Feito com Creative Commons

Paul Stacey

Sarah Hinchliff Pearson

- Este livro Ã© publicado sob uma licenÃ§a CC BY-SA, o que significa que vocÃª + Este livro Ã© publicado sob uma licenÃ§a CC BY-SA, o que significa que vocÃª pode copiar, redistribuir, remixar, transformar e desenvolver o conteÃºdo para qualquer finalidade, mesmo comercialmente, desde que vocÃª dÃª o crÃ©dito apropriado, forneÃ§a um link para o licenÃ§a e indicar se foram feitas alteraÃ§Ãµes. Se vocÃª remixar, transformar ou desenvolver o material, deverÃ¡ distribuir suas contribuiÃ§Ãµes sob a mesma licenÃ§a do original. Detalhes da licenÃ§a: https://creativecommons.org/licenses/by-sa/4.0/deed.pt_BR -

NÃ£o sei muito sobre jornalismo de nÃ£o ficÃ§Ã£o... A maneira que penso sobre -essas coisas e em termos do que posso fazer Ã©... ensaios como esse sÃ£o -ocasiÃµes para observar alguÃ©m razoavelmente brilhante, mas tambÃ©m -razoavelmente mediano, prestar mais atenÃ§Ã£o e pensar muito mais longamente -sobre todos os tipos de coisas diferentes do que a maioria de nÃ³s tem chance -de fazer em nossas vidas diÃ¡rias.

--\begin{flushright} +

Â	I donât know a whole lot about nonfiction journalism. . . The way that I +think about these things, and in terms of what I can do is. . . essays like +this are occasions to watch somebody reasonably bright but also reasonably +average pay far closer attention and think at far more length about all +sorts of different stuff than most of us have a chance to in our daily +lives.	Â
Â	--\begin{flushright} \textit{ David Foster Wallace } \end{flushright}

Lista de Figuras

1.1. Engajamento empresarial com comuns, estado e mercado.
1.2. Quatro aspectos da gestÃ£o de recursos
1.3. Como o mercado, os bens comuns e o estado geram recursos.
1.4. Na sociedade prÃ©-industrializada.
1.5. O comum Ã© gradualmente substituÃdo pelo Estado.
1.6. Como o mercado, o estado e os comuns sÃ£o hoje.

PrefÃ¡cio

- TrÃªs anos atrÃ¡s, logo depois de ser contratado como CEO da Creative Commons, + TrÃªs anos atrÃ¡s, 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 â alguÃ©m que tambÃ©m teve uma carreira de sucesso como escritor que compartilha seu trabalho usando CC â @@ -22,52 +22,50 @@ eu disse a ele que achava que a CC tinha um papel na definiÃ§Ã£o e promoÃ§Ã£o de modelos de negÃ³cios abertos. Ele discordou gentilmente e considerou a busca de modelos de negÃ³cios viÃ¡veis por meio da CC âuma pista falsaâ. -

- Ele estava, de certa forma, completamente correto â aqueles que fazem coisas +

+ Ele estava, de certa forma, completamente correto â aqueles que fazem coisas com Creative Commons tÃªm segundas intenÃ§Ãµes, como Paul Stacey explica neste livro: âIndependentemente do status legal, todos eles tÃªm uma missÃ£o social. Sua principal razÃ£o de ser Ã© tornar o mundo um lugar melhor, sem fins lucrativos. O dinheiro Ã© um meio para um fim social, nÃ£o o fim em si.â -

- No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as +

+ No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as palavras de Cory em seu livro Information Doesnât Want to Be Free: âEntrar nas artes porque vocÃª quer ficar rico Ã© como comprar bilhetes de loteria porque vocÃª quer ficar rico. Pode funcionar, mas quase certamente nÃ£o. Embora, Ã© claro, alguÃ©m sempre ganhe na loteria.â -

- Hoje, o direito autoral Ã© como um bilhete de loteria â todo mundo tem um e -quase ninguÃ©m ganha. O que eles nÃ£o dizem Ã© que, se vocÃª decidir -compartilhar seu trabalho, o retorno pode ser significativo e -duradouro. Este livro estÃ¡ repleto de histÃ³rias de pessoas que assumem -riscos muito maiores do que os dois dÃ³lares que pagamos por um bilhete de -loteria e, em vez disso, colhem as recompensas que advÃªm de perseguir suas -paixÃµes e viver seus valores. -

- Portanto, nÃ£o se trata de dinheiro. TambÃ©m: Ã©. Encontrar os meios para +

+ Today, copyright is like a lottery ticketâeveryone has one, and almost +nobody wins. What they donât tell you is that if you choose to share your +work, the returns can be significant and long-lasting. This book is filled +with stories of those who take much greater risks than the two dollars we +pay for a lottery ticket, and instead reap the rewards that come from +pursuing their passions and living their values. +

+ Portanto, nÃ£o se trata de dinheiro. TambÃ©m: Ã©. 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: âNÃ£o fazemos piadas e jogos para ganhar dinheiro â ganhamos dinheiro para que possamos fazer mais piadas e jogos.â -

- O foco da Creative Commons Ã© construir um commons vibrante e utilizÃ¡vel, -movido pela colaboraÃ§Ã£o e gratidÃ£o. Capacitar comunidades de colaboraÃ§Ã£o -estÃ¡ no centro de nossa estratÃ©gia. 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 negÃ³cios -abertos. Paul e Sarah eram os autores ideais para escrever Feito com -Creative Commons. -

- Paul sonha com um futuro onde novos modelos de criatividade e inovaÃ§Ã£o +

+ Creative Commonsâ focus is on building a vibrant, usable commons, powered by +collaboration and gratitude. Enabling communities of collaboration is at the +heart of our strategy. With that in mind, Creative Commons began this book +project. Led by Paul and Sarah, the project set out to define and advance +the best open business models. Paul and Sarah were the ideal authors to +write Made with Creative Commons. +

+ Paul sonha com um futuro onde novos modelos de criatividade e inovaÃ§Ã£o superem a desigualdade e a escassez que hoje definem as piores partes do capitalismo. Ele Ã© movido pelo poder das conexÃµes humanas entre comunidades de criadores. Ele tem uma visÃ£o mais ampla do que a maioria, e isso o tornou um melhor educador, um pesquisador perspicaz e tambÃ©m um jardineiro habilidoso. Ele tem uma voz calma e fria que transmite uma paixÃ£o que inspira seus colegas e a comunidade. -

- Sarah Ã© o melhor tipo de advogada â uma verdadeira defensora que acredita no +

+ Sarah Ã© o melhor tipo de advogada â 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 mÃ¡goa que vem por investir tanto em uma campanha polÃtica que nÃ£o terminou como ela esperava. Hoje, ela estÃ¡ mais @@ -76,51 +74,51 @@ contar com Sarah para empurrar a Creative Commons para focar em nosso impacto â para tornar a coisa principal a coisa principal. Ela Ã© prÃ¡tica, orientada para os detalhes e inteligente. NÃ£o hÃ¡ ninguÃ©m na minha equipe com quem eu goste mais de debater. -

- Como co-autores, Paul e Sarah se complementam perfeitamente. Eles -pesquisaram, analisaram, discutiram e trabalharam em equipe, Ã s vezes juntos -e Ã s vezes de forma independente. Eles mergulharam na pesquisa e na escrita -com paixÃ£o e curiosidade, e um profundo respeito pelo que Ã© necessÃ¡rio 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 Ã© -corajoso e tornou-se um livro melhor, perspicaz, honesto e Ãºtil. -

- Desde o inÃcio, a CC quis desenvolver este projeto com os princÃpios e +

+ As coauthors, Paul and Sarah complement each other perfectly. They +researched, analyzed, argued, and worked as a team, sometimes together and +sometimes independently. They dove into the research and writing with +passion and curiosity, and a deep respect for what goes into building the +commons and sharing with the world. They remained open to new ideas, +including the possibility that their initial theories would need refinement +or might be completely wrong. Thatâs courageous, and it has made for a +better book that is insightful, honest, and useful. +

+ Desde o inÃcio, a CC quis desenvolver este projeto com os princÃpios e valores da colaboraÃ§Ã£o aberta. O livro foi financiado, desenvolvido, pesquisado e escrito abertamente. Ele estÃ¡ sendo compartilhado abertamente sob uma licenÃ§a CC BY-SA para qualquer pessoa usar, remixar ou adaptar com atribuiÃ§Ã£o. Ã, por si sÃ³, um exemplo de modelo de negÃ³cio aberto. -

- Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma +

+ Por 31 dias em agosto de 2015, Sarah decidiu organizar e executar uma campanha Kickstarter para gerar o financiamento bÃ¡sico 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 â a maioria deles novos apoiadores da Creative Commons. -

- Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os +

+ Paul e Sarah trabalharam abertamente durante todo o projeto, publicando os planos, rascunhos, estudos de caso e anÃ¡lises, desde o inÃcio e com frequÃªncia, e envolveram comunidades em todo o mundo para ajudar a escrever este livro. Como suas opiniÃµes divergiram e seus interesses entraram em foco, eles dividiram suas vozes e decidiram mantÃª-los separados no produto final. Trabalhar dessa maneira requer humildade e autoconfianÃ§a e, sem dÃºvida, tornou o Feito com Creative Commons um projeto melhor. -

- Aqueles que trabalham e compartilham dos bens comuns nÃ£o sÃ£o criadores +

+ Aqueles que trabalham e compartilham dos bens comuns nÃ£o sÃ£o criadores tÃpicos. Eles sÃ£o parte de algo maior do que eles prÃ³prios, e o que eles oferecem a todos nÃ³s Ã© um dom profundo. O que eles recebem em troca Ã© gratidÃ£o e uma comunidade. -

- Jonathan Mann, cujo perfil Ã© apresentado neste livro, escreve uma mÃºsica por +

+ Jonathan Mann, cujo perfil Ã© apresentado neste livro, escreve uma mÃºsica por dia. Quando eu pedi a ele para escrever uma mÃºsica para o nosso Kickstarter (e se oferecer como um benefÃcio do Kickstarter), ele concordou imediatamente. Por que ele concordaria em fazer isso? Porque o commons tem a colaboraÃ§Ã£o em seu nÃºcleo, e a comunidade como um valor chave, e porque as licenÃ§as CC ajudaram muitos a compartilhar as formas que escolheram com um pÃºblico global. -

- Sarah escreve, âOs esforÃ§os feitos com Creative Commons prosperam +

+ Sarah escreve, âOs esforÃ§os feitos com Creative Commons prosperam quando a comunidade Ã© construÃda 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 @@ -132,8 +130,8 @@ a outra mÃºsica perfilada no livro, certamente acrescentaria isso de seu estudo de caso: âNÃ£o hÃ¡ objetivo final mais satisfatÃ³rio do que ter alguÃ©m lhe dizendo que o que vocÃª faz Ã© genuinamente valioso para eles.â -

- Este nÃ£o Ã© um livro de negÃ³cios tÃpico. Para quem procura uma receita ou um +

+ Este nÃ£o Ã© um livro de negÃ³cios tÃpico. 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 colaboraÃ§Ã£o ou se juntar a uma comunidade global poderosa e crescente, eles certamente ficarÃ£o @@ -141,31 +139,30 @@ satisfeitos. Feito com Creative Commons oferece um conjunto de valores e princÃpios claramente articulados para mudar o mundo, algumas ferramentas essenciais para explorar suas prÃ³prias oportunidades de negÃ³cios e duas dezenas de doses de pura inspiraÃ§Ã£o. -

- Em um artigo de 1996 da Stanford Law Review âThe Zones of -Cyberspaceâ, o fundador do CC Lawrence Lessig escreveu, âO -ciberespaÃ§o Ã© um lugar. Pessoas moram lÃ¡. Elas experimentam todos os tipos -de coisas que experimentam no espaÃ§o real, ali. Para alguns, elas -experimentam mais. Elas vivenciam isso nÃ£o como indivÃduos isolados, jogando -algum jogo de computador de alta tecnologia; elas experimentam isso em -grupos, em comunidades, entre estranhos, entre pessoas que eles conhecem e -Ã s vezes gostam. â -

- Estou extremamente orgulhoso de que a Creative Commons seja capaz de +

+ In a 1996 Stanford Law Review article âThe Zones of +Cyberspaceâ, CC founder Lawrence Lessig wrote, âCyberspace is a +place. People live there. They experience all the sorts of things that they +experience in real space, there. For some, they experience more. They +experience this not as isolated individuals, playing some high tech computer +game; they experience it in groups, in communities, among strangers, among +people they come to know, and sometimes like.â +

+ 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 Ã s comunidades globais que nos ajudaram a trazer isso para vocÃª. Como frequentemente diz o membro do conselho da CC, Johnathan Nightingale, âÃ tudo feito de pessoas.â -

- Esse Ã© o verdadeiro valor das coisas feitas com Creative Commons. -

--\begin{flushright} +

+ Esse Ã© o verdadeiro valor das coisas feitas com Creative Commons. +

Â		Â
Â	--\begin{flushright} \textit{ Ryan Merkley, CEO, Creative Commons} \end{flushright}

IntroduÃ§Ã£o

- Este livro mostra ao mundo como o compartilhamento pode ser bom para os + Este livro mostra ao mundo como o compartilhamento pode ser bom para os negÃ³cios â mas com uma diferenÃ§a. -

- ComeÃ§amos o projeto com a intenÃ§Ã£o de explorar como criadores, organizaÃ§Ãµes +

+ ComeÃ§amos o projeto com a intenÃ§Ã£o de explorar como criadores, organizaÃ§Ãµes e empresas ganham dinheiro para sustentar o que fazem quando compartilham seus trabalhos usando licenÃ§as Creative Commons. Nosso objetivo nÃ£o era identificar uma fÃ³rmula para modelos de negÃ³cios que usam Creative Commons, @@ -175,60 +172,59 @@ sobre o que jÃ¡ funciona. No inÃcio, estruturamos nossa investigaÃ§Ã£o em termos de negÃ³cios familiares. Criamos uma âtela de modelo de negÃ³cios abertoâ em branco, uma ferramenta on-line interativa que ajudaria as pessoas a projetar e analisar seu modelo de negÃ³cios. -

- Por meio do generoso financiamento dos patrocinadores do Kickstarter, -comeÃ§amos este projeto primeiro identificando e â selecionando um grupo -diverso de criadores, organizaÃ§Ãµes e empresas que usam a Creative Commons de -uma forma integral o que chamamos de ser Feito com Creative Commons. NÃ³s os -entrevistamos e escrevemos suas histÃ³rias. Analisamos o que ouvimos e nos -aprofundamos na literatura. -

- Mas enquanto fazÃamos nossa pesquisa, algo interessante aconteceu. Nossa +

+ Through the generous funding of Kickstarter backers, we set about this +project first by identifying and selecting a diverse group of creators, +organizations, and businesses who use Creative Commons in an integral +wayâwhat we call being Made with Creative Commons. We interviewed them and +wrote up their stories. We analyzed what we heard and dug deep into the +literature. +

+ Mas enquanto fazÃamos nossa pesquisa, algo interessante aconteceu. Nossa maneira inicial de enquadrar o trabalho nÃ£o combinava com as histÃ³rias que estÃ¡vamos ouvindo. -

- Os entrevistados nÃ£o eram empresas tÃpicas que vendem para consumidores e +

+ Os entrevistados nÃ£o eram empresas tÃpicas 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 nÃ£o para um crescimento ilimitado, mas para sustentar a operaÃ§Ã£o. -

- Muitas vezes eles nÃ£o gostavam de ouvir o que eles faziam descrito como um +

+ Muitas vezes eles nÃ£o gostavam de ouvir o que eles faziam descrito como um modelo de negÃ³cios aberto. Seu esforÃ§o era algo mais do que isso. Algo diferente. Algo que gera nÃ£o apenas valor econÃ´mico, mas tambÃ©m valor social e cultural. Algo que envolve conexÃ£o humana. Ser Feito com Creative Commons nÃ£o Ã© um ânegÃ³cio de costumeâ. -

- Tivemos que repensar a forma como concebemos esse projeto. E isso nÃ£o +

+ Tivemos que repensar a forma como concebemos esse projeto. E isso nÃ£o aconteceu da noite para o dia. Do outono de 2015 a 2016, documentamos nossas ideias em postagens de blog no Medium e com atualizaÃ§Ãµes regulares para nossos patrocinadores do Kickstarter. Compartilhamos rascunhos de estudos de caso e anÃ¡lises com nossos cocriadores do Kickstarter, que forneceram ediÃ§Ãµes, feedback e conselhos inestimÃ¡veis. Nosso pensamento mudou drasticamente ao longo de um ano e meio. -

- Ao longo do processo, nÃ³s dois frequentemente tÃnhamos maneiras muito -diferentes de compreender e descrever o que estÃ¡vamos 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 nÃ³s empreendesse este projeto sozinho. NÃ³s -preservamos nossas vozes por toda parte, e vocÃª serÃ¡ capaz de sentir nossas -abordagens diferentes, mas complementares, enquanto lÃª nossas diferentes -seÃ§Ãµes. -

- Embora recomendamos que vocÃª leia o livro do inÃcio ao fim, cada seÃ§Ã£o Ã© +

+ Throughout the process, the two of us have often had very different ways of +understanding and describing what we were learning. Learning from each other +has been one of the great joys of this work, and, we hope, something that +has made the final product much richer than it ever could have been if +either of us undertook this project alone. We have preserved our voices +throughout, and youâll be able to sense our different but complementary +approaches as you read through our different sections. +

+ Embora recomendamos que vocÃª leia o livro do inÃcio ao fim, cada seÃ§Ã£o Ã© lida de forma mais ou menos independente. O livro estÃ¡ estruturado em duas partes principais. -

- A parte um, a visÃ£o geral, comeÃ§a com uma estrutura geral escrita por +

+ A parte um, a visÃ£o geral, comeÃ§a com uma estrutura geral escrita por Paul. Ele fornece algum contexto histÃ³rico para os bens comuns digitais, descrevendo as trÃªs maneiras como a sociedade administrou recursos e compartilhou riqueza â os bens comuns, o mercado e o estado. Ele defende pensar alÃ©m dos negÃ³cios e dos termos de mercado e eloquentemente defende o compartilhamento e a ampliaÃ§Ã£o dos bens comuns digitais. -

- A visÃ£o geral continua com o capÃtulo de Sarah, enquanto ela considera o que +

+ A visÃ£o geral continua com o capÃtulo de Sarah, enquanto ela considera o que significa ser Feito com Creative Commons com sucesso. Embora ganhar dinheiro seja uma parte do bolo, hÃ¡ tambÃ©m um conjunto de valores voltados para o pÃºblico e o tipo de conexÃµes humanas que tornam o compartilhamento @@ -236,40 +232,40 @@ verdadeiramente significativo. Esta seÃ§Ã£o descreve as maneiras como os criadores, organizaÃ§Ãµes e empresas que entrevistamos geram receita, como promovem o interesse pÃºblico e vivem seus valores e como promovem conexÃµes com as pessoas com quem compartilham. -

- E para encerrar a primeira parte, temos uma pequena seÃ§Ã£o que explica as +

+ E para encerrar a primeira parte, temos uma pequena seÃ§Ã£o que explica as diferentes licenÃ§as Creative Commons. Falamos sobre o equÃvoco de que as licenÃ§as mais restritivas â aquelas que estÃ£o mais prÃ³ximas do modelo com todos os direitos reservados do direito autoral tradicional â sÃ£o as Ãºnicas maneiras de ganhar dinheiro. -

- A segunda parte do livro Ã© composta pelas vinte e quatro histÃ³rias dos +

+ A segunda parte do livro Ã© composta pelas vinte e quatro histÃ³rias dos criadores, empresas e organizaÃ§Ãµes que entrevistamos. Enquanto nÃ³s dois participamos das entrevistas, dividimos a redaÃ§Ã£o desses perfis. -

- Obviamente, temos o prazer de disponibilizar o livro usando uma licenÃ§a +

+ Obviamente, temos o prazer de disponibilizar o livro usando uma licenÃ§a Creative Commons AtribuiÃ§Ã£o-CompartilhaIgual. Copie, distribua, traduza, localize e desenvolva esta obra. -

- Escrever este livro nos transformou e nos inspirou. A maneira como agora +

+ 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 vocÃª e sua empresa a usar o Creative Commons e, assim, contribuir para a transformaÃ§Ã£o de nossa economia e do mundo para melhor. -

--\begin{flushright} +

Â		Â
Â	--\begin{flushright} \textit{ Paul e Sarah } \end{flushright}

ParteÂ I.Â O Quadro Geral

Ãndice

1. O Novo Mundo dos Comuns Digitais
2. Como ser Feito com Creative Commons
3. The Creative Commons Licenses

CapÃtulo 1. O Novo Mundo dos Comuns Digitais

Ãndice

Os Comuns, o Mercado e o Estado
Os Quatro Aspectos de um Recurso
Uma Breve HistÃ³ria dos Comuns
A RevoluÃ§Ã£o Digital
O Nascimento da Creative Commons
O Mercado em MudanÃ§a
BenefÃcios do Comum Digital
Nossos estudos de caso

Â		Â
Â	--\begin{flushright} \textit{ Paul Stacey} \end{flushright}

- Jonathan Rowe descreve eloquentemente os comuns como âo ar e os + Jonathan Rowe descreve eloquentemente os comuns como âo ar e os oceanos, a teia de espÃ©cies, a natureza selvagem e a Ã¡gua corrente â todos sÃ£o partes dos bens comuns. Assim como a linguagem e o conhecimento, as calÃ§adas e praÃ§as pÃºblicas, as histÃ³rias da infÃ¢ncia e os processos de democracia. Algumas partes dos comuns sÃ£o dÃ¡divas da natureza, outras sÃ£o o produto do esforÃ§o humano. Alguns sÃ£o novos, como a Internet; outros sÃ£o tÃ£o antigos quanto o solo e a caligrafia.â^[1] -

- Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns +

+ Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns digitais, um patrimÃ´nio comum de obras produzidas pelo homem. Esse comum abrange uma ampla gama de Ã¡reas, incluindo patrimÃ´nio cultural, educaÃ§Ã£o, pesquisa, tecnologia, arte, design, literatura, entretenimento, negÃ³cios e @@ -277,8 +273,8 @@ dados. As obras produzidas pelo homem em todas essas Ã¡reas sÃ£o cada vez mais digitais. A Internet Ã© uma espÃ©cie de comum digital global. Os indivÃduos, organizaÃ§Ãµes e empresas cujo perfil temos em nossos estudos de caso usam Creative Commons para compartilhar seus recursos online pela Internet. -

- O comum nÃ£o se trata apenas de recursos compartilhados, no entanto. Ã tambÃ©m +

+ O comum nÃ£o se trata apenas de recursos compartilhados, no entanto. Ã tambÃ©m sobre as prÃ¡ticas sociais e os valores que os gerem. Um recurso Ã© um substantivo, mas "comunalizar" â colocar o recurso no espaÃ§o comum â Ã© um verbo.^[2] Os criadores, organizaÃ§Ãµes e @@ -289,13 +285,13 @@ usuÃ¡rios.

Os Comuns, o Mercado e o Estado

- Historicamente, houve trÃªs maneiras de gerenciar recursos e compartilhar +

Os Comuns, o Mercado e o Estado

+ Historicamente, houve trÃªs maneiras de gerenciar recursos e compartilhar riqueza: os comuns (administrados coletivamente), o estado (ou seja, o governo) e o mercado â com os dois Ãºltimos sendo as formas dominantes hoje.^[4] -

- As organizaÃ§Ãµes e empresas em nossos estudos de caso sÃ£o Ãºnicas na forma +

+ As organizaÃ§Ãµes e empresas em nossos estudos de caso sÃ£o Ãºnicas na forma como participam dos bens comuns enquanto se envolvem com o mercado e/ou estado. A extensÃ£o do envolvimento com o mercado ou estado varia. Alguns operam principalmente como comuns com o mÃnimo ou nenhuma dependÃªncia do @@ -303,12 +299,12 @@ mercado ou estado.

- A fig. 1.1 Ã© uma representaÃ§Ã£o +

+ A fig. 1.1 Ã© uma representaÃ§Ã£o de como uma empresa pode ter vÃ¡rios nÃveis de envolvimento com comuns, estado e mercado. -

- Alguns de nossos estudos de caso sÃ£o simplesmente comuns e empresas de +

+ Alguns de nossos estudos de caso sÃ£o simplesmente comuns e empresas de mercado com pouco ou nenhum envolvimento com o estado. Uma descriÃ§Ã£o desses estudos de caso mostraria a esfera do estado como pequena ou atÃ© ausente. Outros estudos de caso sÃ£o principalmente baseados no mercado, com @@ -316,49 +312,49 @@ apenas um pequeno envolvimento com os comuns. Uma descriÃ§Ã£o desses estudos de caso mostraria a esfera do mercado tÃ£o grande e a esfera dos comuns tÃ£o pequena. A extensÃ£o em que uma empresa se considera primariamente de um tipo ou de outro afeta o equilÃbrio das normas pelas quais opera. -

- Todos os nossos estudos de caso geram dinheiro como meio de subsistÃªncia e +

+ Todos os nossos estudos de caso geram dinheiro como meio de subsistÃªncia e sustentabilidade. O dinheiro Ã© principalmente do mercado. Encontrar maneiras de gerar receita enquanto se mantÃ©m fiel aos valores essenciais dos comuns (geralmente expressos em declaraÃ§Ãµes de missÃ£o) Ã© um desafio. Gerenciar a interaÃ§Ã£o e o engajamento entre os comuns e o mercado exige um toque hÃ¡bil, um forte senso de valores e a capacidade de combinar o melhor de ambos. -

- O estado tem um papel importante a desempenhar na promoÃ§Ã£o do uso e adoÃ§Ã£o +

+ O estado tem um papel importante a desempenhar na promoÃ§Ã£o do uso e adoÃ§Ã£o dos comuns. Os programas e fundos estaduais podem contribuir deliberadamente para construir os comuns. AlÃ©m do dinheiro, as leis e regulamentos relativos Ã propriedade, direitos autorais, negÃ³cios e finanÃ§as podem ser projetados para promover os comuns. -

Figura 1.1. Engajamento empresarial com comuns, estado e mercado.

- Ã Ãºtil entender como os comuns, o mercado e o estado gerenciam os recursos +

Figura 1.1. Engajamento empresarial com comuns, estado e mercado.

