marcos Medionegro, Marcus Bitzl, Marcus Norrgren,
+Margaret Gary, Mari Moreshead, Maria Liberman, Marielle Hsu, Marino
+Hernandez, Mario Lurig, Mario R. Hemsley, MD, Marissa Demers, Mark Chandler,
+Mark Cohen, Mark De Solla Price, Mark Gabby, Mark Gray, Mark Koudritsky,
+Mark Kupfer, Mark Lednor, Mark McGuire, Mark Moleda, Mark Mullen, Mark
+Murphy, Mark Perot, Mark Reeder, Mark Spickett, Mark Vincent Adams, Mark
+Waks, Mark Zuccarell II, Markus Deimann, Markus Jaritz, Markus Luethi,
+Marshal Miller, Marshall Warner, Martijn Arets, Martin Beaudoin, Martin
+Decky, Martin DeMello, Martin Humpolec, Martin Mayr, Martin Peck, Martin
+Sanchez, Martino Loco, Martti Remmelgas, Martyn Eggleton, Martyn Lewis, Mary
+Ellen Davis, Mary Heacock, Mary Hess, Mary Mi, Masahiro Takagi, Mason Du,
+Massimo V.A. Manzari, Mathias Bavay, Mathias Nicolajsen Kjærgaard, Matias
+Kruk, Matija Nalis, Matt Alcock, Matt Black, Matt Broach, Matt Hall, Matt
+Haughey, Matt Lee, Matt Plec, Matt Skoss, Matt Thompson, Matt Vance, Matt
+Wagstaff, Matteo Cocco, Matthew Bendert, Matthew Bergholt, Matthew Darlison,
+Matthew Epler, Matthew Hawken, Matthew Heimbecker, Matthew Orstad, Matthew
+Peterworth, Matthew Sheehy, Matthew Tucker, Adaptive Handy Apps, LLC,
+Mattias Axell, Max Green, Max Kossatz, Max lupo, Max Temkin, Max van
+Balgooy, Médéric Droz-dit-Busset, Megan Ingle, Megan Wacha, Meghan
+Finlayson, Melissa Aho, Melissa Sterry, Melle Funambuline, Menachem
+Goldstein, Micah Bridges, Michael Ailberto, Michael Anderson, Michael
+Andersson Skane, Michael C. Stewart, Michael Carroll, Michael Cavette,
+Michael Crees, Michael David Johas Teener, Michael Dennis Moore, Michael
+Freundt Karlsen, Michael Harries, Michael Hawel, Michael Lewis, Michael May,
+Michael Murphy, Michael Murvine, Michael Perkins, Michael Sauers, Michael
+St.Onge, Michael Stanford, Michael Stanley, Michael Underwood, Michael
+Weiss, Michael Wright, Michael-Andreas Kuttner, Michaela Voigt, Michal
+Rosenn, Michał Szymański, Michel Gallez, Michell Zappa, Michelle Heeyeon
+You, Miha Batic, Mik Ishmael, Mikael Andersson, Mike Chelen, Mike Habicher,
+Mike Maloney, Mike Masnick, Mike McDaniel, Mike Pouraryan, Mike Sheldon,
+Mike Stop Continues, Mike Stringer, Mike Wittenstein, Mikkel Ovesen, Mikołaj
+Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko
+<span class="quote">“<span class="quote">Macro</span>”</span> Fichtner, Mitch Featherston, Mitchell Adams, Molika
+Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz
+Schubert, Mrs. Paganini, Mushin Schilling, Mustafa K Calik, MD, Myk Pilgrim,
+Myra Harmer, Nadine Forget-Dubois, Nagle Industries, LLC, Nah Wee Yang,
+Natalie Brown, Natalie Freed, Nathan D Howell, Nathan Massey, Nathan Miller,
+Neal Gorenflo, Neal McBurnett, Neal Stimler, Neil Wilson, Nele Wollert,
+Neuchee Chang, Niall McDonagh, Niall Twohig, Nic McPhee, Nicholas Bentley,
+Nicholas Koran, Nicholas Norfolk, Nicholas Potter, Nick Bell, Nick Coghlan,
+Nick Isaacs, Nick M. Daly, Nick Vance, Nickolay Vedernikov, Nicky
+Weaver-Weinberg, Nico Prin, Nicolas Weidinger, Nicole Hickman, Niek
+Theunissen, Nigel Robertson, Nikki Thompson, Nikko Marie, Nikola Chernev,
+Nils Lavesson, Noah Blumenson-Cook, Noah Fang, Noah Kardos-Fein, Noah