+ Ã Ãºtil entender como os comuns, o mercado e o estado gerenciam os recursos de maneira diferente, e nÃ£o apenas para aqueles que se consideram principalmente como comuns. Para empresas ou organizaÃ§Ãµes governamentais que desejam se envolver e usar os comuns, saber como os comuns funciona os ajudarÃ¡ a compreender a melhor forma de fazer isso. Participar e usar os comuns da mesma forma que vocÃª faz com o mercado ou estado nÃ£o Ã© uma estratÃ©gia para o sucesso. -

Os Quatro Aspectos de um Recurso

- Como parte de sua obra ganhadora do PrÃªmio Nobel, Elinor Ostrom desenvolveu +

Os Quatro Aspectos de um Recurso

+ Como parte de sua obra ganhadora do PrÃªmio Nobel, Elinor Ostrom desenvolveu uma estrutura para analisar como os recursos naturais sÃ£o gerenciados em um comum.^[6] Sua estrutura considerou coisas como as caracterÃsticas biofÃsicas de recursos comuns, os atores da comunidade e as interaÃ§Ãµes 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 capÃtulo. -

- Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o +

+ Para comparar e contrastar as maneiras pelas quais os comuns, o mercado e o estado funcionam, vamos considerar quatro aspectos da gestÃ£o de recursos: caracterÃsticas 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. 1.2). -

Figura 1.2. Quatro aspectos da gestÃ£o de recursos

CaracterÃsticas

- Os recursos tÃªm caracterÃsticas ou atributos especÃficos que afetam a +

Figura 1.2. Quatro aspectos da gestÃ£o de recursos

CaracterÃsticas

+ Os recursos tÃªm caracterÃsticas ou atributos especÃficos que afetam a maneira como podem ser usados. Alguns recursos sÃ£o naturais; outros sÃ£o produzidos pelo homem. E â significativamente para o comum de hoje â os recursos podem ser fÃsicos ou digitais, o que afeta o potencial inerente de um recurso. -

- Os recursos fÃsicos existem em oferta limitada. Se eu tenho um recurso +

+ Os recursos fÃsicos existem em oferta limitada. Se eu tenho um recurso fÃsico e dou a vocÃª, nÃ£o o tenho mais. Quando um recurso Ã© 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 @@ -366,155 +362,151 @@ geralmente sÃ£o baseadas em formato digital, mas alguns de nossos estudos de caso tambÃ©m produzem recursos na forma fÃsica. Os custos de produÃ§Ã£o e distribuiÃ§Ã£o de um bem fÃsico geralmente exigem que elas se envolvam com o mercado. -

- Os recursos fÃsicos sÃ£o esgotÃ¡veis, exclusivos e rivais. Os recursos +

+ Os recursos fÃsicos sÃ£o esgotÃ¡veis, exclusivos e rivais. Os recursos digitais, por outro lado, sÃ£o nÃ£o esgotÃ¡veis, nÃ£o exclusivos e nÃ£o rivais. Se eu compartilhar um recurso digital com vocÃª, ambos teremos o recurso. Dar a vocÃª nÃ£o significa que eu nÃ£o o tenha mais. Os recursos digitais podem ser armazenados, copiados e distribuÃdos infinitamente sem se esgotarem e com custo prÃ³ximo a zero. AbundÃ¢ncia, em vez de escassez, Ã© uma caracterÃstica inerente aos recursos digitais. -

- A natureza nÃ£o esgotÃ¡vel, nÃ£o exclusiva e nÃ£o rival dos recursos digitais -significa que as regras e normas para gerenciÃ¡-los podem (e devem) ser -diferentes de como os recursos fÃsicos sÃ£o gerenciados. No entanto, nem -sempre Ã© esse o caso. Os recursos digitais sÃ£o frequentemente tornados -artificialmente escassos. Colocar recursos digitais nos comuns os torna -livre e abundantes. -

- Nossos estudos de caso gerenciam frequentemente recursos hÃbridos, que -comeÃ§am como digitais com a possibilidade de se tornarem um recurso -fÃsico. O arquivo digital de um livro pode ser impresso em papel e -transformado em livro fÃsico. Um projeto de mobÃlia renderizado por -computador pode ser fisicamente fabricado em madeira. Essa conversÃ£o do -digital para o fÃsico invariavelmente tem custos. Muitas vezes, os recursos -digitais sÃ£o gerenciados de forma livre e aberta, mas o dinheiro Ã© cobrado -para converter um recurso digital em fÃsico. -

- AlÃ©m dessa ideia de fÃsico versus digital, os comuns, o mercado e o estado -concebem os recursos de maneira diferente (veja Fig. 1.3). O mercado vÃª os recursos como -bens privados â mercadorias para venda â dos quais o valor Ã© extraÃdo. O -estado vÃª os recursos como bens pÃºblicos que fornecem valor aos cidadÃ£os do -estado. Os comuns vÃªem os recursos como comuns, proporcionando uma riqueza -comum que se estende alÃ©m das fronteiras do estado, a ser repassada de forma -inalterada ou aprimorada para as geraÃ§Ãµes futuras. -

Pessoas e processos

- Nos comuns, no mercado e no estado, diferentes pessoas e processos sÃ£o +

+ The nondepletable, nonexclusive, and nonrivalrous nature of digital +resources means the rules and norms for managing them can (and ought to) be +different from how physical resources are managed. However, this is not +always the case. Digital resources are frequently made artificially +scarce. Placing digital resources in the commons makes them free and +abundant. +

+ Our case studies frequently manage hybrid resources, which start out as +digital with the possibility of being made into a physical resource. The +digital file of a book can be printed on paper and made into a physical +book. A computer-rendered design for furniture can be physically +manufactured in wood. This conversion from digital to physical invariably +has costs. Often the digital resources are managed in a free and open way, +but money is charged to convert a digital resource into a physical one. +

+ Beyond this idea of physical versus digital, the commons, market, and state +conceive of resources differently (see Fig. 1.3). The market sees resources as private goodsâcommodities +for saleâfrom which value is extracted. The state sees resources as public +goods that provide value to state citizens. The commons sees resources as +common goods, providing a common wealth extending beyond state boundaries, +to be passed on in undiminished or enhanced form to future generations. +

Pessoas e processos

+ Nos comuns, no mercado e no estado, diferentes pessoas e processos sÃ£o usados para gerenciar os recursos. Os processos usados definem quem tem uma palavra a dizer e como um recurso Ã© gerenciado. -

- No estado, um governo de funcionÃ¡rios eleitos Ã© responsÃ¡vel por administrar -os recursos em nome do pÃºblico. Os cidadÃ£os que produzem e usam esses -recursos nÃ£o estÃ£o diretamente envolvidos; em vez disso, essa -responsabilidade Ã© entregue ao governo. MinistÃ©rios e departamentos -estaduais com funcionÃ¡rios pÃºblicos definem orÃ§amentos, implementam -programas e administram recursos com base nas prioridades e procedimentos do -governo. -

- No mercado, as pessoas envolvidas sÃ£o produtores, compradores, vendedores e +

+ In the state, a government of elected officials is responsible for managing +resources on behalf of the public. The citizens who produce and use those +resources are not directly involved; instead, that responsibility is given +over to the government. State ministries and departments staffed with public +servants set budgets, implement programs, and manage resources based on +government priorities and procedures. +

+ No mercado, as pessoas envolvidas sÃ£o produtores, compradores, vendedores e consumidores. As empresas atuam como intermediÃ¡rios entre aqueles que produzem recursos e aqueles que os consomem ou usam. Os processos de mercado procuram extrair o mÃ¡ximo de valor monetÃ¡rio possÃvel dos recursos. No mercado, os recursos sÃ£o administrados como mercadorias, frequentemente produzidos em massa e vendidos aos consumidores com base em uma transaÃ§Ã£o em dinheiro. -

- Em contraste com o estado e o mercado, os recursos em um comum sÃ£o -gerenciados mais diretamente pelas pessoas envolvidas.^[7] Os criadores de recursos humanos produzidos podem -colocÃ¡-los no comum por escolha pessoal. Nenhuma permissÃ£o do estado ou do -mercado Ã© necessÃ¡ria. Qualquer um pode participar dos comuns e determinar -por si mesmo atÃ© que ponto deseja se envolver â como contribuidor, usuÃ¡rio -ou gerente. As pessoas envolvidas incluem nÃ£o apenas aqueles que criam e -usam os recursos, mas tambÃ©m aqueles afetados pelo resultado do uso. Quem -vocÃª Ã© afeta a sua opiniÃ£o, as aÃ§Ãµes que vocÃª pode tomar e a extensÃ£o da -tomada de decisÃ£o. Nos comuns, a comunidade como um todo gerencia os -recursos. Os recursos colocados nos comuns usando Creative Commons exigem -que os usuÃ¡rios dÃªem crÃ©dito ao criador original. Conhecer a pessoa por trÃ¡s -de um recurso torna os comuns menos anÃ´nimos e mais pessoais. -

Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.

Normas e regras

- As interaÃ§Ãµes sociais entre as pessoas e os processos usados pelo estado, +

+ In contrast to the state and market, resources in a commons are managed more +directly by the people involved.^[7] +Creators of human produced resources can put them in the commons by personal +choice. No permission from state or market is required. Anyone can +participate in the commons and determine for themselves the extent to which +they want to be involvedâas a contributor, user, or manager. The people +involved include not only those who create and use resources but those +affected by outcome of use. Who you are affects your say, actions you can +take, and extent of decision making. In the commons, the community as a +whole manages the resources. Resources put into the commons using Creative +Commons require users to give the original creator credit. Knowing the +person behind a resource makes the commons less anonymous and more personal. +

Figura 1.3. Como o mercado, os bens comuns e o estado geram recursos.

Normas e regras

+ As interaÃ§Ãµes sociais entre as pessoas e os processos usados pelo estado, mercado e bens comuns desenvolvem normas e regras sociais. Essas normas e regras definem permissÃµes, alocam direitos e resolvem disputas. -

- A autoridade do estado Ã© governada pelas constituiÃ§Ãµes nacionais. As normas +

+ A autoridade do estado Ã© governada pelas constituiÃ§Ãµes nacionais. As normas relacionadas a prioridades e tomada de decisÃµes sÃ£o definidas por funcionÃ¡rios eleitos e procedimentos parlamentares. As regras estaduais sÃ£o expressas por meio de polÃticas, regulamentos e leis. O estado influencia as normas e regras do mercado e dos comuns por meio das regras que passa. -

- As normas de mercado sÃ£o influenciadas pela economia e pela competiÃ§Ã£o por +

+ As normas de mercado sÃ£o influenciadas pela economia e pela competiÃ§Ã£o por recursos escassos. As regras do mercado seguem as leis de propriedade, negÃ³cios e financeiras definidas pelo estado. -

- Tal como acontece com o mercado, um comum pode ser influenciado por +

+ Tal como acontece com o mercado, um comum pode ser influenciado por polÃticas, regulamentos e leis estaduais. Mas as normas e regras de um comum sÃ£o amplamente definidas pela comunidade. Elas pesam os custos e benefÃcios individuais em relaÃ§Ã£o aos custos e benefÃcios para toda a comunidade. A consideraÃ§Ã£o Ã© dada nÃ£o apenas Ã eficiÃªncia econÃ´mica, mas tambÃ©m Ã equidade -e sustentabilidade.^[8] -

Objetivos

- A combinaÃ§Ã£o dos aspectos que discutimos atÃ© agora â as caracterÃsticas +e sustentabilidade.^[8] +

Objetivos

+ A combinaÃ§Ã£o dos aspectos que discutimos atÃ© agora â as caracterÃsticas inerentes do recurso, pessoas e processos, e normas e regras â moldam como os recursos sÃ£o usados. O uso tambÃ©m Ã© influenciado pelos diferentes objetivos que o estado, o mercado e os comuns tÃªm. -

- No mercado, o foco Ã© maximizar a utilidade de um recurso. O que pagamos +

+ No mercado, o foco Ã© maximizar a utilidade de um recurso. O que pagamos pelos bens que consumimos Ã© visto como uma medida objetiva da utilidade que eles fornecem. A meta entÃ£o passa a ser maximizar o valor monetÃ¡rio total na -economia.^[9] As unidades consumidas se +economia.^[9] As unidades consumidas se traduzem em vendas, receita, lucro e crescimento, e todas essas sÃ£o maneiras de medir as metas do mercado. -

- O estado visa usar e administrar os recursos de uma forma que equilibre a +

+ O estado visa usar e administrar os recursos de uma forma que equilibre a economia com as necessidades sociais e culturais de seus cidadÃ£os. SaÃºde, educaÃ§Ã£o, empregos, meio ambiente, transporte, seguranÃ§a, patrimÃ´nio e justiÃ§a sÃ£o facetas de uma sociedade saudÃ¡vel, e o estado aplica seus recursos para esses objetivos. Metas estaduais sÃ£o refletidas em medidas de qualidade de vida. -

- Nos comuns, a meta Ã© maximizar o acesso, equidade, distribuiÃ§Ã£o, +

+ Nos comuns, a meta Ã© maximizar o acesso, equidade, distribuiÃ§Ã£o, participaÃ§Ã£o, inovaÃ§Ã£o e sustentabilidade. VocÃª pode medir o sucesso observando quantas pessoas acessam e usam um recurso; como os usuÃ¡rios sÃ£o distribuÃdos por gÃªnero, renda e localizaÃ§Ã£o; se uma comunidade para estender e aumentar os recursos estÃ¡ sendo formada; e se os recursos estÃ£o sendo usados de maneiras inovadoras para o bem pessoal e social. -

- Como combinaÃ§Ãµes hÃbridas de comuns com o mercado ou estado, o sucesso e a +

+ Como combinaÃ§Ãµes hÃbridas 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. -

Uma Breve HistÃ³ria dos Comuns

- Usar os comuns para gerenciar recursos faz parte de um longo continuum +

Uma Breve HistÃ³ria dos Comuns

+ Usar os comuns para gerenciar recursos faz parte de um longo continuum histÃ³rico. No entanto, na sociedade contemporÃ¢nea, o mercado e o Estado dominam o discurso sobre como os recursos sÃ£o mais bem administrados. Raramente os comuns sÃ£o considerados uma opÃ§Ã£o. Os comuns desapareceram amplamente da consciÃªncia e da consideraÃ§Ã£o. NÃ£o hÃ¡ notÃcias ou discursos sobre os comuns. -

- Mas os mais de 1,1 bilhÃ£o de recursos licenciados com Creative Commons em +

+ Mas os mais de 1,1 bilhÃ£o de recursos licenciados com Creative Commons em todo o mundo sÃ£o indicaÃ§Ãµes de um movimento de base em direÃ§Ã£o aos comuns. Os comuns estÃ£o ressurgindo. Para entender a resiliÃªncia dos comuns e sua renovaÃ§Ã£o atual, Ã© Ãºtil saber um pouco de sua histÃ³ria. -

- Durante sÃ©culos, povos indÃgenas e sociedades prÃ©-industrializadas -administraram recursos, incluindo Ã¡gua, alimentos, lenha, irrigaÃ§Ã£o, peixes, -caÃ§a selvagem e muitas outras coisas coletivamente como comuns.^[10] NÃ£o havia mercado, nÃ£o havia economia global. O -estado na forma de governantes influenciou os bens comuns, mas de forma -alguma os controlou. A participaÃ§Ã£o social direta em um comum era a -principal maneira pela qual os recursos eram administrados e as necessidades -atendidas. (Fig. 1.4 ilustra os -comuns em relaÃ§Ã£o ao Estado e ao mercado.) -

Figura 1.4. Na sociedade prÃ©-industrializada.

- Isso Ã© seguido por uma longa histÃ³ria do Estado (uma monarquia ou +

+ For centuries, indigenous people and preindustrialized societies managed +resources, including water, food, firewood, irrigation, fish, wild game, and +many other things collectively as a commons.^[10] There was no market, no global economy. The state in the form of +rulers influenced the commons but by no means controlled it. Direct social +participation in a commons was the primary way in which resources were +managed and needs met. (Fig. 1.4 illustrates the commons in relation to the state and the +market.) +

Figura 1.4. Na sociedade prÃ©-industrializada.

+ Isso Ã© seguido por uma longa histÃ³ria do Estado (uma monarquia ou governante) assumindo o controle dos comuns para seus prÃ³prios fins. Isso Ã© -chamado de cerco dos comuns.^[11] +chamado de cerco dos comuns.^[11] Antigamente, âplebeusâ eram expulsos da terra, cercas e sebes erguidas, leis aprovadas e seguranÃ§a criada para proibir o -acesso.^[12] Gradualmente, recursos +acesso.^[12] Gradualmente, recursos tornou-se propriedade do Estado e o Estado tornou-se o principal meio pelo qual os recursos eram administrados. (Veja Fig. 1.5). -

- Propriedades de terra, Ã¡gua e caÃ§a foram distribuÃdas para famÃlias +

+ Propriedades de terra, Ã¡gua e caÃ§a foram distribuÃdas para famÃlias governantes e nomeados polÃticos. Plebeus deslocados da terra migraram para as cidades. Com o surgimento da revoluÃ§Ã£o industrial, a terra e os recursos tornaram-se mercadorias vendidas a empresas para apoiar a produÃ§Ã£o. As @@ -525,11 +517,11 @@ para apoiar os mercados, o crescimento e a produtividade. Com o tempo, o acesso imediato aos bens produzidos no mercado resultou em um padrÃ£o de vida em elevaÃ§Ã£o, saÃºde melhorada e educaÃ§Ã£o. A Fig. 1.6 mostra como hoje o mercado Ã© o principal meio pelo qual os recursos sÃ£o gerenciados. -

Figura 1.5. O comum Ã© gradualmente substituÃdo pelo Estado.

- No entanto, o mundo hoje estÃ¡ passando por tempos turbulentos. Os benefÃcios +

Figura 1.5. O comum Ã© gradualmente substituÃdo pelo Estado.

+ No entanto, o mundo hoje estÃ¡ passando por tempos turbulentos. Os benefÃcios do mercado foram compensados pela distribuiÃ§Ã£o desigual e superexploraÃ§Ã£o. -

- A superexploraÃ§Ã£o foi o tÃ³pico do influente ensaio de Garrett Hardin +

+ A superexploraÃ§Ã£o foi o tÃ³pico do influente ensaio de Garrett Hardin âThe Tragedy of the Commonsâ, publicado na Science em 1968. Hardin argumenta que todos em um bem comum procuram maximizar o ganho pessoal e continuarÃ£o a fazÃª-lo mesmo quando os limites de os bens comuns @@ -537,24 +529,24 @@ sÃ£o alcanÃ§ados. O comum Ã© entÃ£o tragicamente esgotado a ponto de nÃ£o poder mais sustentar ninguÃ©m. O ensaio de Hardin tornou-se amplamente aceito como um truÃsmo econÃ´mico e uma justificativa para a propriedade privada e os mercados livres. -

- No entanto, hÃ¡ uma falha sÃ©ria em âThe Tragedy of the Commonsâ -de Hardin â Ã© uma ficÃ§Ã£o. Hardin nÃ£o estudou realmente como funcionam os -comuns reais. Elinor Ostrom ganhou o PrÃªmio Nobel de Economia em 2009 por -seu trabalho ao estudar diferentes Ã¡reas 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 regulamentaÃ§Ã£o das -autoridades centrais ou sem privatizaÃ§Ã£o. Governo e privatizaÃ§Ã£o nÃ£o sÃ£o as -Ãºnicas opÃ§Ãµes. Existe uma terceira via: gestÃ£o pelas pessoas, onde aqueles -que sÃ£o diretamente impactados estÃ£o diretamente envolvidos. Com recursos -naturais, existe uma localidade regional. As pessoas da regiÃ£o sÃ£o as mais -familiarizadas com o recurso natural, tÃªm com ele a relaÃ§Ã£o e a histÃ³ria -mais direta e, portanto, estÃ£o em melhor posiÃ§Ã£o para gerenciÃ¡-lo. A -abordagem de Ostrom para a governanÃ§a dos recursos naturais rompeu com as -convenÃ§Ãµes; ela reconheceu a importÃ¢ncia dos comuns como uma alternativa ao -mercado ou estado para resolver problemas de aÃ§Ã£o coletiva.^[13] -

- Hardin deixou de considerar a real dinÃ¢mica social dos comuns. Seu modelo +

+ However, there is one serious flaw with Hardinâs âThe Tragedy of the +Commonsââitâs fiction. Hardin did not actually study how real commons +work. Elinor Ostrom won the 2009 Nobel Prize in economics for her work +studying different commons all around the world. Ostromâs work shows that +natural resource commons can be successfully managed by local communities +without any regulation by central authorities or without +privatization. Government and privatization are not the only two +choices. There is a third way: management by the people, where those that +are directly impacted are directly involved. With natural resources, there +is a regional locality. The people in the region are the most familiar with +the natural resource, have the most direct relationship and history with it, +and are therefore best situated to manage it. Ostromâs approach to the +governance of natural resources broke with convention; she recognized the +importance of the commons as an alternative to the market or state for +solving problems of collective action.^[13] +

+ Hardin deixou de considerar a real dinÃ¢mica social dos comuns. Seu modelo pressupÃµe que as pessoas comuns agem de forma autÃ´noma, por puro interesse prÃ³prio, sem interaÃ§Ã£o ou consideraÃ§Ã£o pelos outros. Mas, como Ostrom descobriu, na realidade, gerenciar recursos comuns em conjunto forma uma @@ -563,43 +555,43 @@ que ajudam as pessoas a trabalhar coletivamente e garantir um bem comum sustentÃ¡vel. Paradoxalmente, embora o ensaio de Hardin seja chamado, em inglÃªs, de A TragÃ©dia dos Comuns, pode ser mais precisamente intitulado A TragÃ©dia do Mercado. -

- A histÃ³ria de Hardin Ã© baseada na premissa de recursos esgotÃ¡veis. Os -economistas tÃªm se concentrado quase exclusivamente nos mercados baseados na -escassez. Muito pouco se sabe sobre como funciona a abundÃ¢ncia.^[14] O surgimento da tecnologia da informaÃ§Ã£o e da -Internet levou a uma explosÃ£o de recursos digitais e novos meios de -compartilhamento e distribuiÃ§Ã£o. Os recursos digitais nunca podem ser -esgotados. A ausÃªncia de uma teoria ou modelo de funcionamento da -abundÃ¢ncia, no entanto, tem levado o mercado a tornar artificialmente -escassos os recursos digitais e possibilitar a aplicaÃ§Ã£o das normas e regras -usuais de mercado. -

- Quando se trata de usar fundos do estado para criar bens digitais, no +

+ Hardinâs story is based on the premise of depletable resources. Economists +have focused almost exclusively on scarcity-based markets. Very little is +known about how abundance works.^[14] The +emergence of information technology and the Internet has led to an explosion +in digital resources and new means of sharing and distribution. Digital +resources can never be depleted. An absence of a theory or model for how +abundance works, however, has led the market to make digital resources +artificially scarce and makes it possible for the usual market norms and +rules to be applied. +

+ Quando se trata de usar fundos do estado para criar bens digitais, no entanto, realmente nÃ£o hÃ¡ justificativa para a escassez artificial. A norma para obras digitais financiadas pelo estado deve ser que elas estejam livre e abertamente disponÃveis ao pÃºblico que pagou por elas. -

Figura 1.6. Como o mercado, o estado e os comuns sÃ£o hoje.

A RevoluÃ§Ã£o Digital

- Nos primeiros dias da computaÃ§Ã£o, programadores e desenvolvedores aprenderam +

Figura 1.6. Como o mercado, o estado e os comuns sÃ£o hoje.

A RevoluÃ§Ã£o Digital

+ Nos primeiros dias da computaÃ§Ã£o, programadores e desenvolvedores aprenderam uns com os outros compartilhando software. Na dÃ©cada de 1980, o movimento do software livre codificou essa prÃ¡tica de compartilhamento em um conjunto de princÃpios e liberdades: -

- A liberdade de executar um programa de software como desejar, para qualquer +
- + A liberdade de executar um programa de software como desejar, para qualquer propÃ³sito. -
- - A liberdade de estudar como um programa de software funciona (porque o +
- + A liberdade de estudar como um programa de software funciona (porque o acesso ao cÃ³digo-fonte foi concedido livremente), e alterÃ¡-lo para que ele faÃ§a sua computaÃ§Ã£o como vocÃª desejar. -
- - A liberdade de redistribuir cÃ³pias. -
- - A liberdade de distribuir cÃ³pias de suas versÃµes modificadas para outras -pessoas.^[15] -
- Esses princÃpios e liberdades constituem um conjunto de normas e regras que +
+ A liberdade de redistribuir cÃ³pias. +
+ A liberdade de distribuir cÃ³pias de suas versÃµes modificadas para outras +pessoas.^[15] +

+ Esses princÃpios e liberdades constituem um conjunto de normas e regras que tipificam um comum digital. -

- No final da dÃ©cada de 1990, para tornar o compartilhamento de cÃ³digo-fonte e +

+ No final da dÃ©cada de 1990, para tornar o compartilhamento de cÃ³digo-fonte e colaboraÃ§Ã£o mais atraente para as empresas, a iniciativa de software de cÃ³digo-fonte aberto converteu esses princÃpios em licenÃ§as e padrÃµes para gerenciar o acesso e distribuiÃ§Ã£o de software. Os benefÃcios do cÃ³digo @@ -608,20 +600,20 @@ revisÃ£o por pares independentes â tornaram-se amplamente reconhecidos e aceitos. Os clientes gostaram da maneira como o cÃ³digo aberto lhes deu controle sem ficar preso a uma tecnologia proprietÃ¡ria fechada. O software livre e de cÃ³digo aberto tambÃ©m gerou um efeito de rede onde o valor de um -produto ou serviÃ§o aumenta com o nÃºmero de pessoas que o usam.^[16] O crescimento dramÃ¡tico da prÃ³pria Internet deve +produto ou serviÃ§o aumenta com o nÃºmero de pessoas que o usam.^[16] O crescimento dramÃ¡tico da prÃ³pria Internet deve muito ao fato de que ninguÃ©m tem um bloqueio proprietÃ¡rio nos protocolos bÃ¡sicos da Internet. -

- Embora o software de cÃ³digo aberto funcione como um bem comum, muitas +

+ Embora o software de cÃ³digo aberto funcione como um bem comum, muitas empresas e mercados se desenvolveram em torno dele. Modelos de negÃ³cios baseados em licenÃ§as e padrÃµes de software de cÃ³digo aberto evoluÃram junto com organizaÃ§Ãµes que gerenciavam o cÃ³digo de software com base em princÃpios de abundÃ¢ncia em vez de escassez. O ensaio de Eric Raymond âThe Magic Cauldronâ faz um Ã³timo trabalho ao analisar a economia e os modelos -de negÃ³cios associados ao software de cÃ³digo aberto.^[17] Esses modelos podem fornecer exemplos de abordagens +de negÃ³cios associados ao software de cÃ³digo aberto.^[17] Esses modelos podem fornecer exemplos de abordagens sustentÃ¡veis para aqueles feitos com Creative Commons. -

- NÃ£o se trata apenas de uma disponibilidade abundante de ativos digitais, mas +

+ NÃ£o se trata apenas de uma disponibilidade abundante de ativos digitais, mas tambÃ©m de uma abundÃ¢ncia de participaÃ§Ã£o. O crescimento da computaÃ§Ã£o pessoal, da tecnologia da informaÃ§Ã£o e da Internet possibilitou a participaÃ§Ã£o em massa na produÃ§Ã£o e distribuiÃ§Ã£o de trabalhos @@ -632,22 +624,22 @@ digitais sÃ£o regidas por leis de direitos autorais. De acordo com os direitos autorais, uma obra digital Ã© propriedade do criador e, por lei, outras pessoas estÃ£o proibidas de acessÃ¡-la e usÃ¡-la sem a permissÃ£o do criador. -

- Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos Ã© +

+ Mas as pessoas gostam de compartilhar. Uma das maneiras de nos definirmos Ã© compartilhando conteÃºdo valioso e divertido. Fazer isso desenvolve e nutre relacionamentos, busca mudar opiniÃµes, incentiva a aÃ§Ã£o e informa os outros sobre quem somos e com o que nos importamos. Compartilhar permite que nos -sintamos mais envolvidos com o mundo.^[18] -

O Nascimento da Creative Commons

- Em 2001, Creative Commons foi criada como uma organizaÃ§Ã£o sem fins +sintamos mais envolvidos com o mundo.^[18] +

O Nascimento da Creative Commons

+ Em 2001, Creative Commons foi criada como uma organizaÃ§Ã£o sem fins lucrativos para apoiar todos aqueles que desejavam compartilhar conteÃºdo digital. Um conjunto de licenÃ§as Creative Commons foi modelado com base no software de cÃ³digo aberto, mas para uso com conteÃºdo digital em vez de cÃ³digo de software. As licenÃ§as oferecem a todos, de criadores individuais a grandes empresas e instituiÃ§Ãµes, uma maneira simples e padronizada de conceder permissÃµes de direitos autorais para suas obras criativas. -

- As licenÃ§as Creative Commons tÃªm um design de trÃªs camadas. As normas e +

+ As licenÃ§as Creative Commons tÃªm um design de trÃªs camadas. As normas e regras de cada licenÃ§a sÃ£o primeiramente expressas em linguagem jurÃdica completa, conforme usada pelos advogados. Essa camada Ã© chamada de cÃ³digo legal. Mas como a maioria dos criadores e usuÃ¡rios nÃ£o sÃ£o advogados, as @@ -657,82 +649,79 @@ rapidamente. Ele atua como uma interface amigÃ¡vel para a camada de cÃ³digo legal abaixo. A terceira camada Ã© a que pode ser lida por mÃ¡quina, tornando mais fÃ¡cil para a web saber que uma obra Ã© licenciada pelo Creative Commons, expressando permissÃµes de uma forma que sistemas de software, mecanismos de -busca e outros tipos de tecnologia possam entender.^[19] Juntas, essas trÃªs camadas garantem que criadores, +busca e outros tipos de tecnologia possam entender.^[19] Juntas, essas trÃªs camadas garantem que criadores, usuÃ¡rios e atÃ© mesmo a prÃ³pria web entendam as normas e regras associadas ao conteÃºdo digital em um comum. -

- Em 2015, havia mais de um bilhÃ£o de obras licenciadas Creative Commons em um +

+ Em 2015, havia mais de um bilhÃ£o de obras licenciadas Creative Commons em um espaÃ§o comum global. Esses trabalhos foram vistos online 136 bilhÃµes de vezes. As pessoas estÃ£o usando licenÃ§as Creative Commons em todo o mundo, em trinta e quatro idiomas. Esses recursos incluem fotos, arte, artigos de pesquisa em periÃ³dicos, recursos educacionais, mÃºsica e outras faixas de Ã¡udio e vÃdeos. -

- Artistas, fotÃ³grafos, mÃºsicos e cineastas individuais usam o Creative +

+ Artistas, fotÃ³grafos, mÃºsicos e cineastas individuais usam o Creative Commons, mas o mesmo acontece com museus, governos, indÃºstrias criativas, fabricantes e editoras. MilhÃµes de sites usam licenÃ§as CC, incluindo plataformas principais como WikipÃ©dia e Flickr e outras menores como -blogs.^[20] Os usuÃ¡rios do Creative Commons +blogs.^[20] Os usuÃ¡rios do Creative Commons sÃ£o diversos e abrangem muitos setores diferentes. (Nossos estudos de caso foram escolhidos para refletir essa diversidade.) -

- Alguns vÃªem o Creative Commons como uma forma de compartilhar um presente -com outras pessoas, uma forma de se tornar conhecido ou uma forma de -fornecer benefÃcio social. Outros estÃ£o simplesmente comprometidos com as -normas associadas a bens comuns. E para alguns, a participaÃ§Ã£o 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 vÃª os comuns como proporcionando benefÃcios significativos em -comparaÃ§Ã£o 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 cÃ³digo aberto. -

- Com o tempo, o Creative Commons gerou uma sÃ©rie de movimentos abertos, +

+ Some see Creative Commons as a way to share a gift with others, a way of +getting known, or a way to provide social benefit. Others are simply +committed to the norms associated with a commons. And for some, +participation has been spurred by the free-culture movement, a social +movement that promotes the freedom to distribute and modify creative +works. The free-culture movement sees a commons as providing significant +benefits compared to restrictive copyright laws. This ethos of free exchange +in a commons aligns the free-culture movement with the free and open-source +software movement. +

+ Com o tempo, o Creative Commons gerou uma sÃ©rie de movimentos abertos, incluindo recursos educacionais abertos, acesso aberto, ciÃªncia aberta e dados abertos. O objetivo em todos os casos foi democratizar a participaÃ§Ã£o e compartilhar recursos digitais sem nenhum custo, com permissÃµes legais para qualquer pessoa acessar, usar e modificar livremente. -

- O Estado estÃ¡ cada vez mais envolvido no apoio a movimentos abertos. A -Parceria para Governo Aberto foi lanÃ§ada em 2011 para fornecer uma -plataforma internacional para os governos se tornarem mais abertos, -responsÃ¡veis e responsivos aos cidadÃ£os. Desde entÃ£o, cresceu de oito paÃses -participantes para setenta.^[21] Em todos -esses paÃses, o governo e a sociedade civil estÃ£o trabalhando juntos para -desenvolver e implementar reformas ambiciosas de governo aberto. Os governos -estÃ£o adotando cada vez mais a Creative Commons para garantir que as obras -financiadas com os dÃ³lares dos contribuintes sejam abertas e livres ao -pÃºblico que as pagou. -

O Mercado em MudanÃ§a

- O mercado de hoje Ã© amplamente impulsionado pelo capitalismo global. Os -sistemas jurÃdicos e financeiros sÃ£o estruturados para apoiar a extraÃ§Ã£o, a -privatizaÃ§Ã£o e o crescimento corporativo. A percepÃ§Ã£o de que o mercado Ã© -mais eficiente do que o estado levou Ã privatizaÃ§Ã£o contÃnua de muitos -recursos naturais pÃºblicos, serviÃ§os pÃºblicos, serviÃ§os e -infraestruturas.^[22] Embora este sistema -tenha sido altamente eficiente na geraÃ§Ã£o de consumismo e no crescimento do -produto interno bruto, o impacto no bem-estar humano foi misto. Compensando -o aumento dos padrÃµes de vida e as melhorias na saÃºde e na educaÃ§Ã£o, estÃ£o -sempre aumentando a desigualdade de riqueza, a desigualdade social, a -pobreza, a deterioraÃ§Ã£o de nosso ambiente natural e o colapso da -democracia.^[23] -

- Diante desses desafios, hÃ¡ um crescente reconhecimento de que o crescimento +

+ The state is increasingly involved in supporting open movements. The Open +Government Partnership was launched in 2011 to provide an international +platform for governments to become more open, accountable, and responsive to +citizens. Since then, it has grown from eight participating countries to +seventy.^[21] In all these countries, +government and civil society are working together to develop and implement +ambitious open-government reforms. Governments are increasingly adopting +Creative Commons to ensure works funded with taxpayer dollars are open and +free to the public that paid for them. +

O Mercado em MudanÃ§a

+ Todayâs market is largely driven by global capitalism. Law and financial +systems are structured to support extraction, privatization, and corporate +growth. A perception that the market is more efficient than the state has +led to continual privatization of many public natural resources, utilities, +services, and infrastructures.^[22] While +this system has been highly efficient at generating consumerism and the +growth of gross domestic product, the impact on human well-being has been +mixed. Offsetting rising living standards and improvements to health and +education are ever-increasing wealth inequality, social inequality, poverty, +deterioration of our natural environment, and breakdowns of +democracy.^[23] +

+ Diante desses desafios, hÃ¡ um crescente reconhecimento de que o crescimento do PIB nÃ£o deve ser um fim em si mesmo, que o desenvolvimento precisa ser social e economicamente inclusivo, que a sustentabilidade ambiental Ã© um requisito, nÃ£o uma opÃ§Ã£o, e que precisamos equilibrar melhor o mercado , -Estado e comunidade.^[24] -

- Essas realizaÃ§Ãµes levaram a um ressurgimento do interesse pelos comuns como +Estado e comunidade.^[24] +

+ Essas realizaÃ§Ãµes levaram a um ressurgimento do interesse pelos comuns como meio de viabilizar esse equilÃbrio. Prefeituras como Bolonha, na ItÃ¡lia, estÃ£o colaborando com seus cidadÃ£os para estabelecer regulamentaÃ§Ãµes para o -cuidado e regeneraÃ§Ã£o de comuns urbanos.^[25] Seul e AmsterdÃ£ se autodenominam âcidades +cuidado e regeneraÃ§Ã£o de comuns urbanos.^[25] Seul e AmsterdÃ£ se autodenominam âcidades compartilhadasâ, buscando tornar mais sustentÃ¡veis e eficientes uso de recursos escassos. Eles veem o compartilhamento como uma forma de melhorar o uso dos espaÃ§os pÃºblicos, a mobilidade, a coesÃ£o social e a -seguranÃ§a.^[26] -

- O prÃ³prio mercado se interessou pela economia de compartilhamento, com +seguranÃ§a.^[26] +

+ O prÃ³prio 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 estÃ£o operando em grande parte @@ -741,7 +730,7 @@ como uma empresa tradicional em busca de ganhos financeiros. Grande parte da economia compartilhada nÃ£o trata dos comuns ou da construÃ§Ã£o de uma alternativa para uma economia de mercado impulsionada pelas corporaÃ§Ãµes; trata-se de estender o mercado livre desregulamentado a novas Ã¡reas de -nossas vidas.^[27] Embora nenhuma das +nossas vidas.^[27] 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 @@ -749,107 +738,104 @@ uso da capacidade dos ativos. A economia compartilhada vÃª residentes pessoais e carros como tendo capacidade ociosa latente com valor de aluguel. O acesso equitativo dos comuns amplia e diversifica o nÃºmero de pessoas que podem usar e obter valor de um ativo. -

- Uma maneira que os estudos de caso do Feito com Creative Commons diferem -daqueles da economia compartilhada Ã© seu foco em recursos digitais. Os -recursos digitais funcionam sob regras econÃ´micas diferentes das fÃsicas. Em -um mundo onde os preÃ§os sempre parecem subir, a tecnologia da informaÃ§Ã£o Ã© -uma anomalia. O poder de processamento do computador, o armazenamento e a -largura de banda estÃ£o aumentando rapidamente, mas, em vez de os custos -aumentarem, os custos estÃ£o diminuindo. As tecnologias digitais estÃ£o -ficando mais rÃ¡pidas, melhores e mais baratas. O custo de qualquer coisa -construÃda sobre essas tecnologias sempre diminuirÃ¡ atÃ© chegar perto de -zero.^[28] -

- Aquelas que sÃ£o feitas com Creative Commons procuram aproveitar as -caracterÃsticas inerentes exclusivas dos recursos digitais, incluindo a -reduÃ§Ã£o 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 distribuÃdos Ã© mÃnimo ou -inexistente. Em vez disso, as licenÃ§as Creative Commons sÃ£o usadas para -disponibilizar conteÃºdo digital nos comuns, aproveitando a economia -exclusiva associada a ser digital. O objetivo Ã© ver os recursos digitais -usados da forma mais ampla e pelo maior nÃºmero de pessoas -possÃvel. Maximizar o acesso e a participaÃ§Ã£o Ã© um objetivo comum. Eles -visam a abundÃ¢ncia em vez da escassez. -

- O custo incremental de armazenamento, cÃ³pia e distribuiÃ§Ã£o de bens digitais +

+ One way Made with Creative Commons case studies differ from those of the +sharing economy is their focus on digital resources. Digital resources +function under different economic rules than physical ones. In a world where +prices always seem to go up, information technology is an anomaly. +Computer-processing power, storage, and bandwidth are all rapidly +increasing, but rather than costs going up, costs are coming down. Digital +technologies are getting faster, better, and cheaper. The cost of anything +built on these technologies will always go down until it is close to +zero.^[28] +

+ Those that are Made with Creative Commons are looking to leverage the unique +inherent characteristics of digital resources, including lowering costs. The +use of digital-rights-management technologies in the form of locks, +passwords, and controls to prevent digital goods from being accessed, +changed, replicated, and distributed is minimal or nonexistent. Instead, +Creative Commons licenses are used to put digital content out in the +commons, taking advantage of the unique economics associated with being +digital. The aim is to see digital resources used as widely and by as many +people as possible. Maximizing access and participation is a common +goal. They aim for abundance over scarcity. +

+ O custo incremental de armazenamento, cÃ³pia e distribuiÃ§Ã£o de bens digitais Ã© prÃ³ximo a zero, tornando a abundÃ¢ncia possÃvel. Mas imaginar um mercado baseado na abundÃ¢ncia e nÃ£o na escassez Ã© tÃ£o estranho ao modo como concebemos a teoria e prÃ¡tica econÃ´mica que lutamos para -fazÃª-lo.^[29] Aqueles que sÃ£o feitos com +fazÃª-lo.^[29] Aqueles que sÃ£o feitos com Creative Commons sÃ£o, cada um, pioneiros neste novo cenÃ¡rio, criando seus prÃ³prios modelos e prÃ¡ticas econÃ´micas. -

- Alguns buscam minimizar suas interaÃ§Ãµes com o mercado e operar da forma mais +

+ Alguns buscam minimizar suas interaÃ§Ãµes com o mercado e operar da forma mais autÃ´noma possÃvel. Outros estÃ£o operando principalmente como um negÃ³cio dentro das regras e normas existentes do mercado. E ainda outros estÃ£o procurando mudar as normas e regras pelas quais o mercado opera. -

- Para uma empresa comum, fazer do benefÃcio social uma parte de suas -operaÃ§Ãµes Ã© difÃcil, pois Ã© legalmente exigido para tomar decisÃµes que -beneficiam financeiramente os acionistas. Mas novas formas de negÃ³cios estÃ£o -surgindo. Existem corporaÃ§Ãµes de benefÃcios e empresas sociais, que ampliam -seus objetivos de negÃ³cios de gerar lucro para gerar um impacto positivo na -sociedade, nos trabalhadores, na comunidade e no meio ambiente.^[30] Empresas de propriedade da comunidade, empresas de -propriedade dos trabalhadores, cooperativas, guildas e outras formas -organizacionais oferecem alternativas Ã corporaÃ§Ã£o -tradicional. Coletivamente, essas entidades de mercado alternativas estÃ£o -mudando as regras e normas do mercado.^[31] -

âUm livro sobre modelos de negÃ³cios abertosâ Ã© como o +

+ For an ordinary corporation, making social benefit a part of its operations +is difficult, as itâs legally required to make decisions that financially +benefit stockholders. But new forms of business are emerging. There are +benefit corporations and social enterprises, which broaden their business +goals from making a profit to making a positive impact on society, workers, +the community, and the environment.^[30] +Community-owned businesses, worker-owned businesses, cooperatives, guilds, +and other organizational forms offer alternatives to the traditional +corporation. Collectively, these alternative market entities are changing +the rules and norms of the market.^[31] +

âUm livro sobre modelos de negÃ³cios abertosâ Ã© como o descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado Business Model Generation como nossa referÃªncia para definir o que Ã© um modelo de negÃ³cios. Desenvolvido ao longo de nove anos usando um âprocesso abertoâ envolvendo 470 coautores de quarenta e cinco paÃses, Ã© Ãºtil como uma estrutura para falar sobre modelos -de negÃ³cios ^[32] -

- Ele contÃ©m uma âtela de modelo de negÃ³cios â, que concebe um -modelo de negÃ³cios como tendo nove blocos de construÃ§Ã£o.^[33] Essa tela em branco pode servir como uma ferramenta +de negÃ³cios ^[32] +

+ Ele contÃ©m uma âtela de modelo de negÃ³cios â, que concebe um +modelo de negÃ³cios como tendo nove blocos de construÃ§Ã£o.^[33] Essa tela em branco pode servir como uma ferramenta para qualquer pessoa projetar seu prÃ³prio modelo de negÃ³cios. Remixamos essa tela de modelo de negÃ³cios em uma tela de modelo de negÃ³cios aberta, adicionando mais trÃªs blocos de construÃ§Ã£o relevantes para o mercado hÃbrido, empresas comuns: bem social, licenÃ§a Creative Commons e âtipo -de ambiente aberto em que a empresa se encaixaâ.^[34] Essa tela aprimorada provou ser Ãºtil quando +de ambiente aberto em que a empresa se encaixaâ.^[34] Essa tela aprimorada provou ser Ãºtil quando analisamos empresas e ajudamos as start-ups a planejar seu modelo econÃ´mico. -

- Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em -se descreverem como um modelo de negÃ³cios aberto â o termo modelo de -negÃ³cios sugeria principalmente estar situado no mercado. Sua posiÃ§Ã£o no -espectro de bens comuns ao mercado afeta atÃ© que ponto vocÃª se vÃª como uma -empresa no mercado. Quanto mais importantes para a missÃ£o sÃ£o os recursos -compartilhados e os valores comuns, menos conforto hÃ¡ em se descrever ou -descrever o que vocÃª faz como um negÃ³cio. Nem todos os que tÃªm -empreendimentos Feitos com Creative Commons falam de negÃ³cios; para alguns, -o processo foi experimental, emergente e orgÃ¢nico, em vez de cuidadosamente -planejado usando um modelo predefinido. -

- Todos os criadores, empresas e organizaÃ§Ãµes que definimos se envolvem com o +

+ In our case study interviews, many expressed discomfort over describing +themselves as an open business modelâthe term business model suggested +primarily being situated in the market. Where you sit on the +commons-to-market spectrum affects the extent to which you see yourself as a +business in the market. The more central to the mission shared resources and +commons values are, the less comfort there is in describing yourself, or +depicting what you do, as a business. Not all who have endeavors Made with +Creative Commons use business speak; for some the process has been +experimental, emergent, and organic rather than carefully planned using a +predefined model. +

+ Todos os criadores, empresas e organizaÃ§Ãµes que definimos se envolvem com o mercado para gerar receita de alguma forma. As maneiras pelas quais isso Ã© feito variam amplamente. DoaÃ§Ãµes, pague o que puder, assinaturas, âdigital de graÃ§a, mas fÃsico por uma taxaâ, crowdfunding, matchmaking, serviÃ§os de valor agregado, patrocinadores... A lista continua e continua. (DescriÃ§Ã£o inicial de como obter receita disponÃvel por meio da nota de referÃªncia. Para as reflexÃµes mais recentes, consulte Como trazer -dinheiro na prÃ³xima seÃ§Ã£o.)^[35] NÃ£o existe +dinheiro na prÃ³xima seÃ§Ã£o.)^[35] NÃ£o existe uma fÃ³rmula mÃ¡gica Ãºnica e cada empreendimento inventou maneiras que funcionem para eles. A maioria usa mais de uma maneira. A diversificaÃ§Ã£o dos fluxos de receita reduz o risco e oferece vÃ¡rios caminhos para a sustentabilidade. -

BenefÃcios do Comum Digital

- Embora possa estar claro por que as organizaÃ§Ãµes baseadas em comuns desejam +

BenefÃcios do Comum Digital

+ Embora possa estar claro por que as organizaÃ§Ãµes baseadas em comuns desejam interagir e se envolver com o mercado (elas precisam de dinheiro para sobreviver), pode ser menos Ã³bvio por que o mercado se envolveria com os comuns. Os comuns digitais oferecem muitos benefÃcios. -

- O comum acelera a disseminaÃ§Ã£o. O fluxo livre de recursos nos comuns oferece -enormes economias de escala. A distribuiÃ§Ã£o Ã© descentralizada, com todos -aqueles que estÃ£o nos comuns com poderes para compartilhar os recursos aos -quais tÃªm acesso. Aqueles que sÃ£o feitos com Creative Commons tÃªm uma -necessidade reduzida de vendas ou marketing. A distribuiÃ§Ã£o descentralizada -amplia a oferta e o know-how. -

- O comum garante o acesso a todos. O mercado tem operado tradicionalmente +

+ The commons speeds dissemination. The free flow of resources in the commons +offers tremendous economies of scale. Distribution is decentralized, with +all those in the commons empowered to share the resources they have access +to. Those that are Made with Creative Commons have a reduced need for sales +or marketing. Decentralized distribution amplifies supply and know-how. +

+ O comum garante o acesso a todos. O mercado tem operado tradicionalmente colocando recursos atrÃ¡s de um paywall, que exige o pagamento antes do acesso. O comum coloca recursos Ã vista, fornecendo acesso antecipado sem pagamento. Aqueles que sÃ£o feitos com Creative Commons fazem pouco ou nenhum @@ -858,31 +844,30 @@ DRM os libera dos custos de aquisiÃ§Ã£o de tecnologia DRM e recursos de equipe para se envolver em prÃ¡ticas punitivas associadas Ã restriÃ§Ã£o de acesso. A maneira como os comuns fornecem acesso a todos nivela o campo de jogo e promove inclusÃ£o, equidade e justiÃ§a. -

- O comum maximiza a participaÃ§Ã£o. Os recursos nos comuns podem ser usados e -contribuÃdos por todos. Usar os recursos dos outros, contribuir com os seus -e misturar os seus com outros para criar novas obras sÃ£o formas dinÃ¢micas de -participaÃ§Ã£o possibilitadas pelos comuns. Ser feito com Creative Commons -significa que vocÃª estÃ¡ envolvendo o maior nÃºmero possÃvel de usuÃ¡rios com -seus recursos. Os usuÃ¡rios tambÃ©m estÃ£o criando, editando, remixando, -fazendo curadoria, localizando, traduzindo e distribuindo. Os comuns -possibilitam que as pessoas participem diretamente da cultura, da construÃ§Ã£o -do conhecimento e atÃ© da democracia e de muitas outras prÃ¡ticas socialmente -benÃ©ficas. -

- Os comuns estimulam a inovaÃ§Ã£o. Os recursos nas mÃ£os de mais pessoas que +

+ The commons maximizes participation. Resources in the commons can be used +and contributed to by everyone. Using the resources of others, contributing +your own, and mixing yours with others to create new works are all dynamic +forms of participation made possible by the commons. Being Made with +Creative Commons means youâre engaging as many users with your resources as +possible. Users are also authoring, editing, remixing, curating, localizing, +translating, and distributing. The commons makes it possible for people to +directly participate in culture, knowledge building, and even democracy, and +many other socially beneficial practices. +

+ Os comuns estimulam a inovaÃ§Ã£o. Os recursos nas mÃ£os de mais pessoas que podem usÃ¡-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 usuÃ¡rios a pegar os recursos que estÃ£o sendo compartilhados e inovÃ¡-los. Isso move a pesquisa e o desenvolvimento (R&D) de apenas dentro da organizaÃ§Ã£o para estar na -comunidade.^[36] A inovaÃ§Ã£o baseada na +comunidade.^[36] A inovaÃ§Ã£o baseada na comunidade manterÃ¡ uma organizaÃ§Ã£o ou negÃ³cio em alerta. Deve continuar a contribuir com novas ideias, absorver e construir sobre as inovaÃ§Ãµes dos outros e administrar os recursos e o relacionamento com a comunidade. -

- O comum aumenta o alcance e o impacto. O comum digital Ã© global. Os recursos +

+ O comum aumenta o alcance e o impacto. O comum digital Ã© global. Os recursos podem ser criados para uma necessidade local ou regional, mas eles vÃ£o longe e geram um impacto global. No mundo digital, nÃ£o existem fronteiras entre paÃses. Quando vocÃª Ã© Feito com Creative Commons, geralmente Ã© local e @@ -891,239 +876,235 @@ feitos e fabricados localmente. Livros digitais ou mÃºsica sendo distribuÃdos 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. -

- O comum Ã© gerador. Em vez de extrair valor, o comum agrega valor. Os -recursos digitalizados persistem sem se esgotarem e, com o uso, sÃ£o -aprimorados, personalizados e localizados. Cada uso agrega valor. O mercado -tem como foco a geraÃ§Ã£o de valor para o negÃ³cio e para o cliente. Os comuns -geram valor para uma gama mais ampla de beneficiÃ¡rios, incluindo a empresa, -o cliente, o criador, o pÃºblico e os prÃ³prios comuns. A natureza generativa -dos comuns significa que Ã© mais econÃ´mico e produz um maior retorno sobre o -investimento. O valor nÃ£o Ã© medido apenas em termos financeiros. Cada novo -recurso adicionado aos comuns fornece valor ao pÃºblico e contribui para o -valor geral dos comuns. -

- Os comuns unem as pessoas por uma causa comum. Os comuns conferem Ã s pessoas -a responsabilidade direta de administrar os recursos para o bem comum. Os -custos e benefÃcios para o indivÃduo sÃ£o equilibrados com os custos e -benefÃcios para a comunidade e para as geraÃ§Ãµes futuras. Os recursos nÃ£o sÃ£o -anÃ´nimos ou produzidos em massa. Sua proveniÃªncia Ã© conhecida e reconhecida -por meio de atribuiÃ§Ã£o e outros meios. Aqueles que sÃ£o Feitos com Creative -Commons geram consciÃªncia e reputaÃ§Ã£o com base em suas contribuiÃ§Ãµes para os -comuns. O alcance, o impacto e a sustentabilidade dessas contribuiÃ§Ãµes -dependem em grande parte de sua capacidade de estabelecer relacionamentos e -conexÃµes com aqueles que as usam e melhoram. Ao funcionar com base no -engajamento social, nÃ£o na troca monetÃ¡ria, os comuns unificam as pessoas. -

- Os benefÃcios dos comuns sÃ£o muitos. Quando esses benefÃcios se alinham com +

+ The commons is generative. Instead of extracting value, the commons adds +value. Digitized resources persist without becoming depleted, and through +use are improved, personalized, and localized. Each use adds value. The +market focuses on generating value for the business and the customer. The +commons generates value for a broader range of beneficiaries including the +business, the customer, the creator, the public, and the commons itself. The +generative nature of the commons means that it is more cost-effective and +produces a greater return on investment. Value is not just measured in +financial terms. Each new resource added to the commons provides value to +the public and contributes to the overall value of the commons. +

+ The commons brings people together for a common cause. The commons vests +people directly with the responsibility to manage the resources for the +common good. The costs and benefits for the individual are balanced with the +costs and benefits for the community and for future generations. Resources +are not anonymous or mass produced. Their provenance is known and +acknowledged through attribution and other means. Those that are Made with +Creative Commons generate awareness and reputation based on their +contributions to the commons. The reach, impact, and sustainability of +those contributions rest largely on their ability to forge relationships and +connections with those who use and improve them. By functioning on the basis +of social engagement, not monetary exchange, the commons unifies people. +

+ Os benefÃcios dos comuns sÃ£o muitos. Quando esses benefÃcios se alinham com os objetivos dos indivÃduos, comunidades, negÃ³cios no mercado ou empresas estatais, a escolha de administrar recursos como os comuns deve ser a melhor opÃ§Ã£o. -

Nossos estudos de caso

- Os criadores, organizaÃ§Ãµes e empresas em nossos estudos de caso operam como -organizaÃ§Ãµes sem fins lucrativos, com fins lucrativos e empresas -sociais. Independentemente do status legal, todos eles tÃªm uma missÃ£o -social. A principal razÃ£o de sua existÃªncia Ã© tornar o mundo um lugar -melhor, sem fins lucrativos. O dinheiro Ã© um meio para um fim social, nÃ£o o -fim em si. Eles fatoram o interesse pÃºblico nas decisÃµes, comportamento e -prÃ¡ticas. TransparÃªncia e confianÃ§a sÃ£o muito importantes. O impacto e o -sucesso sÃ£o medidos em relaÃ§Ã£o aos objetivos sociais expressos nas -declaraÃ§Ãµes de missÃ£o e nÃ£o se referem apenas aos resultados financeiros. -