+Meyerhans, Noel Hanigan, Noel Hart, Norrie Mailer, O.P. Gobée, Ohad Mayblum,
+Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar
+Kaminski, Omar Willey, OpenBuilds, Ove Ødegård, Øystein Kjærnet, Pablo López
+Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp István Péter,
+Paris Marx, Parker Higgins, Pasquale Borriello, Pat Allan, Pat Hawks, Pat
+Ludwig, Pat Sticks, Patricia Brennan, Patricia Rosnel, Patricia Wolf,
+Patrick Berry, Patrick Beseda, Patrick Hurley, Patrick M. Lozeau, Patrick
+McCabe, Patrick Nafarrete, Patrick Tanguay, Patrick von Hauff, Patrik
+Kernstock, Patti J Ryan, Paul A Golder, Paul and Iris Brest, Paul Bailey,
+Paul Bryan, Paul Bunkham, Paul Elosegui, Paul Hibbitts, Paul Jacobson, Paul
+Keller, Paul Rowe, Paul Timpson, Paul Walker, Pavel Dostál, Peeter Sällström
+Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per Åström, Perry
+Jetter, Péter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins,
+Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter
+O’Brien, Peter Pinch, Peter S. Crosby, Peter Wells, Petr Fristedt, Petr
+Viktorin, Petronella Jeurissen, Phil Flickinger, Philip Chung, Philip
+Pangrac, Philip R. Skaggs Jr., Philip Young, Philippa Lorne Channer,
+Philippe Vandenbroeck, Pierluigi Luisi, Pierre Suter, Pieter-Jan Pauwels,
+Playground Inc., Pomax, Popenoe, Pouhiou Noenaute, Prilutskiy Kirill,
+Print3Dreams Ltd., Quentin Coispeau, R. Smith, Race DiLoreto, Rachel Mercer,
+Rafael Scapin, Rafaela Kunz, Rain Doggerel, Raine Lourie, Rajiv Jhangiani,
+Ralph Chapoteau, Randall Kirby, Randy Brians, Raphaël Alexandre, Raphaël
+Schröder, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar,
+Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich
+McCue, Richard <span class="quote">“<span class="quote">TalkToMeGuy</span>”</span> Olson, Richard Best, Richard
+Blumberg, Richard Fannon, Richard Heying, Richard Karnesky, Richard Kelly,
+Richard Littauer, Richard Sobey, Richard White, Richard Winchell, Rik
+ToeWater, Rita Lewis, Rita Wood, Riyadh Al Balushi, Rob Balder, Rob Berkley,
+Rob Bertholf, Rob Emanuele, Rob McAuliffe, Rob McKaughan, Rob Tillie, Rob
+Utter, Rob Vincent, Robert Gaffney, Robert Jones, Robert Kelly, Robert
+Lawlis, Robert McDonald, Robert Orzanna, Robert Paterson Hunter, Robert
+R. Daniel Jr., Robert Ryan-Silva, Robert Thompson, Robert Wagoner, Roberto
+Selvaggio, Robin DeRosa, Robin Rist Kildal, Rodrigo Castilhos, Roger Bacon,
+Roger Saner, Roger So, Roger Solé, Roger Tregear, Roland Tanglao, Rolf and
+Mari von Walthausen, Rolf Egstad, Rolf Schaller, Ron Zuijlen, Ronald
+Bissell, Ronald van den Hoff, Ronda Snow, Rory Landon Aronson, Ross Findlay,
+Ross Pruden, Ross Williams, Rowan Skewes, Roy Ivy III, Ruben Flores, Rupert
+Hitzenberger, Rusi Popov, Russ Antonucci, Russ Spollin, Russell Brand, Rute
+Correia, Ruth Ann Carpenter, Ruth White, Ryan Mentock, Ryan Merkley, Ryan
+Price, Ryan Sasaki, Ryan Singer, Ryan Voisin, Ryan Weir, S Searle, Salem Bin
+Kenaid, Salomon Riedo, Sam Hokin, Sam Twidale, Samantha Levin,
+Samantha-Jayne Chapman, Samarth Agarwal, Sami Al-AbdRabbuh, Samuel
+A. Rebelsky, Samuel Goëta, Samuel Hauser, Samuel Landete, Samuel Oliveira
+Cersosimo, Samuel Tait, Sandra Fauconnier, Sandra Markus, Sandy Bjar, Sandy
+ONeil, Sang-Phil Ju, Sanjay Basu, Santiago Garcia, Sara Armstrong, Sara