- Os estudos de caso sÃ£o baseados nas narrativas contadas a nÃ³s por fundadores -e funcionÃ¡rios principais. Em vez de usar apenas finanÃ§as como medida de -sucesso e sustentabilidade, eles enfatizaram sua missÃ£o, prÃ¡ticas e meios -pelos quais medem o sucesso. As mÃ©tricas de sucesso sÃ£o uma mistura de como -as metas sociais estÃ£o sendo atendidas e o quÃ£o sustentÃ¡vel Ã© a empresa. -

- Nossos estudos de caso sÃ£o diversos, abrangendo desde publicaÃ§Ã£o atÃ© +

Nossos estudos de caso

+ 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. +

+ 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. +

+ Nossos estudos de caso sÃ£o diversos, abrangendo desde publicaÃ§Ã£o atÃ© educaÃ§Ã£o e manufatura. Todas as organizaÃ§Ãµes, empresas e criadores nos estudos de caso produzem recursos digitais. Esses recursos existem em muitas formas, incluindo livros, designs, canÃ§Ãµes, pesquisas, dados, obras culturais, materiais educacionais, Ãcones grÃ¡ficos e vÃdeo. Alguns sÃ£o representaÃ§Ãµes digitais de recursos fÃsicos. Outros nascem digitais, mas podem ser transformados em recursos fÃsicos. -

- Eles estÃ£o criando novos recursos, ou usando os recursos de outras pessoas, -ou combinando recursos existentes para fazer algo novo. Eles, e seu pÃºblico, -todos desempenham um papel direto e participativo no gerenciamento desses -recursos, incluindo sua preservaÃ§Ã£o, curadoria, distribuiÃ§Ã£o e -aprimoramento. O acesso e a participaÃ§Ã£o estÃ£o abertos a todos, -independentemente dos meios monetÃ¡rios. -

- E como usuÃ¡rios de licenÃ§as Creative Commons, eles automaticamente fazem +

+ 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. +

+ E como usuÃ¡rios de licenÃ§as Creative Commons, eles automaticamente fazem parte de uma comunidade global. Os novos comuns digitais sÃ£o globais. Aqueles que traÃ§amos vÃªm de quase todos os continentes do mundo. Construir e interagir dentro desta comunidade global conduz ao sucesso. -

- As licenÃ§as Creative Commons podem expressar regras legais sobre o uso de -recursos nos comuns, mas o sucesso nos comuns requer mais do que seguir a -letra da lei e obter meios financeiros. Repetidamente, ouvimos em nossas -entrevistas como o sucesso e a sustentabilidade estÃ£o vinculados a um -conjunto de crenÃ§as, valores e princÃpios que fundamentam suas aÃ§Ãµes: DÃª -mais do que recebe. Seja aberto e inclusivo. Adicionar valor. Torne visÃvel -o que vocÃª estÃ¡ usando dos comuns, o que vocÃª estÃ¡ adicionando e o que estÃ¡ -monetizando. Maximize a abundÃ¢ncia. DÃª atribuiÃ§Ã£o. Expressar -gratidÃ£o. Desenvolva confianÃ§a; nÃ£o explore. Construa relacionamento e -comunidade. Seja transparente. Defenda os comuns. -

- Os novos comuns digitais estÃ£o aqui para ficar. Os estudos de caso de Feito -com Creative Commons mostram como Ã© possÃvel fazer parte desses comuns -enquanto ainda funciona dentro dos sistemas de mercado e estaduais. Os -comuns geram benefÃcios que nem o mercado nem o estado podem alcanÃ§ar por -conta prÃ³pria. Em vez de o mercado ou estado dominar como meio principal de -gestÃ£o de recursos, uma alternativa mais equilibrada Ã© possÃvel. -

- O uso empresarial do Creative Commons apenas comeÃ§ou. Os estudos de caso +

+ 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; donât exploit. Build relationship and community. Be +transparent. Defend the commons. +

+ The new digital commons is here to stay. Made With Creative Commons case +studies show how itâs 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. +

+ O uso empresarial do Creative Commons apenas comeÃ§ou. Os estudos de caso neste livro sÃ£o apenas pontos de partida. Cada um estÃ¡ mudando e evoluindo com o tempo. Muitos mais estÃ£o se juntando e inventando novos modelos. Esta visÃ£o geral tem como objetivo fornecer uma estrutura e uma linguagem para pensar e falar sobre os novos comuns digitais. As seÃ§Ãµes restantes sÃ£o aprofundadas, fornecendo mais orientaÃ§Ãµes e percepÃ§Ãµes sobre como funciona. -

^[1] - Jonathan Rowe, Our Common Wealth (San Francisco: +

^[1] + Jonathan Rowe, Our Common Wealth (San Francisco: Berrett-Koehler, 2013), 14. -

^[2] - David Bollier, Think Like a Commoner: A Short Introduction to the +

^[2] + David Bollier, Think Like a Commoner: A Short Introduction to the Life of the Commons (Gabriola Island, BC: New Society, 2014), 176. -

^[3] - Ibid., 15. -

^[4] - Ibid., 145. -

^[5] - Ibid., 175. -

^[6] - Daniel H. Cole, âLearning from Lin: Lessons and Cautions from the -Natural Commons for the Knowledge Commonsâ, em Governing -Knowledge Commons, eds. Brett M. Frischmann, Michael J. Madison e -Katherine J. Strandburg (Nova York: Oxford University Press, 2014), 53. -

^[7] - Max Haiven, Crises of Imagination, Crises of Power: Capitalism, +

^[3] + Ibid., 15. +

^[4] + Ibid., 145. +

^[5] + Ibid., 175. +

^[6] + Daniel H. Cole, âLearning from Lin: Lessons and Cautions from the +Natural Commons for the Knowledge Commons,â in Governing Knowledge +Commons, eds.Â Brett M. Frischmann, Michael J. Madison, and Katherine +J. Strandburg (New York: Oxford University Press, 2014), 53. +

^[7] + Max Haiven, Crises of Imagination, Crises of Power: Capitalism, Creativity and the Commons (Nova York: Zed Books, 2014), 93. -

^[8] - Bollier, Think Like a Commoner, 175. -

^[9] - Joshua Farley e Ida Kubiszewski, âThe Economics of Information in a -Post-Carbon Economyâ em Free Knowledge: Confronting the -Commodification of Human Discovery, eds. Patricia W. Elliott e -Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201â4. -

^[10] - Rowe, Our Common Wealth, 19; e Heather Menzies, +

^[8] + Bollier, Think Like a Commoner, 175. +

^[9] + Joshua Farley and Ida Kubiszewski, âThe Economics of Information in a +Post-Carbon Economy,â in Free Knowledge: Confronting the +Commodification of Human Discovery, eds.Â Patricia W. Elliott and Daryl +H. Hepting (Regina, SK: University of Regina Press, 2015), 201â4. +

^[10] + Rowe, Our Common Wealth, 19; e Heather Menzies, Reclaiming the Commons for the Common Good: A Memoir and Manifesto (Gabriola Island, BC: New Society, 2014), 42â43. -

^[11] - Bollier, Think Like a Commoner, 55â78. -

^[12] - Fritjof Capra e Ugo Mattei, The Ecology of Law: Toward a Legal +

^[11] + Bollier, Think Like a Commoner, 55â78. +

^[12] + Fritjof Capra e Ugo Mattei, The Ecology of Law: Toward a Legal System in Tune with Nature and Community (Oakland, CA: Berrett-Koehler, 2015), 46â57; e Bollier, Think Like a Commoner, 88. -

^[13] - Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg, +

^[13] + Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg, âGoverning Knowledge Commonsâ, em Frischmann, Madison e Strandburg, Governing Knowledge Commons, 12. -

^[14] - Farley e Kubiszewski, âEconomics of Informationâ, em Elliott y +

^[14] + Farley e Kubiszewski, âEconomics of Informationâ, em Elliott y Hepting, Free Knowledge, 203. -

^[15]âO que Ã© software livre?â Sistema operacional GNU, o +

^[15]âO que Ã© software livre?â Sistema operacional GNU, o LaboratÃ³rio de licenciamento e conformidade da Free Software Foundation, acessado em 30 de dezembro de 2016, http://www.gnu.org/philosophy/free-sw. -

^[16] - WikipÃ©dia, s.v. âOpen-source softwareâ, Ãºltima modificaÃ§Ã£o em -22 de novembro de 2016. -

^[17] - Eric S. Raymond, âThe Magic Cauldronâ, em The -Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental -Revolutionary, rev. ed. Sebastopol, CA: OâReilly Media, 2001, -http://www.catb.org/esr/writings/cathedral-bazaar/. -

^[18] - New York Times Customer Insight Group, The Psychology of Sharing: +

^[16] + Wikipedia, s.v.Â âOpen-source software,â last modified November +22, 2016. +

^[17] + Eric S. Raymond, âThe Magic Cauldron,â in The Cathedral and the +Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, +rev. ed.Â (Sebastopol, CA: OâReilly Media, 2001), http://www.catb.org/esr/writings/cathedral-bazaar/. +

^[18] + New York Times Customer Insight Group, The Psychology of Sharing: Why Do People Share Online? (Nova York: New York Times Customer Insight Group, 2011), http://www.iab.net/media/file/POSWhitePaper.pdf. -

^[19]âLicensing Considerationsâ, Creative Commons, acessado em 30 de +

^[19]âLicensing Considerationsâ, Creative Commons, acessado em 30 de dezembro de 2016, http://creativecommons.org/share-your-work/licensing-considerations/. -

^[20] - Creative Commons, 2015 State of the Commons (Mountain +

^[20] + Creative Commons, 2015 State of the Commons (Mountain View, CA: Creative Commons, 2015), http://stateof.creativecommons.org/2015/. -

^[21] - WikipÃ©dia, s.v. âOpen Government Partnershipâ, Ãºltima -modificaÃ§Ã£o em 24 de setembro de 2016, http://en.wikipedia.org/wiki/Open_Government_Partnership. -

^[22] - Capra e Mattei, Ecology of Law, 114. -

^[23] - Ibid., 116. -

^[24] - A AgÃªncia Sueca de CooperaÃ§Ã£o para o Desenvolvimento Internacional, +

^[21] + Wikipedia, s.v.Â âOpen Government Partnership,â last modified +September 24, 2016, http://en.wikipedia.org/wiki/Open_Government_Partnership. +

^[22] + Capra e Mattei, Ecology of Law, 114. +

^[23] + Ibid., 116. +

^[24] + A AgÃªncia Sueca de CooperaÃ§Ã£o para o Desenvolvimento Internacional, âStockholm Statementâ acessada em 15 de fevereiro de 2017, http://sida.se/globalassets/sida/eng/press/stockholm-statement.pdf -

^[25] - Cidade de Bolonha, Regulation on Collaboration between Citizens +

^[25] + Cidade de Bolonha, Regulation on Collaboration between Citizens and the City for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, ItÃ¡lia: Cidade de Bolonha, 2014), 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. -

^[26] - O site de Seoul Sharing City website Ã© http://english.sharehub.kr; para Amsterdam Sharing City, acesse +

^[26] + O site de Seoul Sharing City website Ã© http://english.sharehub.kr; para Amsterdam Sharing City, acesse http://www.sharenl.nl/amsterdam-sharing-city/. -

^[27] - Tom Slee, Whatâs Yours Is Mine: Against the Sharing +

^[27] + Tom Slee, Whatâs Yours Is Mine: Against the Sharing Economy (Nova York: OR Books, 2015), 42. -

^[28] - Chris Anderson, Free: How Todayâs Smartest Businesses Profit by -Giving Something for Nothing, reimpressÃ£o com novo -prefÃ¡cio. (Nova York: Hyperion, 2010), 78. -

^[29] - Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of +

^[28] + Chris Anderson, Free: How Todayâs Smartest Businesses Profit by Giving +Something for Nothing, Reprint with new preface. (New York: Hyperion, 2010), +78. +

^[29] + Jeremy Rifkin, The Zero Marginal Cost Society: The Internet of Things, the Collaborative Commons, and the Eclipse of Capitalism (Nova York: Palgrave Macmillan, 2014) , 273. -

^[30] - Gar Alperovitz, What Then Must We Do? Straight Talk about the Next +

^[30] + Gar Alperovitz, What Then Must We Do? Straight Talk about the Next American Revolution: Democratizing Wealth and Building a Community-Sustaining Economy from the Ground Up (White River Junction, VT: Chelsea Green, 2013), 39. -

^[31] - Marjorie Kelly, Owning Our Future: The Emerging Ownership +

^[31] + Marjorie Kelly, Owning Our Future: The Emerging Ownership Revolution; Journeys to a Generative Economy (SÃ£o Francisco: Berrett-Koehler, 2012), 8â9. -

^[32] - Alex Osterwalder e Yves Pigneur, Business Model +

^[32] + Alex Osterwalder e Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley and Sons, 2010). Uma prÃ©-visualizaÃ§Ã£o do livro estÃ¡ disponÃvel em http://strategyzer.com/books/business-model-generation. -

^[33] - Esta tela de modelo de negÃ³cios estÃ¡ disponÃvel para download em http://strategyzer.com/canvas/business-model-canvas. -

^[34] - Fizemos o âOpen Business Model Canvasâ, projetado pelo co-autor +

^[33] + Esta tela de modelo de negÃ³cios estÃ¡ disponÃvel para download em http://strategyzer.com/canvas/business-model-canvas. +

^[34] + Fizemos o âOpen Business Model Canvasâ, projetado pelo co-autor Paul Stacey, disponÃvel online em http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit. VocÃª tambÃ©m pode encontrar as perguntas do Open Business Model Canvas em http://docs.google.com/drawings/d/1kACK7TkoJgsM18HUWCbX9xuQ0Byna4plSVZXZGTtays/edit. -

^[35] - Uma lista mais abrangente de fluxos de receita estÃ¡ disponÃvel neste post -que escrevi no Medium em 6 de marÃ§o de 2016. âWhat Is an Open Business -Model and How Can You Generate Revenue?â, disponÃvel em http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15. -

^[36] - Henry Chesbrough, Open Innovation: The New Imperative for Creating +

^[35] + A more comprehensive list of revenue streams is available in this post I +wrote on Medium on March 6, 2016. âWhat Is an Open Business Model and +How Can You Generate Revenue?â, available at http://medium.com/made-with-creative-commons/what-is-an-open-business-model-and-how-can-you-generate-revenue-5854d2659b15. +

^[36] + Henry Chesbrough, Open Innovation: The New Imperative for Creating and Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31â44. -

CapÃtulo 2. Como ser Feito com Creative Commons

Ãndice

Problem Zero: Getting Discovered
Making Money
Making Human Connections

--\begin{flushright} +

CapÃtulo 2. Como ser Feito com Creative Commons

Ãndice

Problema zero: ser descoberto
Fazendo dinheiro
Making Human Connections

Â		Â
Â	--\begin{flushright} \textit{ Sarah Hinchliff Pearson} \end{flushright}

- Quando iniciamos este projeto em agosto de 2015, decidimos escrever um livro -sobre modelos de negÃ³cios que envolvem licenÃ§as Creative Commons de alguma -forma significativa -- o que chamamos de ser Feito com Creative Commons. Com -a ajuda de nossos patrocinadores do Kickstarter, escolhemos vinte e quatro -empreendimentos em todo o mundo que sÃ£o Feitos com Creative Commons. A -mistura Ã© diversa, de um mÃºsico individual a uma editora universitÃ¡ria de -livros didÃ¡ticos a um fabricante de eletrÃ´nicos. Alguns fazem seu prÃ³prio -conteÃºdo e compartilham sob licenÃ§a Creative Commons. Outros sÃ£o plataformas -para obras criativas com licenÃ§a CC feitos por terceiros. Muitos ficam em -algum ponto intermediÃ¡rio, usando e contribuindo com a obra criativa que Ã© -compartilhada com o pÃºblico. Como todos os que usam as licenÃ§as, esses -empreendimentos compartilham sua obra -- sejam dados abertos ou designs de -mÃ³veis -- de uma forma que permite ao pÃºblico nÃ£o apenas acessÃ¡-la, mas -tambÃ©m utilizÃ¡-la. -

- Analisamos os modelos de receita, segmentos de clientes e propostas de valor + 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 +wayâwhat 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 thatâs shared with the public. Like all who use the licenses, these +endeavors share their workâwhether itâs open data or furniture designsâin a +way that enables the public not only to access it but also to make use of +it. +

+ Analisamos os modelos de receita, segmentos de clientes e propostas de valor de cada empreendimento. Procuramos maneiras de colocar seu conteÃºdo sob licenÃ§as Creative Commons para ajudar a impulsionar as vendas ou aumentar o alcance. Usando medidas tradicionais de sucesso econÃ´mico, tentamos mapear @@ -1131,41 +1112,41 @@ esses modelos de negÃ³cios de uma forma que incorporasse significativamente o impacto do Creative Commons. Em nossas entrevistas, investigamos as motivaÃ§Ãµes, o papel das licenÃ§as CC, os modos de geraÃ§Ã£o de receita e as definiÃ§Ãµes de sucesso. -

- Em pouco tempo, percebemos que o livro que comeÃ§amos a escrever era bem +

+ Em pouco tempo, percebemos que o livro que comeÃ§amos a escrever era bem diferente daquele que estava se revelando em nossas entrevistas e pesquisas. -

- NÃ£o Ã© que estivÃ©ssemos errados ao pensar que vocÃª pode ganhar dinheiro +

+ NÃ£o Ã© que estivÃ©ssemos errados ao pensar que vocÃª pode ganhar dinheiro usando licenÃ§as Creative Commons. Em muitos casos, o CC pode ajudar vocÃª a ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de negÃ³cios que outras pessoas que desejam usar o licenciamento CC como parte de seu sustento ou negÃ³cio poderiam replicar. O que nÃ£o percebemos foi o quÃ£o equivocado seria escrever um livro sobre ser Feito com Creative Commons usando apenas lentes de negÃ³cios. -

- De acordo com o manual seminal Business Model Generation, um modelo de +

+ De acordo com o manual seminal Business Model Generation, um modelo de negÃ³cios âdescreve a lÃ³gica de como uma organizaÃ§Ã£o cria, entrega e -captura valor.â^[37] Pensar em +captura valor.â^[37] Pensar em compartilhar em termos de criaÃ§Ã£o e captura de valor sempre pareceu inadequadamente transacional e deslocado, algo que ouvimos repetidamente em nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com ele, âModelo de negÃ³cios pode significar qualquer coisa que vocÃª quiserâ. -

- Eventualmente, nÃ³s conseguimos. Ser Feito com Creative Commons Ã© mais do que +

+ Eventualmente, nÃ³s conseguimos. Ser Feito com Creative Commons Ã© mais do que um modelo de negÃ³cios. Embora falemos sobre modelos de receita especÃficos como uma parte de nossa anÃ¡lise (e com mais detalhes nos estudos de caso), descartamos isso como nossa rubrica orientadora para o livro. -

- ReconheÃ§o que demorei muito para chegar lÃ¡. Quando Paul e eu dividimos nossa +

+ ReconheÃ§o que demorei muito para chegar lÃ¡. Quando Paul e eu dividimos nossa redaÃ§Ã£o depois de terminar a pesquisa, minha incumbÃªncia era destilar tudo o que aprendemos com os estudos de caso e escrever as liÃ§Ãµes prÃ¡ticas e resultados. Passei meses tentando colocar o que aprendemos na caixa do modelo de negÃ³cios, convencido de que deve haver alguma fÃ³rmula para a forma como as coisas interagem. Mas nÃ£o existe fÃ³rmula. VocÃª provavelmente terÃ¡ que descartar essa maneira de pensar antes de continuar a ler. -

- Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a +

+ Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a toda a diversidade entre os criadores, organizaÃ§Ãµes e empresas que traÃ§amos o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom para os negÃ³cios, mas nÃ£o Ã© por isso que o fazem. Compartilhar a obra com o @@ -1175,14 +1156,14 @@ maioria decidiu usar licenÃ§as CC primeiro e encontrou um modelo de receita depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente sobre o impacto do compartilhamento nos negÃ³cios pode estar um pouco fora do caminho. -

- Mas tambÃ©m comeÃ§amos a perceber algo sobre o que significa ser Feito com -Creative Commons. Quando as pessoas nos falaram sobre como e por que usaram -CC, ficou claro que significava algo mais do que usar uma licenÃ§a de -copyright. TambÃ©m representou um conjunto de valores. Existe um simbolismo -por trÃ¡s do uso de CC, e esse simbolismo tem muitas camadas. -

- Em um nÃvel, ser Feito com Creative Commons expressa uma afinidade com o +

+ 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. +

+ Em um nÃvel, ser Feito com Creative Commons expressa uma afinidade com o valor do Creative Commons. Embora existam muitos sabores diferentes de licenÃ§as CC e maneiras quase infinitas de ser Feito com Creative Commons, o sistema de valores bÃ¡sico estÃ¡ enraizado em uma crenÃ§a fundamental de que o @@ -1193,36 +1174,36 @@ quando determinamos como regular nossos resultados culturais. Eles refletem a crenÃ§a de que todos tÃªm algo a contribuir e que ninguÃ©m pode ser dono de nossa cultura compartilhada. Eles refletem a crenÃ§a na promessa de compartilhar. -

- Quer o pÃºblico aproveite a oportunidade para copiar e adaptar sua obra, -compartilhar com uma licenÃ§a Creative Commons Ã© um sÃmbolo de como vocÃª -deseja interagir com as pessoas que consomem sua oba. Sempre que vocÃª cria -algo, âtodos os direitos reservadosâ sob direitos autorais sÃ£o -automÃ¡ticos, portanto, o sÃmbolo de copyright (Â©) na obra nÃ£o -necessariamente aparece como um marcador de desconfianÃ§a ou protecionismo -excessivo. Mas usar uma licenÃ§a CC pode ser um sÃmbolo do oposto -- de -querer um relacionamento humano real, ao invÃ©s de uma transaÃ§Ã£o de mercado -impessoal. Deixa aberta a possibilidade de conexÃ£o. -

- Sendo Feito com Creative Commons nÃ£o apenas demonstra valores ligados a CC e +

+ 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, âall rights reservedâ under copyright is automatic, +so the copyright symbol (Â©) 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 oppositeâof wanting a real human relationship, rather +than an impersonal market transaction. It leaves open the possibility of +connection. +

+ Sendo Feito com Creative Commons nÃ£o apenas demonstra valores ligados a CC e compartilhamento. TambÃ©m demonstra que algo diferente do lucro impulsiona o que vocÃª faz. Em nossas entrevistas, sempre perguntamos como era o sucesso para eles(as). Era impressionante como raramente se mencionava dinheiro. A maioria tem um propÃ³sito mais profundo e uma visÃ£o diferente de sucesso. -

- A motivaÃ§Ã£o motriz varia dependendo do tipo de empreendimento. Para +

+ A motivaÃ§Ã£o motriz varia dependendo do tipo de empreendimento. Para criadores individuais, geralmente Ã© uma questÃ£o de inspiraÃ§Ã£o pessoal. De certa forma, isso nÃ£o Ã© novidade. Como Doctorow escreveu, âOs criadores geralmente comeÃ§am a fazer o que fazem por -amor.â^[38] Mas quando vocÃª +amor.â^[38] Mas quando vocÃª compartilha sua obra criativa sob uma licenÃ§a CC, essa dinÃ¢mica Ã© ainda mais pronunciada. Da mesma forma, para os inovadores tecnolÃ³gicos, geralmente se trata menos de criar algo novo especÃfico que o tornarÃ¡ rico e mais de resolver um problema especÃfico que vocÃª tem. Os criadores do Arduino nos disseram que a questÃ£o chave ao criar algo Ã© âVocÃª, como criador, deseja usÃ¡-lo? Deve ter uso e significado pessoal.â -

- Muitos dos que sÃ£o Feitos com Creative Commons tÃªm uma missÃ£o social +

+ Muitos dos que sÃ£o Feitos com Creative Commons tÃªm uma missÃ£o social expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar com Creative Commons avanÃ§a expressamente essa missÃ£o social, e usar as licenÃ§as pode ser a diferenÃ§a entre legitimidade e hipocrisia. O cofundador @@ -1230,8 +1211,8 @@ do Noun Project, Edward Boatman, nos disse que eles nÃ£o poderiam ter declarado sua missÃ£o social de compartilhar com uma cara sÃ©ria se nÃ£o estivessem dispostos a mostrar ao mundo que nÃ£o havia problema em compartilhar seu conteÃºdo usando uma licenÃ§a Creative Commons. -

- Essa dinÃ¢mica Ã© provavelmente um dos motivos pelos quais existem tantos +

+ Essa dinÃ¢mica Ã© provavelmente um dos motivos pelos quais existem tantos exemplos de organizaÃ§Ãµes sem fins lucrativos feitos com Creative Commons. O conteÃºdo Ã© o resultado de uma obra de amor ou de uma ferramenta para impulsionar a mudanÃ§a social, e o dinheiro Ã© como a gasolina no carro, algo @@ -1239,12 +1220,12 @@ que vocÃª precisa para continuar, mas nÃ£o Ã© um fim em si mesmo. Sendo Feito com Creative Commons Ã© uma visÃ£o diferente de um negÃ³cio ou meio de vida, onde o lucro nÃ£o Ã© primordial e a produÃ§Ã£o de bem social e conexÃ£o humana sÃ£o essenciais para o sucesso. -

- Mesmo que o lucro nÃ£o seja o objetivo final, vocÃª tem que trazer dinheiro +

+ Mesmo que o lucro nÃ£o seja o objetivo final, vocÃª tem que trazer dinheiro para ser Feito com Creative Commons com sucesso. No mÃnimo, vocÃª tem que ganhar dinheiro suficiente para manter as luzes acesas. -

- Os custos de fazer negÃ³cios variam amplamente para aqueles feitos com CC, +

+ Os custos de fazer negÃ³cios variam amplamente para aqueles feitos com CC, mas geralmente hÃ¡ um limite muito mais baixo para a sustentabilidade do que costumava haver para qualquer empreendimento criativo. A tecnologia digital tornou mais fÃ¡cil do que nunca criar e distribuir. Como Doctorow colocou em @@ -1253,29 +1234,29 @@ seu livro Information Doesn't Want to Be Freeâ -

- Alguns custos de criaÃ§Ã£o sÃ£o os mesmos de sempre. Leva a mesma quantidade de +

+ Alguns custos de criaÃ§Ã£o sÃ£o os mesmos de sempre. Leva a mesma quantidade de tempo e dinheiro para escrever um artigo de jornal revisado por pares ou pintar um quadro. A tecnologia nÃ£o pode mudar isso. Mas outros custos sÃ£o reduzidos drasticamente pela tecnologia, particularmente em domÃnios de -produÃ§Ã£o pesada como cinema.^[39] ConteÃºdo +produÃ§Ã£o pesada como cinema.^[39] ConteÃºdo licenciado por CC e conteÃºdo de domÃnio pÃºblico, bem como a oba de colaboradores voluntÃ¡rios, tambÃ©m podem reduzir drasticamente os custos se forem sendo usados como recursos para criar algo novo. E, claro, existe a realidade de que algum conteÃºdo seria criado, independentemente de o criador ser pago ou nÃ£o, porque Ã© um trabalho de amor. -

- Distribuir conteÃºdo Ã© quase universalmente mais barato do que nunca. Uma vez -que o conteÃºdo Ã© criado, os custos para distribuir cÃ³pias digitalmente sÃ£o -essencialmente zero.^[40] Os custos para -distribuir cÃ³pias fÃsicas ainda sÃ£o significativos, mas menores do que eram -historicamente. E agora Ã© muito mais fÃ¡cil imprimir e distribuir cÃ³pias -fÃsicas sob demanda, o que tambÃ©m reduz custos. Dependendo do esforÃ§o, pode -haver uma sÃ©rie de outras despesas possÃveis, como marketing e promoÃ§Ã£o, e -atÃ© despesas associadas Ã s vÃ¡rias maneiras como o dinheiro estÃ¡ sendo ganho, -como viagens ou treinamento personalizado. -

- Ã importante reconhecer que o maior impacto da tecnologia nos +

+ Distributing content is almost universally cheaper than ever. Once content +is created, the costs to distribute copies digitally are essentially +zero.^[40] 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. +

+ Ã importante reconhecer que o maior impacto da tecnologia nos empreendimentos criativos Ã© que os criadores agora podem arcar com os custos de criaÃ§Ã£o e distribuiÃ§Ã£o sozinhos. As pessoas agora costumam ter um caminho direto para seu pÃºblico potencial, sem necessariamente precisar de @@ -1283,69 +1264,68 @@ intermediÃ¡rios como gravadoras e editoras de livros. Doctorow escreveu: âSe vocÃª Ã© um criador que nunca obteve a hora de uma das grandes potÃªncias imperiais, esta Ã© a sua hora. Onde antes vocÃª nÃ£o tinha meios de alcanÃ§ar um pÃºblico sem a ajuda das megaempresas dominantes do setor, agora -vocÃª tem centenas de maneiras de fazer isso sem eles.â^[41] Anteriormente, a distribuiÃ§Ã£o de obra criativa +vocÃª tem centenas de maneiras de fazer isso sem eles.â^[41] Anteriormente, a distribuiÃ§Ã£o de obra criativa envolvia os custos associados Ã manutenÃ§Ã£o uma entidade monolÃtica, agora os criadores podem fazer a obra sozinhos. Isso significa que as necessidades financeiras de empreendimentos criativos podem ser muito mais modestas. -

- Seja para um criador individual ou um empreendimento maior, geralmente nÃ£o Ã© -suficiente para quebrar, mesmo se vocÃª quiser fazer do que estÃ¡ fazendo um -meio de vida. VocÃª precisa construir algum suporte para a operaÃ§Ã£o -geral. Este bit extra parece diferente para todos, mas o mais importante, em -quase todos os casos para aqueles Feitos com Creative Commons, a definiÃ§Ã£o -de âdinheiro suficienteâ parece muito diferente do que no mundo -de capital de risco e opÃ§Ãµes de aÃ§Ãµes. Ã mais sobre sustentabilidade e menos -sobre crescimento e lucro ilimitados. O fundador do SparkFun, Nathan Seidle, -nos disse, âModelo de negÃ³cios Ã© uma palavra realmente grandiosa para -isso. Na verdade, trata-se apenas de manter a operaÃ§Ã£o funcionando no dia a -dia.â -

- Este livro Ã© uma prova da noÃ§Ã£o de que Ã© possÃvel ganhar dinheiro usando +

+ Whether for an individual creator or a larger endeavor, it usually isnât +enough to break even if you want to make what youâre 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 âenough moneyâ +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, âBusiness model is a +really grandiose word for it. It is really just about keeping the operation +going day to day.â +

+ Este livro Ã© uma prova da noÃ§Ã£o de que Ã© possÃvel ganhar dinheiro usando licenÃ§as CC e conteÃºdo licenciado CC, mas ainda estamos em um estÃ¡gio muito experimental. Os criadores, organizaÃ§Ãµes e empresas que apresentamos neste livro estÃ£o abrindo caminho e se adaptando em tempo real Ã medida que buscam essa nova forma de operar. -

- Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser +

+ Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser bom para os negÃ³cios de maneiras bastante previsÃveis. A primeira Ã© como ele ajuda a resolver âo problema zeroâ. -

Problem Zero: Getting Discovered

- Once you create or collect your content, the next step is finding users, +

Problema zero: ser descoberto

+ Once you create or collect your content, the next step is finding users, customers, fansâin other words, your people. As Amanda Palmer wrote, âIt has to start with the art. The songs had to touch people initially, and mean something, for anything to work at -all.â^[42] There isnât any magic to +all.â^[42] There isnât 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 +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 âhitsâ and more about micromarkets for every particular niche. As Anderson wrote, âWe 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.â^[43] We are no longer limited +not.â^[43] We are no longer limited to what appeals to the masses. -

- While finding âyour peopleâ online is theoretically easier than +

+ While finding âyour peopleâ 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.^[44] Anderson wrote, âThe +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.^[44] Anderson wrote, âThe greatest change of the past decade has been the shift in time people spend consuming amateur content instead of professional -content.â^[45] To top it all off, you +content.â^[45] To top it all off, you have to compete against the rest of their lives, tooââfriends, family, -music playlists, soccer games, and nights on the town.â^[46] Somehow, some way, you have to get noticed by the +music playlists, soccer games, and nights on the town.â^[46] Somehow, some way, you have to get noticed by the right people. -

- When you come to the Internet armed with an all-rights-reserved mentality +

+ 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. Itâs called the penny gapâthe large difference in demand between +on demand. Itâs called the penny gapâthe large difference in demand between something that is available at the price of one cent versus the price of zero.^[47] That doesnât mean it is wrong to charge money for your content. It simply means you need to recognize the @@ -1353,40 +1333,41 @@ 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 âyour people,â prohibiting people from copying your work and sharing it with others is counterproductive. -

- Of course, itâs not that being discovered by people who like your work will -make you richâfar from it. But as Cory Doctorow says, âRecognition is -one of many necessary preconditions for artistic -success.â^[48] -

- Choosing not to spend time and energy restricting access to your work and -policing infringement also builds goodwill. Lumen Learning, a for-profit +

+ Claro, nÃ£o Ã© que ser descoberto por pessoas que gostam da sua obra lhe +tornarÃ¡ rico â longe disso. Mas, como diz Cory Doctorow, âO +reconhecimento Ã© uma das muitas precondiÃ§Ãµes necessÃ¡rias para o sucesso +artÃstico.â^[48] +

+ 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. -

- 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, âOur natural human impulses -to imitate and shareâthe essence of cultureâhave been -criminalized.â^[49] -

- 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 doesnât feel like -stealing a loaf of bread. And, of course, thatâs because it isnât. Sharing a -creative work has no impact on anyone elseâs ability to make use of it. -

- If you take some amount of copying and sharing your work as a given, you can +

+ NÃ£o Ã© apenas que restringir o acesso Ã sua obra pode prejudicar a sua missÃ£o +social. TambÃ©m pode alienar as pessoas que mais valorizam sua obra +criativa. Se as pessoas gostam da sua oba, seu instinto natural serÃ¡ +compartilhÃ¡-lo com outras pessoas. Mas, como David Bollier escreveu, +âNossos impulsos humanos naturais para imitar e compartilhar â a +essÃªncia da cultura â foram criminalizados.â^[49] +

+ O fato de que a cÃ³pia pode acarretar penalidades criminais, sem dÃºvida, +impede a cÃ³pia, mas copiar com o clique de um botÃ£o Ã© muito fÃ¡cil e +conveniente para interrompÃª-la totalmente. Por mais que a indÃºstria de +direitos autorais tente nos persuadir do contrÃ¡rio, copiar uma obra +protegida por direitos autorais nÃ£o dÃ¡ a sensaÃ§Ã£o de roubar um pÃ£o. E, +claro, Ã© porque nÃ£o Ã©. Compartilhar uma obra criativa nÃ£o afeta a capacidade +de ninguÃ©m de fazer uso dele. +

+ 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, âWe could spend a lot of -money trying to protect works, but people are going to do it anyway. And +money trying to protect works, but people are going to do it anyway. And they will use bad-quality versions.â 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 @@ -1394,276 +1375,285 @@ 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. -

- 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.^[50] -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, âUsing CC -licenses shows you get the Internet.â -

- 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.^[51] 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. -

- There are all kinds of way to leverage the power of sharing and remix to -your benefit. Here are a few. -

Use CC to grow a larger audience

- Putting a Creative Commons license on your content wonât make it +

+ Ser feito com Creative Commons significa que vocÃª para de pensar em maneiras +de tornar artificialmente seu conteÃºdo escasso e, em vez disso, aproveita-o +como o recurso potencialmente abundante que ele Ã©.^[50] Quando vocÃª vÃª a abundÃ¢ncia de informaÃ§Ãµes como um +recurso, nÃ£o um bug, comeÃ§a a pensar sobre as maneiras de usar a capacidade +ociosa de seu conteÃºdo a seu favor. Como meu amigo e colega Eric Steuer +disse uma vez, âUsar licenÃ§as CC mostra que vocÃª acessa a +Internet.â +

+ Cory Doctorow diz que nÃ£o custa nada quando outras pessoas fazem cÃ³pias de +sua oba, e isso abre a possibilidade de que ele possa receber algo em +troca.^[51] Da mesma forma, os fabricantes +das placas Arduino sabiam que era impossÃvel impedir as pessoas de copiar +seus hardware, entÃ£o eles decidiram nem mesmo tentar e, em vez disso, buscar +os benefÃcios de ser aberto. Para eles, o resultado Ã© uma das peÃ§as de +hardware mais onipresentes do mundo, com uma comunidade online prÃ³spera de +consertadores e inovadores que fizeram coisas com seu trabalho que nunca +poderiam ter feito de outra forma. +

+ Existem vÃ¡rias maneiras de aproveitar o poder de compartilhar e remixar em +seu benefÃcio. Aqui estÃ£o alguns. +

Usar CC para criar uma audiÃªncia grande

+ Putting a Creative Commons license on your content wonât make it automatically go viral, but eliminating legal barriers to copying the work certainly canât 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 workâa nudge to copy the work if -they have any inkling of doing so. All things being equal, if one piece of +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 Donât Share (which is what âÂ©â means), which do you think people are more likely to share? -

- 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. -

- The idea that more eyeballs equates with more success is a form of the max +

+ The Conversation Ã© um site de notÃcias online com artigos detalhados +escritos por acadÃªmicos especialistas em tÃ³picos especÃficos. Todos os +artigos sÃ£o licenciados por CC e sÃ£o copiados e compartilhados de novo em +outros sites por design. Esse efeito proliferante, que eles rastreiam, Ã© uma +parte central do valor para seus autores acadÃªmicos que desejam alcanÃ§ar o +maior nÃºmero possÃvel de leitores. +

+ 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 Googleâs Eric Schmidt, the idea is simple: âTake 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.â^[52] +as well put things everywhere.â^[52] 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 +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. -

- 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.^[53] 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.^[54] -

Use CC to get attribution and name recognition

- Every Creative Commons license requires that credit be given to the author, +

+ Se vocÃª tiver sucesso em alcanÃ§ar mais usuÃ¡rios, leitores, ouvintes ou +outros consumidores de seu trabalho, pode comeÃ§ar a se beneficiar do efeito +bandwagon. O simples fato de haver outras pessoas consumindo ou seguindo seu +trabalho estimula outras pessoas a quererem fazer o mesmo.^[53] Isso Ã©, em parte, porque simplesmente temos uma +tendÃªncia a nos envolver em comportamento de rebanho, mas tambÃ©m Ã© porque um +grande a seguir estÃ¡ pelo menos um indicador parcial de qualidade ou +utilidade.^[54] +

Usar CC para obter atribuiÃ§Ã£o e reconhecimento de nome

+ 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, +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.^[55] CC licenses reflect a set of wishes on the part of +within both the marketplace and the society at large.^[55] 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. -

- 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. -

- Attribution can be about more than just receiving credit. It can also be +

+ O fato de o nome do criador seguir uma obra licenciada pela CC torna as +licenÃ§as um meio importante para desenvolver uma reputaÃ§Ã£o ou, em linguagem +corporativa, uma marca. O impulso de associar o seu nome ao seu trabalho nÃ£o +se baseia apenas em motivaÃ§Ãµes comerciais, Ã© fundamental para a autoria. A +Knowledge Unlatched Ã© uma organizaÃ§Ã£o sem fins lucrativos que ajuda a +subsidiar a produÃ§Ã£o impressa de textos acadÃªmicos licenciados pela CC +reunindo contribuiÃ§Ãµes de bibliotecas dos Estados Unidos. A CEO, Frances +Pinter, diz que a licenÃ§a Creative Commons sobre as obras tem um enorme +valor para os autores porque a reputaÃ§Ã£o Ã© a moeda mais importante para os +acadÃªmicos. Compartilhar com o CC Ã© uma forma de fazer com que a maioria das +pessoas veja e cite sua obra. +

+ Attribution can be about more than just receiving credit. It can also be about establishing provenance. People naturally want to know where content came fromâthe 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, +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. -

- 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. -

Use CC-licensed content as a marketing tool

- As we will cover in more detail later, many endeavors that are Made with +

+ Saber a origem de uma obra tambÃ©m Ã© fundamental para garantir sua +credibilidade. Assim como uma marca Ã© projetada para dar aos consumidores +uma maneira de identificar a origem e a qualidade de um determinado bem e +serviÃ§o, conhecer o autor de uma obra dÃ¡ ao pÃºblico uma maneira de avaliar +sua credibilidade. Em uma Ã©poca em que o discurso online estÃ¡ infestado de +desinformaÃ§Ã£o, ser uma fonte de informaÃ§Ã£o confiÃ¡vel Ã© mais valioso do que +nunca. +

Usar conteÃºdo licenciado por CC como ferramenta de marketing

+ 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 +CC-licensed work. Sometimes that other product or service is completely unrelated to the CC content. Other times itâs 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. -

- Knowledge Unlatchedâs Pinter told us she has seen time and again how +

+ Knowledge Unlatchedâs Pinter told us she has seen time and again how offering CC-licensed contentâthat is, digitally for freeâactually 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 +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.^[56] Free can +people bought in music stores.^[56] Free can be a form of promotion. -

- 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). -

Use CC to enable hands-on engagement with your work

- The great promise of Creative Commons licensing is that it signifies an -embrace of remix culture. Indeed, this is the great promise of digital -technology. The Internet opened up a whole new world of possibilities for -public participation in creative work. -

- 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 thingsâtranslating, 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.^[57] Adaptation is more game -changing in some contexts than others. With educational materials, the -ability to customize and update the content is critically important for its -usefulness. For photography, the ability to adapt a photo is less important. -

- This is a way to counteract a potential downside of the abundance of free -and open content described above. As Anderson wrote in Free, âPeople -often donât care as much about things they donât pay for, and as a result -they donât think as much about how they consume them.â^[58] 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.^[59] We know that people will pay more for products they -had a part in creating.^[60] 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.^[61] -

- 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, âTo 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.â^[62] -Opening the door to your content can get people more deeply tied to your -work. -

Use CC to differentiate yourself

- Operating under a traditional copyright regime usually means operating under +

+ Em alguns casos, empreendimentos feitos com Creative Commons nem precisam de +equipes de marketing dedicadas ou orÃ§amentos de marketing. Cards Against +Humanity Ã© um jogo de cartas licenciado pela CC, disponÃvel para download +gratuito. E por isso (graÃ§as Ã licenÃ§a CC do jogo), os criadores dizem que Ã© +um dos jogos mais vendidos do mundo, e nunca gastaram um centavo em +marketing. A editora de livros OpenStax tambÃ©m evitou a contrataÃ§Ã£o de uma +equipe de marketing. Seus produtos sÃ£o gratuitos ou mais baratos no caso de +cÃ³pias fÃsicas, o que os torna muito mais atraentes para os alunos que os +demandam em suas universidades. Eles tambÃ©m fazem parceria com provedores de +serviÃ§os que criam sobre o conteÃºdo licenciado pela CC e, por sua vez, +gastam dinheiro e recursos no marketing desses serviÃ§os (e, por extensÃ£o, os +livros didÃ¡ticos OpenStax). +

Usar CC para permitir o envolvimento prÃ¡tico com seu trabalho

+ A grande promessa do licenciamento Creative Commons Ã© que ele significa uma +adoÃ§Ã£o da cultura do remix. Na verdade, esta Ã© a grande promessa da +tecnologia digital. A Internet abriu um novo mundo de possibilidades para a +participaÃ§Ã£o do pÃºblico no trabalho criativo. +

+ Quatro das seis licenÃ§as CC permitem que os reutilizadores desmontem, +desenvolvam ou adaptem de outra forma a obra. Dependendo do contexto, a +adaptaÃ§Ã£o pode significar coisas totalmente diferentes â traduzir, +atualizar, localizar, melhorar, transformar. Ele permite que um trabalho +seja personalizado para necessidades, usos, pessoas e comunidades +especÃficas, que Ã© outro valor distinto para oferecer ao +pÃºblico.^[57] A adaptaÃ§Ã£o Ã© mais +revolucionÃ¡ria em alguns contextos do que em outros. Com materiais +educacionais, a capacidade de personalizar e atualizar o conteÃºdo Ã© +extremamente importante para sua utilidade. Para a fotografia, a capacidade +de adaptar uma foto Ã© menos importante. +

+ Esta Ã© uma forma de neutralizar uma desvantagem potencial da abundÃ¢ncia de +conteÃºdo gratuito e aberto descrito acima. Como Anderson escreveu em +Free, âAs pessoas geralmente nÃ£o se importam +tanto com as coisas pelas quais nÃ£o pagam e, como resultado, nÃ£o pensam +tanto sobre como as consomem.â^[58] +Se mesmo o pequeno ato de vontade de pagar um centavo por algo muda nossa +percepÃ§Ã£o dessa coisa, entÃ£o certamente o ato de remixar aumenta nossa +percepÃ§Ã£o exponencialmente.^[59] Sabemos que +as pessoas pagarÃ£o mais pelos produtos que criaram.^[60] E sabemos que criar algo, nÃ£o importa a qualidade, +traz consigo um tipo de satisfaÃ§Ã£o criativa que nunca pode ser substituÃda +pelo consumo de algo criado por outra pessoa.^[61] +

+ Envolver-se ativamente com o conteÃºdo nos ajuda a evitar o tipo de consumo +sem objetivo que qualquer pessoa que tenha rolar distraidamente seus feeds +de mÃdia social por uma hora conhece muito bem. Em seu livro +Cognitive Surplus, Clay Shirky diz: âParticipar Ã© +agir como se sua presenÃ§a importasse, como se, ao ver ou ouvir algo, sua +resposta fosse parte do evento.â^[62] +Abrir a porta para o seu conteÃºdo pode fazer com que as pessoas fiquem mais +ligadas Ã sua obra. +

Usar CC para se diferenciar

+ 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 creatorâs best interest.^[63] Being Made with Creative Commons means you can +creators, often at the expense of the creatorâs best interest.^[63] 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. âDonât go into a market and play by the incumbent -rules,â David said. âChange the rules of engagement.â -

Making Money

- Like any moneymaking endeavor, those that are Made with Creative Commons +rules,â David said. âChange the rules of engagement.â +

Fazendo dinheiro

+ 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 +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.^[64] But in many +nonprofit funding operates.^[64] 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. -

- 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 +

+ 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, âThe trick is in knowing when markets are an optimal way of organizing interactions and when they are -not.â^[65] -

- Our case studies explore in more detail the various revenue-generating +not.â^[65] +

+ 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 +learned. Nonetheless, zooming out and viewing things from a higher level of abstraction can be instructive. -

Market-based revenue streams

- In the market, the central question when determining how to bring in revenue -is what value people are willing to pay for.^[66] 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.^[67] -

- In many ways, this is the way of the future for all content-driven +

Fluxos de receita com base no mercado

+ No mercado, a questÃ£o central ao determinar como gerar receita Ã© por qual +valor as pessoas estÃ£o dispostas a pagar.^[66] Por definiÃ§Ã£o, se vocÃª Ã© Feito com Creative Commons, o conteÃºdo que +vocÃª fornece estÃ¡ disponÃvel gratuitamente e nÃ£o como uma commodity do +mercado. Como o modelo de negÃ³cios freemium onipresente, qualquer transaÃ§Ã£o +de mercado possÃvel com um consumidor de seu conteÃºdo deve ser baseada em +algum valor agregado que vocÃª fornece.^[67] +

+ 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.^[68] 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, âCopyright protection schemes, whether coded -into either law or software, are simply holding up a price against the force -of gravity.â -

- Of course, this doesnât 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. âEvery abundance -creates a new scarcity,â he wrote. You just have to find some way -other than the content to provide value to your audience or customers. As -Anderson says, âItâs easy to compete with Free: simply offer something -better or at least different from the free version.â^[69] -

- 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. -

- For content creators and distributors, there are nearly infinite ways to -provide value to the consumers of your work, above and beyond the value that -lives within your free digital content. Often, the CC-licensed content -functions as a marketing tool for the paid product or service. -

- Here are the most common high-level categories. -

Providing a custom service to consumers of your work +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.^[68] 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, âCopyright protection schemes, +whether coded into either law or software, are simply holding up a price +against the force of gravity.â +
+ Claro, isso nÃ£o significa que os esforÃ§os orientados para o conteÃºdo nÃ£o +tenham futuro no mercado tradicional. Em Free, Anderson +explica como, quando um produto ou serviÃ§o se torna gratuito, como as +informaÃ§Ãµes e o conteÃºdo em grande parte na era digital, outras coisas se +tornam mais valiosas. âCada abundÃ¢ncia cria uma nova escassezâ, +escreveu ele. VocÃª apenas precisa encontrar uma maneira diferente do +conteÃºdo para fornecer valor ao seu pÃºblico ou clientes. Como diz Anderson, +âÃ fÃ¡cil competir com o GrÃ¡tis: simplesmente ofereÃ§a algo melhor ou +pelo menos diferente da versÃ£o gratuita.â^[69] +
+ Ã luz dessa realidade, de certa forma, os empreendimentos Feitos com +Creative Commons estÃ£o no mesmo nÃvel de todos os empreendimentos baseados +em conteÃºdo na era digital. Na verdade, eles podem atÃ© ter uma vantagem +porque podem usar a abundÃ¢ncia de conteÃºdo para obter receita de algo +escasso. Eles tambÃ©m podem se beneficiar da boa vontade que decorre dos +valores por trÃ¡s de ser Feito com Creative Commons. +
+ Para criadores e distribuidores de conteÃºdo, existem maneiras quase +infinitas de fornecer valor aos consumidores de sua oba, acima e alÃ©m do +valor que reside em seu conteÃºdo digital gratuito. Frequentemente, o +conteÃºdo licenciado por CC funciona como uma ferramenta de marketing para o +produto ou serviÃ§o pago. +
+ Aqui estÃ£o as categorias de alto nÃvel mais comuns. +

Providing a custom service to consumers of your work [MARKET-BASED]

- In this age of information abundance, we donât lack for content. The trick + In this age of information abundance, we donât lack for content. The trick is finding content that matches our needs and wants, so customized services are particularly valuable. As Anderson wrote, âCommodity information (everybody gets the same version) wants to be free. Customized information (you get something unique and meaningful to you) wants to be -expensive.â^[70] This can be anything +expensive.â^[70] This can be anything from the artistic and cultural consulting services provided by Ãrtica to the custom-song business of Jonathan âSong-A-Dayâ Mann. -

Charging for the physical copy [MARKET-BASED]

- In his book about maker culture, Anderson characterizes this model as giving +

Charging for the physical copy [MARKET-BASED]

+ In his book about maker culture, Anderson characterizes this model as giving away the bits and selling the atoms (where bits refers to digital content -and atoms refer to a physical object).^[71] +and atoms refer to a physical object).^[71] This is particularly successful in domains where the digital version of the content isnât 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 isnât useful until it is in -physical form, like furniture designs. In those situations, a significant +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 @@ -1675,20 +1665,20 @@ 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. -

Charging for the in-person version [MARKET-BASED]

- As anyone who has ever gone to a concert will tell you, experiencing +

Charging for the in-person version [MARKET-BASED]

+ As anyone who has ever gone to a concert will tell you, experiencing creativity in person is a completely different experience from consuming 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. -

Selling merchandise [MARKET-BASED]

- In many cases, people who like your work will pay for products demonstrating +

Selling merchandise [MARKET-BASED]

+ In many cases, people who like your work will pay for products demonstrating a connection to your work. As a child of the 1980s, I can personally attest to the power of a good concert T-shirt. This can also be an important revenue stream for museums and galleries. -

- Sometimes the way to find a market-based revenue stream is by providing +

+ 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 @@ -1696,22 +1686,22 @@ 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.^[72] Access to your audience +platforms.^[72] Access to your audience isnât the only thing people are willing to pay forâthere are other services you can provide as well. -

Charging advertisers or sponsors [MARKET-BASED]

- The traditional model of subsidizing free content is advertising. In this +

Charging advertisers or sponsors [MARKET-BASED]

+ The traditional model of subsidizing free content is advertising. In this version of multi-sided platforms, advertisers pay for the opportunity to reach the set of eyeballs the content creators provide in the form of their -audience.^[73] The Internet has made this +audience.^[73] The Internet has made this model more difficult because the number of potential channels available to -reach those eyeballs has become essentially infinite.^[74] Nonetheless, it remains a viable revenue stream for +reach those eyeballs has become essentially infinite.^[74] 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. -

Charging your content creators [MARKET-BASED]

- Another type of multisided platform is where the content creators themselves +

Charging your content creators [MARKET-BASED]

+ Another type of multisided platform is where the content creators themselves pay to be featured on the platform. Obviously, this revenue 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 @@ -1720,9 +1710,9 @@ 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. -

Charging a transaction fee [MARKET-BASED]

- This is a version of a traditional business model based on brokering -transactions between parties.^[75] Curation +

Charging a transaction fee [MARKET-BASED]

+ This is a version of a traditional business model based on brokering +transactions between parties.^[75] 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 @@ -1730,15 +1720,15 @@ 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. -

Providing a service to your creators [MARKET-BASED]

- As mentioned above, endeavors can make money by providing customized +

Providing a service to your creators [MARKET-BASED]

+ As mentioned above, endeavors can make money by providing customized services to their users. Platforms can undertake a variation of this 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. -

Licensing a trademark [MARKET-BASED]

- Finally, some that are Made with Creative Commons make money by selling use +

Licensing a trademark [MARKET-BASED]

+ Finally, some that are Made with Creative Commons make money by selling use of their trademarks. Well known brands that consumers associate with quality, credibility, or even an ethos can license that trademark to companies that want to take advantage of that goodwill. By definition, @@ -1746,13 +1736,13 @@ 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. -

Reciprocity-based revenue streams

- Even if we set aside grant funding, we found that the traditional economic +

Reciprocity-based revenue streams

+ Even if we set aside grant funding, we found that the traditional economic framework of understanding the market failed to fully capture the ways the endeavors we analyzed were making money. It was not simply about monetizing scarcity. -

- Rather than devising a scheme to get people to pay money in exchange for +

+ 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 @@ -1761,20 +1751,20 @@ 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, âThere is no self-serving calculation of whether the value given and received is strictly equal.â -

- This should be a familiar dynamicâit is the way you deal with your friends +

+ This should be a familiar dynamicâit 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, âReciprocal 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.â -

- What is rare is to incorporate this sort of relationship into an endeavor -that also engages with the market.^[76] We +

+ What is rare is to incorporate this sort of relationship into an endeavor +that also engages with the market.^[76] We almost canât help but think of relationships in the market as being centered -on an even-steven exchange of value.^[77] -

Memberships and individual donations +on an even-steven exchange of value.^[77] +