+Lucca, Sara Rodriguez Marin, Sarah Brand, Sarah Cove, Sarah Curran, Sarah
+Gold, Sarah McGovern, Sarah Smith, Sarinee Achavanuntakul, Sasha Moss, Sasha
+VanHoven, Saul Gasca, Scott Abbott, Scott Akerman, Scott Beattie, Scott
+Bruinooge, Scott Conroy, Scott Gillespie, Scott Williams, Sean Anderson,
+Sean Johnson, Sean Lim, Sean Wickett, Seb Schmoller, Sebastiaan Bekker,
+Sebastiaan ter Burg, Sebastian Makowiecki, Sebastian Meyer, Sebastian
+Schweizer, Sebastian Sigloch, Sebastien Huchet, Seokwon Yang, Sergey
+Chernyshev, Sergey Storchay, Sergio Cardoso, Seth Drebitko, Seth Gover, Seth
+Lepore, Shannon Turner, Sharon Clapp, Shauna Redmond, Shawn Gaston, Shawn
+Martin, Shay Knohl, Shelby Hatfield, Sheldon (Vila) Widuch, Sheona Thomson,
+Si Jie, Sicco van Sas, Siena Oristaglio, Simon Glover, Simon John King,
+Simon Klose, Simon Law, Simon Linder, Simon Moffitt, Solomon Kahn, Solomon
+Simon, Soujanna Sarkar, Stanislav Trifonov, Stefan Dumont, Stefan Jansson,
+Stefan Langer, Stefan Lindblad, Stefano Guidotti, Stefano Luzardi, Stephan
+Meißl, Stéphane Wojewoda, Stephanie Pereira, Stephen Gates, Stephen Murphey,
+Stephen Pearce, Stephen Rose, Stephen Suen, Stephen Walli, Stevan Matheson,
+Steve Battle, Steve Fisches, Steve Fitzhugh, Steve Guen-gerich, Steve
+Ingram, Steve Kroy, Steve Midgley, Steve Rhine, Steven Kasprzyk, Steven
+Knudsen, Steven Melvin, Stig-Jørund B. Ö. Arnesen, Stuart Drewer, Stuart
+Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune Bøegh, Susan Chun,
+Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle,
+Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz,
+T. L. Mason, Tanbir Baeg, Tanya Hart, Tara Tiger Brown, Tara Westover, Tarmo
+Toikkanen, Tasha Turner Lennhoff, Tathagat Varma, Ted Timmons, Tej Dhawan,
+Teresa Gonczy, Terry Hook, Theis Madsen, Theo M. Scholl, Theresa Bernardo,
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+Chang, Thomas Hartman, Thomas Kent, Thomas Morgan, Thomas Philipp-Edmonds,
+Thomas Thrush, Thomas Werkmeister, Tieg Zaharia, Tieu Thuy Nguyen, Tim
+Chambers, Tim Cook, Tim Evers, Tim Nichols, Tim Stahmer, Timothée Planté,
+Timothy Arfsten, Timothy Hinchliff, Timothy Vollmer, Tina Coffman, Tisza
+Gergő, Tobias Schonwetter, Todd Brown, Todd Pousley, Todd Sattersten, Tom
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+Tyler Occhiogrosso, Udo Blenkhorn, Uri Sivan, Vanja Bobas, Vantharith Oum,
+Vaughan jenkins, Veethika Mishra, Vic King, Vickie Goode, Victor DePina,
+Victor Grigas, Victoria Klassen, Victorien Elvinger, VIGA Manufacture, Vikas
+Shah, Vinayak S.Kaujalgi, Vincent O’Leary, Violette Paquet, Virginia
+Gentilini, Virginia Kopelman, Vitor Menezes, Vivian Marthell, Wayne
+Mackintosh, Wendy Keenan, Werner Wiethege, Wesley Derbyshire, Widar Hellwig,
+Willa Köerner, William Bettridge-Radford, William Jefferson, William
+Marshall, William Peter Nash, William Ray, William Robins, Willow Rosenberg,
+Winie Evers, Wolfgang Renninger, Xavier Antoviaque, Xavier Hugonet, Xavier
+Moisant, Xueqi Li, Yancey Strickler, Yann Heurtaux, Yasmine Hajjar, Yu-Hsian
+Sun, Yves Deruisseau, Zach Chandler, Zak Zebrowski, Zane Amiralis and Joshua
+de Haan, ZeMarmot Open Movie
+ </p></div></body></html>
projects / text-madewithcc.git / commitdiff