Memberships and individual donations [RECIPROCITY-BASED]

- While memberships and donations are traditional nonprofit funding models, in + 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 @@ -1784,39 +1774,38 @@ 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. -

The pay-what-you-want model [RECIPROCITY-BASED]

- In the pay-what-you-want model, the beneficiary of Creative Commons content +

The pay-what-you-want model [RECIPROCITY-BASED]

+ In the pay-what-you-want model, the beneficiary of Creative Commons content is invited to giveâat 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 âbuyingâ -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. -

Crowdfunding [RECIPROCITY-BASED]

- Crowdfunding models are based on recouping the costs of creating and +the public and personal value they feel is generated by the open content. +Critically, these models are not touted as âbuyingâ 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. +

Crowdfunding [RECIPROCITY-BASED]

+ Crowdfunding models are based on recouping the costs of creating and distributing content before the content is created. If the endeavor is Made with Creative Commons, anyone who wants the work in question could simply wait until itâs 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, âGood 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.â -

- Other types of crowdfunding rely on a sense of responsibility that a -particular community may feel. Knowledge Unlatched pools funds from major +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, âGood 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.â +

+ 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. -

Making Human Connections

- Regardless of how they made money, in our interviews, we repeatedly heard +

Making Human Connections

+ Regardless of how they made money, in our interviews, we repeatedly heard language like âpersuading people to buyâ and âinviting people to pay.â We heard it even in connection with revenue streams that sit squarely within the market. Cory Doctorow told us, âI have to @@ -1828,23 +1817,23 @@ letter; itâs an invitation to pay because itâs 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. -

- Nearly every endeavor we profiled relied, at least in part, on people being +

+ 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 âthe product,â 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. -

- It took me a very long time to see how this avoidance of thinking about what +

+ 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. -

- I came to the research with preconceived notions about what Creative Commons +

+ 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. -

- Obviously, being Made with Creative Commons means using Creative Commons +

+ 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 @@ -1852,8 +1841,8 @@ 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. -

- Being Made with Creative Commons is not just about the simple act of +

+ 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 @@ -1863,31 +1852,31 @@ 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 shareâconnections with you, with your work, with your values, with each other. -

- The rest of this section will explore some of the common strategies that +

+ 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 +humans behind every creative endeavor. To remind us we have obligations to each other. To remind us what sharing really looks like. -

Be human

- Humans are social animals, which means we are naturally inclined to treat -each other well.^[78] But the further +

Be human

+ Humans are social animals, which means we are naturally inclined to treat +each other well.^[78] 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. -

- To counteract the anonymous and impersonal tendencies of how we operate +

+ 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, âOur work doesnât speak for itself. Human beings want to +Kleon wrote, âOur work doesnât 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.â^[79] -

- A critical component to doing this effectively is not worrying about being a +understand about your work affects how they value it.â^[79] +

+ A critical component to doing this effectively is not worrying about being a âbrand.â That means not being afraid to be vulnerable. Amanda Palmer says, âWhen youâre afraid of someoneâs judgment, you canât connect with them. Youâre too preoccupied with the task of impressing @@ -1896,43 +1885,43 @@ Palmer, and thatâs 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 donât just want the glossy version of you. They canât relate to it, at least not in a meaningful way. -

- This advice is probably even more important for businesses and organizations +

+ 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 âhumanizing your interactionsâ -with the public.^[80] But it canât be a +with the public.^[80] But it canât be a gimmick. You canât fake being human. -

Be open and accountable

- Transparency helps people understand who you are and why you do what you do, +

Be open and accountable

+ Transparency helps people understand who you are and why you do what you do, but it also inspires trust. Max Temkin of Cards Against Humanity told us, âOne of the most surprising things you can do in capitalism is just be -honest with people.â That means sharing the good and the bad. As +honest with people.â That means sharing the good and the bad. As Amanda Palmer wrote, âYou can fix almost anything by authentically -communicating.â^[81] It isnât about +communicating.â^[81] It isnât 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.^[82] -

- Being accountable does not mean operating on consensus. According to James +when people are critical.^[82] +

+ 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.^[83] Instead, it can be as simple as asking for input and then giving +ideas that cultivates healthy collaboration.^[83] 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 donât go through the effort to actually respond to the input you receive, it can be worse -than not inviting input in the first place.^[84] But when you get it right, it can guarantee the type of diversity +than not inviting input in the first place.^[84] But when you get it right, it can guarantee the type of diversity of thought that helps endeavors excel. And it is another way to get people involved and invested in what you do. -

Design for the good actors

- Traditional economics assumes people make decisions based solely on their -own economic self-interest.^[85] Any +

Design for the good actors

+ Traditional economics assumes people make decisions based solely on their +own economic self-interest.^[85] Any relatively introspective human knows this is a fictionâwe 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.^[86] Being Made with Creative +fairness.^[86] Being Made with Creative Commons requires an assumption that people will largely act on those social motivations, motivations that would be considered âirrationalâ in an economic sense. As Knowledge Unlatchedâs Pinter told us, âIt is @@ -1940,16 +1929,16 @@ 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.â 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. -

- The assumption that people will largely do the right thing can be a +

+ The assumption that people will largely do the right thing can be a self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, âSystems 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.â^[87] When we acknowledge that people are often motivated +better than neoclassical economics would predict.â^[87] 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. -

- Rather than trying to exert control over peopleâs behavior, this mode of +

+ Rather than trying to exert control over peopleâs 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, âItâs impossible for a society to rely on law alone @@ -1957,35 +1946,35 @@ to make sure citizens act honestly and responsibly. And itâs impossible for any organization to rely on contracts alone to make sure that its managers and workers live up to their obligation.â Instead, we largely trust that peopleâmostly strangersâwill do what they are supposed to -do.^[88] And most often, they do. -

Treat humans like, well, humans

- For creators, treating people as humans means not treating them like +do.^[88] And most often, they do. +

Treat humans like, well, humans

+ For creators, treating people as humans means not treating them like fans. As Kleon says, âIf you want fans, you have to be a fan -first.â^[89] Even if you happen to be +first.â^[89] 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.^[90] -

- The same idea goes for businesses and organizations. Rather than automating +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.^[90] +

+ 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. -

- When we treat people like humans, they typically return the gift in +

+ When we treat people like humans, they typically return the gift in kind. Itâs 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.^[91] Platforms that +customers or free labor.^[91] 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 +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 relationshipâat least when it takes a form of paying monetary value in exchange for other valueâit -can dramatically change the dynamic.^[92] -

State your principles and stick to them

- Being Made with Creative Commons makes a statement about who you are and +can dramatically change the dynamic.^[92] +

State your principles and stick to them

+ Being Made with Creative Commons makes a statement about who you are and what you do. The symbolism is powerful. Using Creative Commons licenses demonstrates adherence to a particular belief system, which generates goodwill and connects like-minded people to your work. Sometimes people will @@ -1993,8 +1982,8 @@ 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 endeavorâs separate social mission. Often both. -

- The expression of your values doesnât have to be implicit. In fact, many of +

+ The expression of your values doesnât 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 @@ -2002,379 +1991,380 @@ 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. -

- When your end goal is not about making a profit, people trust that you +

+ When your end goal is not about making a profit, people trust that you arenât just trying to extract value for your own gain. People notice when you have a sense of purpose that transcends your own -self-interest.^[93] It attracts committed +self-interest.^[93] It attracts committed employees, motivates contributors, and builds trust. -

Build a community

- Endeavors that are Made with Creative Commons thrive when community is built +

Build a community

+ Endeavors that are Made with Creative Commons thrive when community is built around what they do. This may mean a community collaborating 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.^[94] To a certain extent, simply +beliefs.^[94] To a certain extent, simply being Made with Creative Commons automatically brings with it some element of community, by helping connect you to like-minded others who recognize and are drawn to the values symbolized by using CC. -

- To be sustainable, though, you have to work to nurture community. People +

+ To be sustainable, though, you have to work to nurture community. People have to careâabout you and each other. One critical piece to this is fostering a sense of belonging. As Jono Bacon writes in The Art of Community, âIf there is no belonging, there is no community.â For Amanda Palmer and her band, that meant creating an accepting and inclusive environment where people felt a part of their âweird little -family.â^[95] For organizations like +family.â^[95] For organizations like Red Hat, that means connecting around common beliefs or goals. As the CEO Jim Whitehurst wrote in The Open Organization, âTapping into passion is especially important in building the kinds of participative communities -that drive open organizations.â^[96] -

- Communities that collaborate together take deliberate planning. Surowiecki +that drive open organizations.â^[96] +

+ Communities that collaborate together take deliberate planning. Surowiecki wrote, âIt takes a lot of work to put the group together. Itâs difficult to ensure that people are working in the groupâs interest and not -in their own. And when thereâs a lack of trust between the members of the +in their own. And when thereâs a lack of trust between the members of the group (which isnât surprising given that they donât really know each other), considerable energy is wasted trying to determine each otherâs bona -fides.â^[97] Building true community +fides.â^[97] Building true community requires giving people within the community the power to create or influence -the rules that govern the community.^[98] If +the rules that govern the community.^[98] If the rules are created and imposed in a top-down manner, people feel like they donât have a voice, which in turn leads to disengagement. -

- Community takes work, but working together, or even simply being connected +

+ Community takes work, but working together, or even simply being connected around common interests or values, is in many ways what sharing is about. -

Give more to the commons than you take

- Conventional wisdom in the marketplace dictates that people should try to +

Give more to the commons than you take

+ Conventional wisdom in the marketplace dictates that people should try to extract as much money as possible from resources. This is essentially what defines so much of the so-called sharing economy. In an article on the Harvard Business Review website called âThe Sharing Economy Isnât about Sharing at All,â authors Giana Eckhardt and Fleura Bardhi explained how the anonymous market-driven trans-actions in most -sharing-economy businesses are purely about monetizing access.^[99] As Lisa Gansky put it in her book The Mesh, the +sharing-economy businesses are purely about monetizing access.^[99] 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.^[100] That is not sharing. -

- Sharing requires adding as much or more value to the ecosystem than you +times, by selling access rather than ownership.^[100] That is not sharing. +

+ Sharing requires adding as much or more value to the ecosystem than you take. You canât 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 doesnât 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.^[101] Opendesk contributes to its +which to extract value. Part of giving back to the ecosystem is +contributing content back to the public under CC licenses. But it doesnât +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.^[101] 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. -

- In all cases, it is important to openly acknowledge the amount of value you +

+ 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. -

Involve people in what you do

- Thanks to the Internet, we can tap into the talents and expertise of people +

Involve people in what you do

+ Thanks to the Internet, we can tap into the talents and expertise of people around the globe. Chris Anderson calls it the Long Tail of -talent.^[102] But to make collaboration work, +talent.^[102] 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.^[103] This is easier to facilitate for some types of +group have to find satisfaction from being involved.^[103] 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.^[104] -

- As the success of Wikipedia demonstrates, editing an online encyclopedia is +improvements without a particularly heavy time commitment.^[104] +

+ 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 doesnât -appear that their efforts will make much of a difference.^[105] -

- It is easy to romanticize the opportunities for global cocreation made +appear that their efforts will make much of a difference.^[105] +

+ 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 -circumstancesâperhaps more often than notâcommunity cocreation is not part -of the equation, even within endeavors built on CC content. Shirky wrote, -âSometimes the value of professional work trumps the value of amateur -sharing or a feeling of belonging.^[106] 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,âThe only department where I wasnât open to input was the -writing, the music itself."^[107] -

- While we tend to immediately think of cocreation and remixing when we hear +truly incredible and inspiring. But in a wide range of circumstancesâperhaps +more often than notâcommunity cocreation is not part of the equation, even +within endeavors built on CC content. Shirky wrote, âSometimes the +value of professional work trumps the value of amateur sharing or a feeling +of belonging.^[106] 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,âThe only +department where I wasnât open to input was the writing, the music +itself."^[107] +

+ 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 âmaking in publicâ opens the door to letting people feel more -invested in your creative work.^[108] And it +invested in your creative work.^[108] 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 mentalityâtreating ideas like something plentifulâand it can create an -environment where collaboration flourishes.^[109] -

- There is no one way to involve people in what you do. They key is finding a +environment where collaboration flourishes.^[109] +

+ 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.^[110] What that looks like +motivations.^[110] 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.^[111] -

^[37] - Alex Osterwalder e Yves Pigneur, Business Model +content and transition them into active participants.^[111] +

^[37] + Alex Osterwalder e Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley e Sons, 2010), 14. Uma prÃ©via do livro estÃ¡ disponÃvel em http://strategyzer.com/books/business-model-generation. -
^[38] - Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet +
^[38] + Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet Age* (SÃ£o Francisco, CA: McSweeneyâs, 2014) 68. -
^[39] - Ibid., 55. -
^[40] - Chris Anderson, Free: How Todayâs Smartest Businesses Profit by +
^[39] + Ibid., 55. +
^[40] + Chris Anderson, Free: How Todayâs Smartest Businesses Profit by Giving Something for Nothing, reimpressÃ£o com novo prefÃ¡cio (Nova York: Hyperion, 2010), 224. -
^[41] - Doctorow, Information Doesnât Want to Be Free, 44. -
^[42] - Amanda Palmer, The Art of Asking: Or How I Learned to Stop Worrying and Let -People Help (New York: Grand Central, 2014), 121. -
^[43] - Chris Anderson, Makers: The New Industrial Revolution (New York: Signal, -2012), 64. -
^[44] - David Bollier, Think Like a Commoner: A Short Introduction to the Life of -the Commons (Gabriola Island, BC: New Society, 2014), 70. -
^[45] - Anderson, Makers, 66. -
^[46] - Bryan Kramer, Shareology: How Sharing Is Powering the Human Economy (New -York: Morgan James, 2016), 10. -
^[47] - Anderson, Free, 62. -
^[48] - Doctorow, Information Doesnât Want to Be Free, 38. -
^[49] - Bollier, Think Like a Commoner, 68. -
^[50] - Anderson, Free, 86. -
^[51] - Doctorow, Information Doesnât Want to Be Free, 144. -
^[52] - Anderson, Free, 123. -
^[53] - Ibid., 132. -
^[54] - Ibid., 70. -
^[55] - James Surowiecki, The Wisdom of Crowds (New York: Anchor Books, 2005), -124. Surowiecki says, âThe measure of success of laws and contracts is -how rarely they are invoked.â -
^[56] - Anderson, Free, 44. -
^[57] - Osterwalder and Pigneur, Business Model Generation, 23. -
^[58] - Anderson, Free, 67. -
^[59] - Ibid., 58. -
^[60] - Anderson, Makers, 71. -
^[61] - Clay Shirky, Cognitive Surplus: How Technology Makes Consumers into -Collaborators (London: Penguin Books, 2010), 78. -
^[62] - Ibid., 21. -
^[63] - Doctorow, Information Doesnât Want to Be Free, 43. -
^[64] - William Landes Foster, Peter Kim, and Barbara Christiansen, âTen -Nonprofit Funding Models,â Stanford Social Innovation Review, Spring -2009, http://ssir.org/articles/entry/ten_nonprofit_funding_models. -
^[65] - Shirky, Cognitive Surplus, 111. -
^[66] - Osterwalder and Pigneur, Business Model Generation, 30. -
^[67] - Jim Whitehurst, The Open Organization: Igniting Passion and Performance -(Boston: Harvard Business Review Press, 2015), 202. -
^[68] - Anderson, Free, 71. -
^[69] - Ibid., 231. -
^[70] - Ibid., 97. -
^[71] - Anderson, Makers, 107. -
^[72] - Osterwalder and Pigneur, Business Model Generation, 89. -
^[73] - Ibid., 92. -
^[74] - Anderson, Free, 142. -
^[75] - Osterwalder and Pigneur, Business Model Generation, 32. -
^[76] - Bollier, Think Like a Commoner, 150. -
^[77] - Ibid., 134. -
^[78] - Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our -Decisions, rev. ed. (New York: Harper Perennial, 2010), 109. -
^[79] - Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get +
^[41] + Doctorow, Information Doesnât Want to Be Free, 44. +
^[42] + Amanda Palmer, The Art of Asking: Or How I Learned to Stop +Worrying and Let People Help (Nova York: Grand Central, 2014), +121. +
^[43] + Chris Anderson, Makers: The New Industrial Revolution +(Nova York: Signal, 2012), 64. +
^[44] + David Bollier, Think Like a Commoner: A Short Introduction to the +Life of the Commons (Gabriola Island, BC: New Society, 2014), 70. +
^[45] + Anderson, Makers, 66. +
^[46] + Bryan Kramer, Shareology: How Sharing Is Powering the Human +Economy (Nova York: Morgan James, 2016), 10. +
^[47] + Anderson, Free, 62. +
^[48] + Doctorow, Information Doesnât Want to Be Free, 38. +
^[49] + Bollier, Think Like a Commoner, 68. +
^[50] + Anderson, Free, 86. +
^[51] + Doctorow, Information Doesnât Want to Be Free, 144. +
^[52] + Anderson, Free, 123. +
^[53] + Ibid., 132. +
^[54] + Ibid., 70. +
^[55] + James Surowiecki, The Wisdom of Crowds (Nova York: +Anchor Books, 2005), 124. Surowiecki dice, âA medida de sucesso de +leis e contratos Ã© o quÃ£o raro eles sÃ£o invocados.â +
^[56] + Anderson, Free, 44. +
^[57] + Osterwalder e Pigneur, Business Model Generation, 23. +
^[58] + Anderson, Free, 67. +
^[59] + Ibid., 58. +
^[60] + Anderson, Makers, 71. +
^[61] + Clay Shirky, Cognitive Surplus: How Technology Makes Consumers +into Collaborators (Londres: Penguin Books, 2010), 78. +
^[62] + Ibid., 21. +
^[63] + Doctorow, Information Doesnât Want to Be Free, 43. +
^[64] + William Landes Foster, Peter Kim, y Barbara Christiansen, âTen +Nonprofit Funding Modelsâ, Stanford Social Innovation +Review, Primavera de 2009, http://ssir.org/articles/entry/ten_nonprofit_funding_models. +
^[65] + Shirky, Cognitive Surplus, 111. +
^[66] + Osterwalder e Pigneur, Business Model Generation, 30. +
^[67] + Jim Whitehurst, The Open Organization: Igniting Passion and +Performance (Boston: Harvard Business Review Press, 2015), 202. +
^[68] + Anderson, Free, 71. +
^[69] + Ibid., 231. +
^[70] + Ibid., 97. +
^[71] + Anderson, Makers, 107. +
^[72] + Osterwalder and Pigneur, Business Model Generation, 89. +
^[73] + Ibid., 92. +
^[74] + Anderson, Free, 142. +
^[75] + Osterwalder and Pigneur, Business Model Generation, 32. +
^[76] + Bollier, Think Like a Commoner, 150. +
^[77] + Ibid., 134. +
^[78] + Dan Ariely, Predictably Irrational: The Hidden Forces That Shape Our +Decisions, rev. ed.Â (New York: Harper Perennial, 2010), 109. +
^[79] + Austin Kleon, Show Your Work: 10 Ways to Share Your Creativity and Get Discovered (New York: Workman, 2014), 93. -
^[80] - Kramer, Shareology, 76. -
^[81] - Palmer, Art of Asking, 252. -
^[82] - Whitehurst, Open Organization, 145. -
^[83] - Surowiecki, Wisdom of Crowds, 203. -
^[84] - Whitehurst, Open Organization, 80. -
^[85] - Bollier, Think Like a Commoner, 25. -
^[86] - Ibid., 31. -
^[87] - Shirky, Cognitive Surplus, 112. -
^[88] - Surowiecki, Wisdom of Crowds, 124. -
^[89] - Kleon, Show Your Work, 127. -
^[90] - Palmer, Art of Asking, 121. -
^[91] - Ariely, Predictably Irrational, 87. -
^[92] - Ibid., 105. -
^[93] - Ibid., 36. -
^[94] - Jono Bacon, The Art of Community, 2nd ed. (Sebastopol, CA: OâReilly Media, +
^[80] + Kramer, Shareology, 76. +
^[81] + Palmer, Art of Asking, 252. +
^[82] + Whitehurst, Open Organization, 145. +
^[83] + Surowiecki, Wisdom of Crowds, 203. +
^[84] + Whitehurst, Open Organization, 80. +
^[85] + Bollier, Think Like a Commoner, 25. +
^[86] + Ibid., 31. +
^[87] + Shirky, Cognitive Surplus, 112. +
^[88] + Surowiecki, Wisdom of Crowds, 124. +
^[89] + Kleon, Show Your Work, 127. +
^[90] + Palmer, Art of Asking, 121. +
^[91] + Ariely, Predictably Irrational, 87. +
^[92] + Ibid., 105. +
^[93] + Ibid., 36. +
^[94] + Jono Bacon, The Art of Community, 2nd ed.Â (Sebastopol, CA: OâReilly Media, 2012), 36. -
^[95] - Palmer, Art of Asking, 98. -
^[96] - Whitehurst, Open Organization, 34. -
^[97] - Surowiecki, Wisdom of Crowds, 200. -
^[98] - Bollier, Think Like a Commoner, 29. -
^[99] - Giana Eckhardt and Fleura Bardhi, âThe Sharing Economy Isnât about +
^[95] + Palmer, Art of Asking, 98. +
^[96] + Whitehurst, Open Organization, 34. +
^[97] + Surowiecki, Wisdom of Crowds, 200. +
^[98] + Bollier, Think Like a Commoner, 29. +
^[99] + Giana Eckhardt and Fleura Bardhi, âThe Sharing Economy Isnât about Sharing at All,â Harvard Business Review (website), January 28, 2015, http://hbr.org/2015/01/the-sharing-economy-isnt-about-sharing-at-all. -
^[100] - Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with +
^[100] + Lisa Gansky, The Mesh: Why the Future of Business Is Sharing, reprint with new epilogue (New York: Portfolio, 2012). -
^[101] - David Lee, âInside Medium: An Attempt to Bring Civility to the +
^[101] + David Lee, âInside Medium: An Attempt to Bring Civility to the Internet,â BBC News, March 3, 2016, http://www.bbc.com/news/technology-35709680. -
^[102] - Anderson, Makers, 148. -
^[103] - Shirky, Cognitive Surplus, 164. -
^[104] - Whitehurst, foreword to Open Organization. -
^[105] - Shirky, Cognitive Surplus, 144. -
^[106] - Ibid., 154. -
^[107] - Palmer, Art of Asking, 163. -
^[108] - Anderson, Makers, 173. -
^[109] - Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential +
^[102] + Anderson, Makers, 148. +
^[103] + Shirky, Cognitive Surplus, 164. +
^[104] + Whitehurst, foreword to Open Organization. +
^[105] + Shirky, Cognitive Surplus, 144. +
^[106] + Ibid., 154. +
^[107] + Palmer, Art of Asking, 163. +
^[108] + Anderson, Makers, 173. +
^[109] + Tom Kelley and David Kelley, Creative Confidence: Unleashing the Potential within Us All (New York: Crown, 2013), 82. -
^[110] - Whitehurst, foreword to Open Organization. -
^[111] - Rachel Botsman and Roo Rogers, Whatâs Mine Is Yours: The Rise of +
^[110] + Whitehurst, foreword to Open Organization. +
^[111] + Rachel Botsman and Roo Rogers, Whatâs Mine Is Yours: The Rise of Collaborative Consumption (New York: Harper Business, 2010), 188. -

CapÃtulo 3. The Creative Commons Licenses

- All of the Creative Commons licenses grant a basic set of permissions. At a +

CapÃtulo 3. The Creative Commons Licenses

+ All of the Creative Commons licenses grant a basic set of permissions. At a minimum, a CC- licensed work can be copied and shared in its original form for noncommercial purposes so long as attribution is given to the creator. There are six licenses in the CC license suite that build on that basic 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 +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. -

- Here are the six licenses: -

+ Here are the six licenses: +

- The Attribution license (CC BY) lets others distribute, remix, tweak, and + 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. -

- The Attribution-Share-Alike license (CC BY-SA) lets others remix, tweak, and + 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 âcopyleftâ free and open source software -licenses. All new works based on yours will carry the same license, so any +licenses. All new works based on yours will carry the same license, so any derivatives will also allow commercial use. -

- The Attribution-NoDerivs license (CC BY-ND) allows for redistribution, + 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. -

- The Attribution-NonCommercial license (CC BY-NC) lets others remix, tweak, + 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 donât have to license their derivative works on the same terms. -

- The Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA) lets others + 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. -

- The Attribution-NonCommercial-NoDerivs license (CC BY-NC-ND) is the most + 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 canât change them or use them commercially. -

- In addition to these six licenses, Creative Commons has two public-domain +

+ In addition to these six licenses, Creative Commons has two public-domain toolsâone for creators and the other for those who manage collections of existing works by authors whose terms of copyright have expired: -

- CC0 enables authors and copyright owners to dedicate their works to the + CC0 enables authors and copyright owners to dedicate their works to the worldwide public domain (âno rights reservedâ). -

- The Creative Commons Public Domain Mark facilitates the labeling and + The Creative Commons Public Domain Mark facilitates the labeling and discovery of works that are already free of known copyright restrictions. -

- In our case studies, some use just one Creative Commons license, others use +

+ 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 @@ -2382,8 +2372,8 @@ 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. -

- There is a popular misconception that the three NonCommercial licenses +

+ 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 @@ -2393,24 +2383,24 @@ BY-SA, and CC BY-ND) forecloses some traditional revenue streams. If you apply an Attribution (CC BY) license to your book, you canât 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. -

- The decision to choose a NonCommercial and/or NoDerivs license comes down to +

+ 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 +bring in revenue. In other cases, creators use a NonCommercial or NoDerivs license because they canât give up on the dream of hitting the creative -jackpot. The music platform Tribe of Noise told us the NonCommercial +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. -

- Other times the decision to use a more restrictive license is due to a +

+ 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. -

- There is no one right way. The NonCommercial and NoDerivs restrictions +

+ 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 @@ -2419,90 +2409,90 @@ 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. -

- Note -

- For more about the licenses including examples and tips on sharing your work +

+ Note +

+ For more about the licenses including examples and tips on sharing your work in the digital commons, start with the Creative Commons page called âShare Your Workâ at http://creativecommons.org/share-your-work/. -

ParteÂ II.Â The Case Studies

- The twenty-four case studies in this section were chosen from hundreds of +

ParteÂ II.Â The Case Studies

+ 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 +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 +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. -

- 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 +

+ 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. -

CapÃtulo 4. Arduino

- Arduino is a for-profit open-source electronics platform and computer +

CapÃtulo 4. Arduino

+ Arduino is a for-profit open-source electronics platform and computer hardware and software company. Founded in 2005 in Italy. -

http://www.arduino.cc

Revenue model: 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) -

Interview date: February 4, 2016 -

Interviewees: David Cuartielles and Tom +

Interview date: February 4, 2016 +

Interviewees: David Cuartielles and Tom Igoe, cofounders -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- In 2005, at the Interaction Design Institute Ivrea in northern Italy, + 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, +to quickly prototype design ideas. As musicians, artists, and designers, they needed a platform that didnât 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 +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. -

- Arduino boards are able to read inputsâlight on a sensor, a finger on a +

+ Arduino boards are able to read inputsâlight on a sensor, a finger on a button, or a Twitter messageâand turn it into outputsâactivating 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). -

âThe reasons for making Arduino open source are complicated,â +

âThe reasons for making Arduino open source are complicated,â 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 âended up strengthening the platform far beyond what we had even thought of building.â -

- For Tom another factor was the impending closure of the Ivrea design +

+ For Tom another factor was the impending closure of the Ivrea design school. Heâd 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 +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 Tomâs view, âOpen sourcing makes it easier to trust a product.â -

- With the school closing, David and some of the other Arduino founders +

+ 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. -

- For Tom, part of Arduinoâs success is because the founders made themselves +

+ For Tom, part of Arduinoâs 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 âI need this thing,â not âIf we make this, weâll make a lot of money.â Tom notes that being your own first customer makes you more confident and convincing at selling your product. -

- Arduinoâs business model has evolved over timeâand Tom says model is a +

+ Arduinoâs business model has evolved over timeâand 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, @@ -2512,8 +2502,8 @@ 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 itâs a quality product and sold at a reasonable price, people will buy it. -

- Arduino now has a worldwide community of makersâstudents, hobbyists, +

+ Arduino now has a worldwide community of makersâstudents, 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 @@ -2524,21 +2514,21 @@ 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. -

- Transitioning Arduino from a project to a company was a big step. Other +

+ 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. -

- For a business, getting to the end of the year and not being in the red is a +

+ 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, âIf you do those other things well, sharing things in an open-source way can only help you.â -

- While openly licensing the designs, documentation, and software ensures +

+ While openly licensing the designs, documentation, and software ensures longevity, it does have risks. Thereâs 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 @@ -2547,8 +2537,8 @@ 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. -

- Tom and David say that a lot of people have built companies off of Arduino, +

+ 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 @@ -2556,17 +2546,17 @@ 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. -

- Over time, the range of Arduino products has diversified, changing and +

+ 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.^[112] -

- Arduinoâs focus is on high-quality boards, well-designed support materials, +board to give it extra features), and kits.^[112] +

+ Arduinoâs 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 Arduinoâs community is a big strength and something that really does @@ -2576,8 +2566,8 @@ 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 peopleâs problems. The community grew organically from there. -

- A key decision for Arduino was trademarking the name. The founders needed a +

+ 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 @@ -2586,74 +2576,74 @@ 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 isnât hurt by low-quality copies. -

- Current official manufacturers are Smart Projects in Italy, SparkFun in the +

+ 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 Arduinoâs revenue-generating model. -

- How far to open things up wasnât always something the founders perfectly +

+ How far to open things up wasnât 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. -

- David encourages people and businesses to start by sharing everything as a +

+ 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 todayâs 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 -âSend In the Clones,â 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.^[113] -

- 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 +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 todayâs 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 âSend In +the Clones,â 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.^[113] +

+ 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 doesnât always focus on making it easy to use and -adapt. This is where Arduino steps in. Arduinoâs goal is âmaking +adapt. This is where Arduino steps in. Arduinoâs goal is âmaking things that help other people make things.â -

- Arduino has been hugely successful in making technology and electronics +

+ Arduino has been hugely successful in making technology and electronics reach a larger audience. For Tom, Arduino has been about âthe democratization of technology.â Tom sees Arduinoâs open-source strategy as helping the world get over the idea that technology has to be protected. Tom says, âTechnology is a literacy everyone should learn.â -

- Ultimately, for Arduino, going open has been good businessâgood for product +

+ Ultimately, for Arduino, going open has been good businessâgood for product development, good for distribution, good for pricing, and good for manufacturing. -

^[112]http://www.arduino.cc/en/Main/Products

^[113]http://blog.arduino.cc/2013/07/10/send-in-the-clones/

CapÃtulo 5. Ãrtica

- Ãrtica provides online courses and consulting services focused on how to use +

^[112]http://www.arduino.cc/en/Main/Products

^[113]http://blog.arduino.cc/2013/07/10/send-in-the-clones/

CapÃtulo 5. Ãrtica

+ Ãrtica 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. -

http://www.articaonline.com

Revenue model: charging for custom services -

Interview date: March 9, 2016 -

Interviewees: Mariana Fossatti and Jorge +

Interview date: March 9, 2016 +

Interviewees: Mariana Fossatti and Jorge Gemetto, cofounders -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- The story of Mariana Fossatti and Jorge Gemettoâs business, Ãrtica, is the + The story of Mariana Fossatti and Jorge Gemettoâs business, Ãrtica, 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. -

- Their dream jobs didnât exist, so they created them. -

- In 2011, Mariana was a sociologist working for an international organization +

+ Their dream jobs didnât exist, so they created them. +

+ 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 @@ -2661,19 +2651,19 @@ 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 Ãrtica, an online business that provides education and consulting for people and institutions creating artistic and cultural projects on the Internet. -

- Ãrtica feels like a uniquely twenty-first century business. The small +

+ Ãrtica 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 +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. -

- Ãrtica offers personalized education and consulting services, and helps +

+ Ãrtica offers personalized education and consulting services, and helps clients implement projects. All of these services are customized. They call it an âartisanâ process because of the time and effort it takes to adapt their work for the particular needs of students and @@ -2681,27 +2671,27 @@ clients. âEach student or client is pa his or her problems and questions,â Mariana said. Rather than sell access to their content, they provide it for free and charge for the personalized services. -

- When they started, they offered a smaller number of courses designed to +

+ When they started, they offered a smaller number of courses designed to attract large audiences. âOver the years, we realized that online communities are more specific than we thought,â Mariana said. Ãrtica 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. -

- Online courses are their biggest revenue stream, but they also do more than +

+ 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. -

- Ãrtica also seeks out public and private funding for specific +

+ Ãrtica 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. -

- Ãrtica relies heavily on their free Creative Commonsâlicensed content to +

+ Ãrtica relies heavily on their free Creative Commonsâlicensed content to attract new students and clients. Everything they createâonline education, blog posts, videosâis published under an Attribution-ShareAlike license (CC BY-SA). âWe use a ShareAlike license because we want to give the @@ -2713,41 +2703,41 @@ keep copies, or print the educational resources?â Jorge said. âIf we want to do the best for our studentsâthose who trust in us to the point that they are willing to pay online without face-to-face contactâwe have to offer them a fair and ethical agreement.â -

- They also believe sharing their ideas and expertise openly helps them build +

+ 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. Ãrtica views reuse of their work as a way to open up new opportunities for their business. -

- This belief that openness creates new opportunities reflects another +

+ This belief that openness creates new opportunities reflects another beliefâin serendipity. When describing their process for creating content, they spoke of all of the spontaneous and organic ways they find inspiration. âSometimes, the collaborative process starts with a conversation between us, or with friends from other projects,â Jorge -said. âThat can be the first step for a new blog post or another +said. âThat 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.â -

- Rather than planning their work in advance, they let their creative process +

+ Rather than planning their work in advance, they let their creative process be dynamic. âThis doesnât mean that we donât need to work hard in order to get good professional results, but the design process is more flexible,â 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. -

- People and relationships are also just as important, sometimes +

+ People and relationships are also just as important, sometimes more. âIn the educational and cultural business, it is more important to pay attention to people and process, rather than content or specific -formats or materials,â Mariana said. âMaterials and content -are fluid. The important thing is the relationships.â -

- Ãrtica believes in the power of the network. They seek to make connections +formats or materials,â Mariana said. âMaterials and content are +fluid. The important thing is the relationships.â +

+ Ãrtica 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. -

- At the core of everything Ãrtica does is a set of values. âGood +

+ At the core of everything Ãrtica does is a set of values. âGood content is not enough,â Jorge said. âWe also think that it is very important to take a stand for some things in the cultural sector.â Mariana and Jorge are activists. They defend free culture @@ -2755,42 +2745,42 @@ sector.â Mariana and Jorge are activists. They defend free cultu 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. -

- Of course, Ãrtica also has to make enough money to cover its expenses. Human -resources are, by far, their biggest expense. They tap a network of +tied closely to their belief system. Ultimately, what drives their work is a +mission to democratize art and culture. +

+ Of course, Ãrtica 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. -

âThere are lots of people offering online courses,â Jorge +

âThere are lots of people offering online courses,â Jorge said. âBut it is easy to differentiate us. We have an approach that is very specific and personal.â Ãrticaâs 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. -

- In their work with younger artists, Mariana and Jorge try to emphasize that +

+ 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. âIf they seek only the traditional type of success, they will get frustrated,â Mariana said. âWe try to show them another image of what it looks like.â -

CapÃtulo 6. Blender Institute

- The Blender Institute is an animation studio that creates 3-D films using +

CapÃtulo 6. Blender Institute

+ The Blender Institute is an animation studio that creates 3-D films using Blender software. Founded in 2006 in the Netherlands. -

http://www.blender.org

Revenue model: crowdfunding (subscription-based), charging for physical copies, selling merchandise -

Interview date: March 8, 2016 -

Interviewee: Francesco Siddi, production +

Interview date: March 8, 2016 +

Interviewee: Francesco Siddi, production coordinator -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- For Ton Roosendaal, the creator of Blender software and its related + 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 @@ -2798,21 +2788,21 @@ 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. -

- Each open-movie project Blender runs produces a host of openly licensed +

+ 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. -

- Rather than just talking about the theoretical benefits of sharing and free +

+ Rather than just talking about the theoretical benefits of sharing and free culture, Ton is very much about doing and making free culture. Blenderâs production coordinator Francesco Siddi told us, âTon believes if you donât make content using your tools, then youâre not doing anything.â -

- Blenderâs history begins in the late 1990s, when Ton created the Blender +

+ Blenderâs 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 @@ -2820,47 +2810,47 @@ 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 investorsâif he could raise enough money, he could then make the Blender software available under the GNU General Public License. -

- This was long before Kickstarter and other online crowdfunding sites +

+ 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 +however, was not enough to create a thriving community around it. Francesco told us, âSoftware 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.â -

- Like any successful free and open-source software project, Blender developed +

+ Like any successful free and open-source software project, Blender developed quickly because the community could make fixes and improvements. âSoftware should be free and open to hack,â Francesco said. âOtherwise, everyone is doing the same thing in the dark for ten years.â Ton set up the Blender Foundation to oversee and steward the software development and maintenance. -

- After a few years, Ton began looking for new ways to push development of the +

+ 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, +together. They would not only produce high-quality openly licensed content, they would improve the Blender software in the process. -

- They turned to crowdfunding to subsidize the costs of the project. They had +

+ 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. âThe idea that making money was +succeeded, people were astounded. âThe idea that making money was possible by producing CC-licensed material was mind-blowing to -people,â he said. âThey were like, âI have to see it to +people,â he said. âThey were like, âI have to see it to believe it.ââ -

- The first film, which was released in 2006, was an experiment. It was so +

+ 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 Instituteâs next -project was an even bigger success. The film, Big Buck Bunny, went viral, +dedicated to hosting open-movie projects. The Blender Instituteâs next +project was an even bigger success. The film, Big Buck Bunny, went viral, and its animated characters were picked up by marketers. -

- Francesco said that, over time, the Blender Institute projects have gotten +

+ 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 @@ -2870,131 +2860,131 @@ needs to help on projects. âBlender ha film projects because the talent emerges naturally,â Francesco said. âSo many people want to work with us, and we canât always hire them because of budget constraints.â -

- 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 +

+ 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. âThere is a whole community who sees and understands the benefit of these projects,â Francesco said. -

- While these benefits of each open-movie project make a compelling pitch for +

+ 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. âOnce a project is over, +specific project and ask for funding. âOnce a project is over, everyone goes home,â he said. âIt is great fun, but then it -ends. That is a problem.â -

- To make their work more sustainable, they needed a way to receive ongoing +ends. That is a problem.â +

+ 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 producesâsoftware, -art, training, and more. All of the assets are available under an +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 Blenderâs movie projects as they develop, sharing detailed information and content used in the creative process. Blender Cloud also has extensive training materials and libraries of characters and other assets used in various projects. -

- The continuous financial support provided by Blender Cloud subsidizes five +

+ 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. âThis is our freedom,â he told us, âand for artists, freedom is everything.â -

- Blender Cloud is the primary revenue stream of the Blender Institute. The +

+ 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. -

- Ton has worked on projects relating to his Blender software for nearly +

+ 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. -

- Since 2006, he has been making films available along with all of their +

+ 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 Blenderâs 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. âEven when you share everything, all your original -sources, it still takes a lot of talent, skills, time, and budget to -reproduce what you did,â Ton said. -

- For Ton and Blender, it all comes back to doing. -

CapÃtulo 7. Cards Against Humanity

- Cards Against Humanity is a private, for-profit company that makes a popular -party game by the same name. Founded in 2011 in the U.S. +production process. âEven when you share everything, all your +original sources, it still takes a lot of talent, skills, time, and budget +to reproduce what you did,â Ton said.

+ For Ton and Blender, it all comes back to doing. +

CapÃtulo 7. Cards Against Humanity

+ Cards Against Humanity is a private, for-profit company that makes a popular +party game by the same name. Founded in 2011 in the U.S. +

http://www.cardsagainsthumanity.com

Revenue model: charging for physical copies -

Interview date: February 3, 2016 -

Interviewee: Max Temkin, cofounder -

--\begin{flushright} +

Interview date: February 3, 2016 +

Interviewee: Max Temkin, cofounder +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- If you ask cofounder Max Temkin, there is nothing particularly interesting + If you ask cofounder Max Temkin, there is nothing particularly interesting about the Cards Against Humanity business model. âWe make a product. We sell it for money. Then we spend less money than we make,â Max said. -

- He is right. Cards Against Humanity is a simple party game, modeled after +

+ 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 +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 (âhorrible people,â according to Cards Against Humanity advertising), this makes for a hilarious and fun game. -

- The revenue model is simple. Physical copies of the game are sold for a +

+ 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. -

- But Cards Against Humanity is also available for free. Anyone can download a +

+ 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. -

- The game is available under an Attribution-NonCommercial-ShareAlike license +

+ 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. -

- All together, these factorsâthe crass tone of the game and company, the free +

+ All together, these factorsâthe crass tone of the game and company, the free download, the openness to fans remixing the gameâgive the game a massive cult following. -

- Their success is not the result of a grand plan. Instead, Cards Against +

+ 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 Yearâs 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 +they decided to run a Kickstarter to fund the printing. They set their Kickstarter goal at $4,000âand raised $15,000. The game was officially released in May 2011. -

- The game caught on quickly, and it has only grown more popular over +

+ 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. âIt kind of just happened,â he said. -

- But this tale of a âhappy accidentâ belies marketing +

+ But this tale of a âhappy accidentâ 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 âYour dumb questions.â -

- Like most quality satire, however, there is more to the joke than vulgarity +

+ Like most quality satire, however, there is more to the joke than vulgarity and shock value. The companyâs 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 @@ -3005,23 +2995,23 @@ support what he called the âorgy of co 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. -

âWe sweated it out the night before Black Friday, wondering if our -fans were going to hate us for it,â he said. âBut it made us +

âWe sweated it out the night before Black Friday, wondering if our +fans were going to hate us for it,â he said. âBut it made us laugh so we went with it. People totally caught the joke.â -

- This sort of bold transparency delights the media, but more importantly, it +

+ This sort of bold transparency delights the media, but more importantly, it engages their fans. âOne of the most surprising things you can do in capitalism is just be honest with people,â Max said. âIt shocks people that there is transparency about what you are doing.â -

- Max also likened it to a grand improv scene. âIf we do something a +

+ Max also likened it to a grand improv scene. âIf we do something a little subversive and unexpected, the public wants to be a part of the joke.â One year they did a Give Cards Against Humanity $5 event, where people literally paid them five dollars for no reason. Their fans wanted to make the joke funnier by making it successful. They made $70,000 in a single day. -

- This remarkable trust they have in their customers is what inspired their +

+ 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 isnât afraid of doing the unexpected, but there @@ -3031,19 +3021,19 @@ jokes they intentionally never made because they crossed that line. âIt happened, and the world didnât end,â Max said. âIf that is the worst cost of using CC, Iâd pay that a hundred times over because there are so many benefits.â -

- Any successful product inspires its biggest fans to create remixes of it, +

+ 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. -

- Max said, âCC was a no-brainer for us because it gets the most people +

+ Max said, âCC 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.â -

- Of course, there are limits to what the company allows its customers to do +

+ 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 @@ -3053,17 +3043,17 @@ brand and our game and make money off of it,â Max said. About 99 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. -

- 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, +

+ 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. âWe have daylong arguments about commas,â Max said. âThe 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.â -

- That means cocreation with their fans really doesnât work. The company has a +

+ That means cocreation with their fans really doesnât 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 @@ -3071,99 +3061,99 @@ 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. -

- For all of their success, the creators of Cards Against Humanity are only +

+ 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. âWe donât make jokes and games to make moneyâwe make money so we can make more jokes and games,â he said. -

- In fact, the company has given more than $4 million to various charities and +

+ In fact, the company has given more than $4 million to various charities and causes. âCards is not our life plan,â Max said. âWe 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.â -

- Seeing money as fuel rather than the ultimate goal is what has enabled them +

+ 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. -

âItâs not right for everyone to release everything under CC +

âItâs not right for everyone to release everything under CC licensing,â Max said. âIf 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 youâre making things.â -

CapÃtulo 8. The Conversation

- The Conversation is an independent source of news, sourced from the academic +

CapÃtulo 8. The Conversation

+ 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. -

http://theconversation.com

Revenue model: charging content creators (universities pay membership fees to have their faculties serve as writers), grant funding -

Interview date: February 4, 2016 -

Interviewee: Andrew Jaspan, founder -

--\begin{flushright} +

Interview date: February 4, 2016 +

Interviewee: Andrew Jaspan, founder +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Andrew Jaspan spent years as an editor of major newspapers including the + 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 didnât go away. Andrew made a commitment to come up with an alternative model. -

- Around the time he left his job as editor of the Melbourne Age, Andrew +

+ 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. -

- While at the Age, heâd become friends with a vice-chancellor of a university +

+ While at the Age, heâd become friends with a vice-chancellor of a university in Melbourne who encouraged him to talk to smart people across campusâan 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, +media. However, they were reluctant to engage with mass media. Often, journalists didnât 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. Itâs 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 makingâthere are the walled garden and ivory tower -metaphors, and in more literal terms, the paywall. Broadly speaking, +insights. Itâs 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 makingâthere 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. -

- Andrew believed he could to help connect academics back into the public +

+ 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 +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 journalismâthe 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. -

- The people he spoke to liked this idea, and Andrew embarked on raising money +

+ 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 +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. -

- The Conversation is founded on the belief that underpinning a functioning +

+ The Conversation is founded on the belief that underpinning a functioning democracy is access to independent, high-quality, informative journalism. The Conversationâs aim is for people to have a better understanding of current affairs and complex issuesâand hopefully a better @@ -3171,21 +3161,21 @@ 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. -

- Andrew worked hard to reinvent a methodology for creating reliable, credible +

+ Andrew worked hard to reinvent a methodology for creating reliable, credible content. He introduced strict new working practices, a charter, and codes of -conduct.^[114] These include fully disclosing +conduct.^[114] 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 equalityâeveryone 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. -

- Creative Commons help with these goals; articles are published with the +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 equalityâeveryone 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. +

+ Creative Commons help with these goals; articles are published with the Attribution- NoDerivs license (CC BY-ND). Theyâre 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 @@ -3194,115 +3184,114 @@ million unique views per month, but through republication they have thirty-five million readers. This couldnât have been done without the Creative Commons license, and in Andrewâs view, Creative Commons is central to everything the Conversation does. -

- 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 donât 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. -

- Itâs usual for the founders of any company to ask themselves what kind of +

+ 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 donât 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. +

+ Itâs 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 didnât want this model. It takes no advertising and is a not-for-profit venture. -

- There are now different editions of the Conversation for Africa, the United +

+ 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 Conversationâs 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. -

- Additionally, each edition has its own set of founding partners, strategic +

+ Additionally, each edition has its own set of founding partners, strategic partners, and funders. Theyâve 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 +to sustain operations. This would safeguard the current service and help improve coverage and features. -

- When professors from member universities write an article, there is some -branding of the university associated with the article. On the Conversation +

+ 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 âmembers and funders.â Early participants may be designated as âfounding members,â with seats on the editorial advisory board. -

- Academics are not paid for their contributions, but they get free editing +

+ 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. -

- The Conversation plans to expand the dashboard to show not just reach but +

+ 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. -

- These reach and impact metrics show the benefits of membership. With the +

+ These reach and impact metrics show the benefits of membership. With the Conversation, universities can engage with the public and show why theyâre of value. -

- With its tagline, âAcademic Rigor, Journalistic Flair,â the +

+ With its tagline, âAcademic Rigor, Journalistic Flair,â 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 itâs possible to generate both a public good and operational revenue at the same time. -

^[114]http://theconversation.com/us/charter

CapÃtulo 9. Cory Doctorow

- Cory Doctorow is a science fiction writer, activist, blogger, and +

^[114]http://theconversation.com/us/charter

CapÃtulo 9. Cory Doctorow

+ Cory Doctorow is a science fiction writer, activist, blogger, and journalist. Based in the U.S. -

http://craphound.com and http://boingboing.net -

Revenue model: charging for physical +

http://craphound.com and http://boingboing.net +

Revenue model: charging for physical copies (book sales), pay-what-you-want, selling translation rights to books -

Interview date: January 12, 2016 -

--\begin{flushright} +

Interview date: January 12, 2016 +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- Cory Doctorow hates the term âbusiness model,â and he is + Cory Doctorow hates the term âbusiness model,â and he is adamant that he is not a brand. âTo me, branding is the idea that you can take a thing that has certain qualities, remove the qualities, and go on -selling it,â he said. âIâm not out there trying to figure out -how to be a brand. Iâm doing this thing that animates me to work crazy +selling it,â he said. âIâm not out there trying to figure out +how to be a brand. Iâm doing this thing that animates me to work crazy insane hours because itâs the most important thing I know how to do.â -

- Cory calls himself an entrepreneur. He likes to say his success came from +

+ 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. -

- 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 Doesnât Want to Be -Free, about the ways in which creators can make a living in the Internet -age. -

- Cory primarily makes money by selling physical books, but he also takes on +

+ 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 Doesnât Want to Be Free, about +the ways in which creators can make a living in the Internet age. +

+ 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. -

- While Coryâs extensive body of fiction work has a large following, he is +

+ While Coryâs 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 doesnât directly make him money, +protects DRM. Cory says his political work doesnât 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. âMy political +importantly, lose the drive that propels him to create. âMy political work is a different expression of the same artistic-political urge,â he said. âI have this suspicion that if I gave up the things that didnât 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.â -

- Cory has been financially successful, but money is not his primary +

+ Cory has been financially successful, but money is not his primary motivation. At the start of his book Information Doesnât Want to Be Free, he stresses how important it is not to become an artist if your goal is to get rich. âEntering the arts because you want to get rich is like buying @@ -3310,54 +3299,54 @@ lottery tickets because you want to get rich,â he wrote. â He acknowledges that he is one of the lucky few to âmake it,â but he says he would be writing no matter -what. âI am compelled to write,â he wrote. âLong before -I wrote to keep myself fed and sheltered, I was writing to keep myself +what. âI am compelled to write,â he wrote. âLong before I +wrote to keep myself fed and sheltered, I was writing to keep myself sane.â -

- Just as money is not his primary motivation to create, money is not his +

+ 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. âIt felt morally right,â he said of his decision to adopt Creative Commons licenses. âI felt like I wasnât contributing to the culture of surveillance and censorship that has been created to try to stop copying.â In other words, using CC licenses symbolizes his worldview. -

- He also feels like there is a solid commercial basis for licensing his work +

+ He also feels like there is a solid commercial basis for licensing his work with Creative Commons. While he acknowledges he hasnât 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. âI started by not calling them thieves,â he said. -

- Cory started using CC licenses soon after they were first created. At the +

+ 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. âI knew there was a relationship between having enthusiastic readers and having a successful -career as a writer,â he said. âAt the time, it took eighty +career as a writer,â he said. âAt 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.â -

- Cory admits the stakes were pretty low for him when he first adopted +

+ 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. -

- The bottom line, Cory says, is that no one has found a way to prevent people +

+ 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. âGetting the hell out of the way for people who want to share their love of you with other people sounds obvious, but itâs remarkable how many people donât do it,â he said. -

- Making his work available under Creative Commons licenses enables him to -view his biggest fans as his ambassadors. âBeing open to fan activity +

+ Making his work available under Creative Commons licenses enables him to +view his biggest fans as his ambassadors. âBeing open to fan activity makes you part of the conversation about what fans do with your work and how -they interact with it,â he said. Coryâs own website routinely -highlights cool things his audience has done with his work. Unlike +they interact with it,â he said. Coryâs 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. âEngaging with your audience canât guarantee you @@ -3365,9 +3354,9 @@ success,â he said. âA 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.â -

- His first book was published under the most restrictive Creative Commons -license, Attribution-NonCommercial-NoDerivs (CC BY-NC-ND). It allows only +

+ 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 @@ -3377,8 +3366,8 @@ 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. -

- In his book Information Doesnât Want to Be Free, Cory likens his philosophy +

+ In his book Information Doesnât 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 @@ -3389,8 +3378,8 @@ likelihood that it will find one of those would-be customers in some unsuspected crack in the metaphorical pavement,â he wrote. âThe copies that others make of my work cost me nothing, and present the possibility that Iâll get something.â -

- Applying a CC license to his work increases the chances it will be shared +

+ Applying a CC license to his work increases the chances it will be shared more widely around the Web. He avoids DRMâand openly opposes the practiceâfor similar reasons. DRM has the effect of tying a work to a particular platform. This digital lock, in turn, strips the authors of @@ -3398,8 +3387,8 @@ control over their own work and hands that control over to the platform. He calls it Coryâs First Law: âAnytime someone puts a lock on something that belongs to you and wonât give you the key, that lock isnât there for your benefit.â -

- Cory operates under the premise that artists benefit when there are more, +

+ 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. âOn the one hand, we can credibly make our work available to a widely dispersed @@ -3407,8 +3396,8 @@ audience,â he said. âO historically sold to are making it harder to go around them.â Cory continually looks for ways to reach his audience without relying upon major platforms that will try to take control over his work. -

- Cory says his e-book sales have been lower than those of his competitors, +

+ 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 @@ -3416,39 +3405,40 @@ 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 creatorâs work. He is planning to try his own pay-what-you-want experiment soon. -

- Fans are particularly willing to pay when they feel personally connected to +

+ 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. âIf you look at the history of artists, most die in penury,â he said. âThat 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.â -

- Coryâs realism about the difficulty of making a living in the arts does not +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.â +

+ Coryâs 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, âis how many ways there are to make things, and to get them into other peopleâs hands and minds.â -

- It has never been easier to think like a dandelion. -

CapÃtulo 10. Figshare

- Figshare is a for-profit company offering an online repository where +

+ It has never been easier to think like a dandelion. +

CapÃtulo 10. Figshare

+ 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. -

http://figshare.com

Revenue model: platform providing paid services to creators -

Interview date: January 28, 2016 -

Interviewee: Mark Hahnel, founder -

--\begin{flushright} +

Interview date: January 28, 2016 +

Interviewee: Mark Hahnel, founder +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Figshareâs mission is to change the face of academic publishing through + Figshareâs 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 availableâfrom posters and presentations to data sets and @@ -3456,103 +3446,103 @@ codeâin a way thatâs 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. -

- Figshare founder Mark Hahnel often gets asked: How do you make money? How do +

+ Figshare founder Mark Hahnel often gets asked: How do you make money? How do we know youâll be here in five years? Can you, as a for-profit venture, be trusted? Answers have evolved over time. -

- Mark traces the origins of Figshare back to when he was a graduate student +

+ 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 +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. -

- Mark does not consider himself an advanced software programmer. +

+ 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. -

- There were two key needs: licenses to make the data citable, and persistent +

+ There were two key needs: licenses to make the data citable, and persistent identifiersâ URL links that always point back to the original object ensuring the research is citable for the long term. -

- Mark chose Digital Object Identifiers (DOIs) to meet the need for a +

+ Mark chose Digital Object Identifiers (DOIs) to meet the need for a persistent identifier. In the DOI system, an objectâs metadata is stored as -a series of numbers in the DOI name. Referring to an object by its DOI is +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. -

- As for licenses, Mark chose Creative Commons. The open-access and +

+ 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 Markâs dialogue with peers, he went with CC0 (in the public domain) for data sets and CC BY (Attribution) for figures, videos, and data sets. -

- So Mark began using DOIs and Creative Commons for his own research work. He +

+ 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. -

- People liked the interface and simple upload process. People started asking +

+ 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. -

- Mark sought investment to make this into a scalable product. After a few +

+ 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 +but insisted on a more viable business model. They made an initial investment, and together they came up with a freemium-like business model. -

- Under the freemium model, academics upload their research to Figshare for +

+ 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 âYou retain ownership. You +larger teams and geographically dispersed research groups. Figshare sums up +its value proposition to researchers as âYou retain ownership. You license it. You get credit. We just make sure it persists.â -

- In January 2012, Figshare was launched. (The fig in Figshare stands for +

+ 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. -

- Figshare diversified its business model to include services for +

+ Figshare diversified its business model to include services for journals. Figshare began hosting large amounts of data for the journalsâ 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 readershipâa 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. -

- Governments allocate significant public funds to research. In parallel with +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. +

+ 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 +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. -

- Figshare now offers a range of fee-based services to institutions, including +

+ 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. Figshareâs workflow, and the services they offer for +administration. Figshareâs workflow, and the services they offer for institutions, take into account the needs of librarians and administrators, as well as of the researchers. -

- As with researchers and publishers, Fig-share encouraged institutions to -share their research with CC BY (Attribution) and their data with CC0 (into +

+ 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 @@ -3560,33 +3550,33 @@ 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). -

- For Mark this created a conflict. On the one hand, the principles and +

+ 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 wouldnât use Figshare unless it offered a choice in licenses. He +BY is the best license for this. On the other hand, institutions were +saying they wouldnât 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. -

- Mark is thinking of doing a Figshare study that tracks research +

+ 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. -

- Figshare has an Application Programming Interface (API) that makes it +

+ 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.^[115] +Kingdom paid to ten major publishers.^[115] Figshareâs 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.^[116] -

- The free version of Figshare has built a community of academics, who through +variables.^[116] +

+ 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 @@ -3594,23 +3584,23 @@ 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. -

- Mark says his success is partly about being in the right place at the right +

+ Mark says his success is partly about being in the right place at the right time. He also believes that the diversification of Figshareâs model over time has been key to success. Figshare now offers a comprehensive set of -services to researchers, publishers, and institutions.^[117] If he had relied solely on revenue from premium +services to researchers, publishers, and institutions.^[117] If he had relied solely on revenue from premium subscriptions, he believes Figshare would have struggled. In Figshareâs 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. -

- Today Figshare has 26 millionâplus page views, 7.5 millionâplus downloads, +

+ Today Figshare has 26 millionâplus page views, 7.5 millionâplus downloads, 800,000âplus user uploads, 2 millionâplus articles, 500,000-plus collections, and 5,000âplus projects. Sixty percent of their traffic comes from Google. A sister company called Altmetric tracks the use of Figshare by others, including Wikipedia and news sources. -

- Figshare uses the revenue it generates from the premium subscribers, journal +

+ 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 principlesâkeeping the free service free and requiring the use of CC BY and CC0 from the @@ -3621,38 +3611,38 @@ free version. Figshareâs 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. -

^[115]http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832

^[116]http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136

^[117]http://figshare.com/features

CapÃtulo 11. Figure.NZ

- Figure.NZ is a nonprofit charity that makes an online data platform designed -to make data reusable and easy to understand. Founded in 2012 in New +

^[115]http://figshare.com/articles/Journal_subscription_costs_FOIs_to_UK_universities/1186832

^[116]http://retr0.shinyapps.io/journal_costs/?year=2014&inst=19,22,38,42,59,64,80,95,136

^[117]http://figshare.com/features

CapÃtulo 11. Figure.NZ

+ Figure.NZ is a nonprofit charity that makes an online data platform designed +to make data reusable and easy to understand. Founded in 2012 in New Zealand. -

http://figure.nz

Revenue model: platform providing paid services to creators, donations, sponsorships -

Interview date: May 3, 2016 -

Interviewee: Lillian Grace, founder -

--\begin{flushright} +

Interview date: May 3, 2016 +

Interviewee: Lillian Grace, founder +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- In the paper Harnessing the Economic and Social Power of Data presented at -the New Zealand Data Futures Forum in 2014,^[118] Figure.NZ founder Lillian Grace said there are thousands of + In the paper Harnessing the Economic and Social Power of Data presented at +the New Zealand Data Futures Forum in 2014,^[118] Figure.NZ founder Lillian Grace said there are thousands of valuable and relevant data sets freely available to us right now, but most people donât use them. She used to think this meant people didnât care about being informed, but sheâs come to see that she was wrong. Almost everyone wants to be informed about issues that matterânot only to them, but also to -their families, their communities, their businesses, and their country. But +their families, their communities, their businesses, and their country. But thereâs 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 +data set. Lillian established Figure.NZ to make data truly accessible to all, with a specific focus on New Zealand. -

- Lillian had the idea for Figure.NZ in February 2012 while working for the +

+ 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 @@ -3660,8 +3650,8 @@ community and business groups, Lillian realized ââ But understanding the basic facts sometimes requires data and research that you often have to pay for. -

- Lillian began to imagine a website that lifted data up to a visual form that +

+ 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 @@ -3671,68 +3661,68 @@ 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. -

- Hereâs how it works. Figure.NZ sources data from other organizations, +

+ Hereâs 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 itâall 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 +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. -

- Lillian characterizes the initial decision to use Creative Commons as +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. +

+ 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, sheâs come to realize just how fortunate +others to understand. Over time, sheâs come to realize just how fortunate and important that decision turned out to be. New Zealandâs government has an open-access and licensing framework called NZGOAL, which provides guidance for agencies when they release copyrighted and noncopyrighted work -and material.^[119] It aims to standardize +and material.^[119] 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.NZâs decision. -

- Lillian thinks current ideas of what a business is are relatively new, only +

+ Lillian thinks current ideas of what a business is are relatively new, only a hundred years old or so. Sheâs convinced that twenty years from now, we -will see new and different models for business. Figure.NZ is set up as a +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 +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.NZâs nonprofit status assures people who have data and people who want to use it that they can rely on Figure.NZâs motives. People see them as a trusted wrangler and source. -

- Although Figure.NZ is a social enterprise that openly licenses their data +

+ 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. -

- Figure.NZ spends a lot of time seeking to understand the motivations of data +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. +

+ 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. -

- Figure.NZ has multiple lines of business. They provide commercial services +

+ 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.NZâs ability to do it faster, more easily, and better than @@ -3744,8 +3734,8 @@ want a specific collection of charts createdâfor 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. -

- Lillian notes that the current state of most data is terrible and often not +

+ 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, @@ -3755,24 +3745,24 @@ long as Figure.NZ frequently reports on what theyâve 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. -

- A second line of business is what Figure.NZ calls partners. ASB Bank and +

+ A second line of business is what Figure.NZ calls partners. ASB Bank and Statistics New Zealand are partners who back Figure.NZâs 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.^[120] -

- Figure.NZ also has patrons.^[121] Patrons +know what questions to ask.^[120] +

+ Figure.NZ also has patrons.^[121] 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. -

- Figure.NZ also accepts philanthropic donations, which are used to provide +

+ 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 +fund a specific effort or provide in-kind support. As a charity, donations are tax deductible. -

- Figure.NZ has morphed and grown over time. With data aggregation, curation, +

+ 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 @@ -3781,16 +3771,16 @@ 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. -

- Figure.NZâs website displays visuals and data associated with a wide range +

+ Figure.NZâs 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. -

- Figure.NZ believes data and visuals should be useful. They provide their +visuals. Their goal is to teach people how to think, not think for +them. Figure.NZ wants to create intuitive experiences, not user manuals. +

+ Figure.NZ believes data and visuals should be useful. They provide their customers with a data collection template and teach them why itâs important and how to use it. Theyâve begun putting more emphasis on tracking what users of their website want. They also get requests from social media and @@ -3801,23 +3791,23 @@ have that data and forge a relationship so they can be included on Figure.NZâs 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. -

- Lillian has a deep and profound vision for Figure.NZ that goes well beyond +

+ 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. -

- "But now we live in a world where itâs really easy to share information +

+ "But now we live in a world where itâs 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. -

- "The use of numbers and data as a way of making well-informed decisions is +

+ "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 donât really use numbers as a part of our thinking and part of our understanding yet. -

- "Part of the reason is the way data is spread across hundreds of sites. In +

+ "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 donât have data literacy. There once was a time when many citizens in society couldnât read or write. However, as a society, @@ -3825,40 +3815,40 @@ weâve now come to believe that reading and writing skills should be something all citizens have. We havenât 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. -

- "Figure.NZ may be the first organization to assert that everyone can use +

+ "Figure.NZ may be the first organization to assert that everyone can use numbers in their thinking, and itâs 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. -

âFigure.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 +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.â

- Lillian sees Figure.NZâs model as having global potential. But for now, + Lillian sees Figure.NZâs model as having global potential. But for now, their focus is completely on making Figure.NZ work in New Zealand and to get the ânetwork effectââ users dramatically increasing value for themselves and for others through use of their service. Creative Commons is core to making the network effect possible. -

^[118]http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf

^[119]http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/

^[120]http://figure.nz/business/

^[121]http://figure.nz/patrons/

CapÃtulo 12. Knowledge Unlatched

- Knowledge Unlatched is a not-for-profit community interest company that +

^[118]http://www.nzdatafutures.org.nz/sites/default/files/NZDFF_harness-the-power.pdf

^[119]http://www.ict.govt.nz/guidance-and-resources/open-government/new-zealand-government-open-access-and-licensing-nzgoal-framework/

^[120]http://figure.nz/business/

^[121]http://figure.nz/patrons/

CapÃtulo 12. Knowledge Unlatched

+ 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. -

http://knowledgeunlatched.org

Revenue model: crowdfunding (specialized) -

Interview date: February 26, 2016 -

Interviewee: Frances Pinter, founder -

--\begin{flushright} +

Interview date: February 26, 2016 +

Interviewee: Frances Pinter, founder +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- The serial entrepreneur Dr.Â Frances Pinter has been at the forefront of + The serial entrepreneur Dr.Â 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 @@ -3866,22 +3856,22 @@ 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 +(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. -

- Dr.Â Pinter has been in academic publishing most of her career. About ten +

+ Dr.Â 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. -

- Not long after, she ran a project in Africa convincing publishers in Uganda +

+ 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. -

- In 2008, Bloomsbury Academic, a new imprint of Bloomsbury Publishing in the +

+ 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 @@ -3894,29 +3884,29 @@ 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 Commonsâlicensed free online book acts as a marketing vehicle for the print format. -

- Frances began to look at customer interest in the three forms of the book: +

+ Frances began to look at customer interest in the three forms of the book: 1) the Creative Commonsâlicensed 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 âice cream modelâ: 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. -

- After a while, Frances had an epiphanyâwhat if there was a way to get +

+ After a while, Frances had an epiphanyâwhat if there was a way to get libraries to underwrite the costs of making these books up until theyâre 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-bookâthe ice cream cone or sundae part of the model. -

- This idea is similar to the article-processing charge some open-access -journals charge researchers to cover publishing costs. Frances began to +

+ 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 costsâa âbook-processing chargeââand providing everyone in the world with an open-access version of the books released under a Creative Commons license. -

- This idea really took hold in her mind. She didnât really have a name for it +

+ This idea really took hold in her mind. She didnât 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 @@ -3924,51 +3914,51 @@ 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. -

- She describes the business model in a paper called Knowledge Unlatched: +

+ She describes the business model in a paper called Knowledge Unlatched: Toward an Open and Networked Future for Academic Publishing: -

- Publishers offer titles for sale reflecting origination costs only via +
1. + Publishers offer titles for sale reflecting origination costs only via Knowledge Unlatched. -
2. - Individual libraries select titles either as individual titles or as +
3. + Individual libraries select titles either as individual titles or as collections (as they do from library suppliers now). -
4. - Their selections are sent to Knowledge Unlatched specifying the titles to be +
5. + Their selections are sent to Knowledge Unlatched specifying the titles to be purchased at the stated price(s). -
6. - The price, called a Title Fee (set by publishers and negotiated by Knowledge +
7. + 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. -
8. - Publishers make the selected titles available Open Access (on a Creative +
9. + 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. -
10. - Publishers make print copies, e-Pub, and other digital versions of selected +
11. + 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.^[122] -
- The first round of this model resulted in a collection of twenty-eight +contribution to the Title Fee and incentivizes membership.^[122] +

+ 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. -

- The open-access, Creative Commons versions of these twenty-eight books are -still available online.^[123] Most books have +

+ The open-access, Creative Commons versions of these twenty-eight books are +still available online.^[123] 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. -

- There are three cost variables to consider for each round: the overall cost +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. +

+ 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 @@ -3976,8 +3966,8 @@ 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. -

- The second round, recently completed, unlatched seventy-eight books from +

+ 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, @@ -3988,58 +3978,58 @@ 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 authorsâ permissions, getting the libraries to pledge, billing the libraries, and finally, unlatching. -

- The longest part of the whole process is getting libraries to pledge and +

+ 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. -

- Knowledge Unlatched informs and recruits libraries through social media, +

+ 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. -

- Knowledge Unlatched is scaling up, offering 150 new titles in the second +

+ 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. -

- Knowledge Unlatched deliberately chose monographs as the initial type of +

+ 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. -

- The cost for the publisher to get to a first digital copy of a monograph is +

+ 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 donât 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. -

- Authors donât generally make a lot of royalties from monographs. Royalties -range from zero dollars to 5 to 10 percent of receipts. The value to the +

+ Authors donât 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.)^[124] -

- Library budgets are constantly being squeezed, partly due to the inflation +their experience and the benefits of taking part.)^[124] +

+ 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. -

- Knowledge Unlatched offers libraries a compelling economic argument. Many of +

+ 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. -

- Not only do the economics make sense, but there is very strong alignment +

+ 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 @@ -4048,11 +4038,11 @@ poor libraries and accept that part of their money should be spent to support open access. âFree rideâ is more like community responsibility. By the end of March 2016, the round-one books had been downloaded nearly eighty thousand times in 175 countries. -

- For publishers, authors, and librarians, the Knowledge Unlatched model for +

+ For publishers, authors, and librarians, the Knowledge Unlatched model for monographs is a win-win-win. -

- In the first round, Knowledge Unlatchedâs overheads were covered by +

+ In the first round, Knowledge Unlatchedâs 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 Unlatchedâs running costs. With plans @@ -4060,8 +4050,8 @@ 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. -

- Frances believes that Knowledge Unlatched is tapping into new ways of +

+ Frances believes that Knowledge Unlatched is tapping into new ways of valuing academic content. Itâs 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 @@ -4069,30 +4059,30 @@ 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. -

^[122]http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf

^[123]http://collections.knowledgeunlatched.org/collection-availability-1/

^[124]http://www.knowledgeunlatched.org/featured-authors-section/

CapÃtulo 13. Lumen Learning

- Lumen Learning is a for-profit company helping educational institutions use +

^[122]http://www.pinter.org.uk/pdfs/Toward_an_Open.pdf

^[123]http://collections.knowledgeunlatched.org/collection-availability-1/

^[124]http://www.knowledgeunlatched.org/featured-authors-section/

CapÃtulo 13. Lumen Learning

+ Lumen Learning is a for-profit company helping educational institutions use open educational resources (OER). Founded in 2013 in the U.S. -

http://lumenlearning.com

Revenue model: charging for custom services, grant funding -

Interview date: December 21, 2015 -

Interviewees: David Wiley and Kim Thanos, +

Interview date: December 21, 2015 +

Interviewees: David Wiley and Kim Thanos, cofounders -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Cofounded by open education visionary Dr.Â David Wiley and + Cofounded by open education visionary Dr.Â 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.^[125] It involved a set of fully open general-education courses across +the Kaleidoscope Open Course Initiative.^[125] 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 +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 @@ -4102,29 +4092,29 @@ 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. -

- David and Kim went back and forth on whether it should be a nonprofit or +

+ 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 theyâd 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 isnât a lot of flexibility to do so. -

- But as a for-profit, theyâd have to convince educational institutions to pay +

+ But as a for-profit, theyâd have to convince educational institutions to pay for what Lumen had to offer. On the positive side, theyâd 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. -

- Right from the start, David and Kim positioned Lumen Learning as a way to +

+ 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. -

- Originally, Lumen did custom contracts for each institution. This was +

+ 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 donât customize as much as they used to, and instead @@ -4135,44 +4125,44 @@ disadvantaged learner populations has led Lumen to be very pragmatic; they describe what they offer in quantitative termsâwith facts and figuresâand in a way that is very student-focused. Lumen Learning helps colleges and universitiesâ -

- replace expensive textbooks in high-enrollment courses with OER; -
- provide enrolled students day one access to Lumenâs fully customizable OER +
- + replace expensive textbooks in high-enrollment courses with OER; +
- + provide enrolled students day one access to Lumenâs fully customizable OER course materials through the institutionâs learning-management system; -
- - measure improvements in student success with metrics like passing rates, +
- + measure improvements in student success with metrics like passing rates, persistence, and course completion; and -
- - collaborate with faculty to make ongoing improvements to OER based on +
- + collaborate with faculty to make ongoing improvements to OER based on student success research. -
- Lumen has developed a suite of open, Creative Commonsâlicensed courseware in +

+ Lumen has developed a suite of open, Creative Commonsâlicensed 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. -

- Then there are three types of bundled services that cost money. One option, +

+ Then there are three types of bundled services that cost money. One option, which Lumen calls Candela courseware, offers integration with the institutionâs learning-management system, technical and pedagogical support, -and tracking of effectiveness. Candela courseware costs institutions ten +and tracking of effectiveness. Candela courseware costs institutions ten dollars per enrolled student. -

- A second option is Waymaker, which offers the services of Candela but adds +

+ 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 +need it most. Waymaker courses cost twenty-five dollars per enrolled student. -

- The third and emerging line of business for Lumen is providing guidance and +

+ 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. -

- Lumen generates revenue by charging for their value-added tools and services +required and elective) by replacing commercial textbooks and other expensive +resources with OER. +

+ 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 resourceâsunlight. And Lumenâs business model focuses on getting the institutions to pay, not the @@ -4182,11 +4172,11 @@ 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 accessâno digital rights -management, no time bombs. While this has been a challenge from a +management, no time bombs. While this has been a challenge from a business-model perspective, from an open-access perspective, it has generated immense goodwill in the community. -

- In most cases, development of their courses is funded by the institution +

+ 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. Theyâre often part of the institution paying Lumen, but sometimes Lumen has to expand the team and @@ -4194,23 +4184,23 @@ contract faculty from other institutions. First, the faculty identifies all of the courseâs learning outcomes. Lumen then searches for, aggregates, and curates the best OER they can find that addresses those learning needs, which the faculty reviews. -

- Sometimes faculty like the existing OER but not the way it is presented. The +

+ 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 +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 Lumenâs new content is given an Attribution (CC BY) license. -

- Using only OER made them experience firsthand how complex it could be to mix +

+ 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 websiteâs footer, which stays the same for all pages. This doesnât quite work, however, when mixing different OER together. -

- Remixing OER often results in multiple attributions on every page of every +

+ Remixing OER often results in multiple attributions on every page of every courseâtext 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 @@ -4218,14 +4208,14 @@ 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. -

- Lumenâs commitment to open licensing and helping low-income students has led +

+ Lumenâs 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 Lumenâs sales capacity. -

- To manage demand and ensure the success of projects, their strategy is to be +

+ To manage demand and ensure the success of projects, their strategy is to be proactive and focus on whatâs 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 @@ -4235,31 +4225,31 @@ system-level activity where Lumen is strategically focusing its efforts. Where there are projects that would require a lot of resources on Lumenâs part, they prioritize the ones that would impact the largest number of students. -

- As a business, Lumen is committed to openness. There are two core +

+ As a business, Lumen is committed to openness. There are two core nonnegotiables: Lumenâs 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. -

- Openness also means that Lumenâs OER must necessarily be nonexclusive and +

+ Openness also means that Lumenâs 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. -

- In the OER sector, there are examples of corporations, and even +

+ 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 +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. -

- Lumen does track institutions accessing and using their free content. They +

+ 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 @@ -4267,20 +4257,20 @@ with Lumen; integration with the institutionâs 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. -

- Lumen works hard to be a good corporate citizen in the OER community. For +

+ 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. -

- Licensing all the content they produce with CC BY is a key part of giving +

+ Licensing all the content they produce with CC BY is a key part of giving more value than they take. Theyâve 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. -

- As of the fall 2016 term, Lumen had eighty-six different open courses, +

+ 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, @@ -4289,28 +4279,28 @@ 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. -

- In creating Lumen Learning, David and Kim say theyâve landed on solutions +

+ In creating Lumen Learning, David and Kim say theyâve 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 donât back away from it. It really is about trust. -

^[125]http://lumenlearning.com/innovative-projects/

CapÃtulo 14. Jonathan Mann

- Jonathan Mann is a singer and songwriter who is most well known as the +

^[125]http://lumenlearning.com/innovative-projects/

CapÃtulo 14. Jonathan Mann

+ Jonathan Mann is a singer and songwriter who is most well known as the âSong A Dayâ guy. Based in the U.S. -

http://jonathanmann.net and http://jonathanmann.bandcamp.com -

Revenue model: charging for custom +

http://jonathanmann.net and http://jonathanmann.bandcamp.com +

Revenue model: charging for custom services, pay-what-you-want, crowdfunding (subscription-based), charging for in-person version (speaking engagements and musical performances) -

Interview date: February 22, 2016 -

--\begin{flushright} +

Interview date: February 22, 2016 +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- Jonathan Mann thinks of his business model as + Jonathan Mann thinks of his business model as âhustlingââseizing 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 @@ -4319,8 +4309,8 @@ 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. -

- His entrepreneurial spirit is coupled with a willingness to take action +

+ 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 @@ -4328,77 +4318,77 @@ 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. -

- Jonathanâs successful âhustlingâ is also about old-fashioned +

+ Jonathanâs successful âhustlingâ 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 âsong-a-day guy.â -

- He fell into this role by, naturally, seizing a random opportunity a friend +

+ He fell into this role by, naturally, seizing a random opportunity a friend alerted him to seven years agoâan 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 +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. -

- He had a really good time doing the thirty-one-day challenge, so he decided +

+ 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 isnât 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 +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. -

- Over time, the song-a-day gig became the basis of his livelihood. In the +

+ 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. -

- His website explains his gig as âtaking any message, from the super +

+ His website explains his gig as âtaking any message, from the super simple to the totally complicated, and conveying that message through a heartfelt, fun and quirky song.â 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. -

- Jonathan canât recall when exactly he first learned about Creative Commons, +

+ Jonathan canât 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. âCC seems like such a no-brainer,â Jonathan said. âI donât 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.â -

- His songs are essentially marketing for his services, so obviously the +

+ 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. âIf you let someone cover +copy, interact with, and remix his music. âIf you let someone cover your song or remix it or use parts of it, thatâs how music is supposed to work,â Jonathan said. âThat is how music has worked since the beginning of time. Our me-me, mine-mine culture has undermined that.â -

- There are some people who cover his songs fairly regularly, and he would +

+ 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. âThere is all of this conventional wisdom about how to build an audience online, and I generally think I donât do any of that,â Jonathan said. -

- He does have a fan community he cultivates on Bandcamp, but it isnât his +

+ He does have a fan community he cultivates on Bandcamp, but it isnât his major focus. âI do have a core audience that has stuck around for a really long time, some even longer than Iâve been doing song-a-day,â he said. âThere is also a transitional aspect that drop in and get what they need and then move on.â Focusing less on community building than other artists makes sense given Jonathanâs primary income source of writing custom songs for clients. -

- Jonathan recognizes what comes naturally to him and leverages those +

+ 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 âHow to Choose a Master Password,â Jonathan @@ -4407,8 +4397,8 @@ 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. -

- When he is hired by a client to write a song, he first asks them to send a +

+ 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 @@ -4420,13 +4410,13 @@ challenged and forced to take information that doesnât seem like it should be sung about or doesnât seem like it lends itself to a song,â he said. âI find that creative challenge really satisfying. I enjoy getting lost in that process.â -

- Jonathan admits that in an ideal world, he would exclusively write the music +

+ Jonathan admits that in an ideal world, he would exclusively write the music he wanted to write, rather than what clients hire him to write. But his business model is about capitalizing on his strengths as a songwriter, and he has found a way to keep it interesting for himself. -

- Jonathan uses nearly every tool possible to make money from his art, but he +

+ Jonathan uses nearly every tool possible to make money from his art, but he does have lines he wonât cross. He wonât write songs about things he fundamentally does not believe in, and there are times he has turned down jobs on principle. He also wonât stray too much from his natural @@ -4435,119 +4425,119 @@ want something super serious,â Jonathan said. âSuccess feels like itâs over,â he said. âTo a certain +

âSuccess feels like itâs over,â he said. âTo 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.â -

CapÃtulo 15. Noun Project

- The Noun Project is a for-profit company offering an online platform to +

CapÃtulo 15. Noun Project

+ The Noun Project is a for-profit company offering an online platform to display visual icons from a global network of designers. Founded in 2010 in the U.S. -

http://thenounproject.com

Revenue model: charging a transaction fee, charging for custom services -

Interview date: October 6, 2015 -

Interviewee: Edward Boatman, cofounder -

--\begin{flushright} +

Interview date: October 6, 2015 +

Interviewee: Edward Boatman, cofounder +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- The Noun Project creates and shares visual language. There are millions who + The Noun Project creates and shares visual language. There are millions who use Noun Project symbols to simplify communication across borders, languages, and cultures. -

- The original idea for the Noun Project came to cofounder Edward Boatman -while he was a student in architecture design school. Heâd 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. -

- When Edward went on to work at an architecture firm, he had to make a lot of +

+ The original idea for the Noun Project came to cofounder Edward Boatman +while he was a student in architecture design school. Heâd 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. +

+ 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 couldnât find any website that could provide them. Perhaps his idea for creating a library of icons could actually help people in similar situations. -

- With his partner, Sofya Polyakov, he began collecting symbols for a website +

+ 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. -

- Then Edward got laid off during the recession, which turned out to be a huge +

+ 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.^[126] They thought itâd +was in its infancy.^[126] They thought itâd be a good way to introduce the global web community to their idea. Their goal was to raise $1,500, but in twenty days they got over $14,000. They realized their idea had the potential to be something much bigger. -

- They created a platform where symbols and icons could be uploaded, and +

+ 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 âdigital dustâ on their hard drives. Itâs easy to convince them to finally share them with the world. -

- The Noun Project currently has about seven thousand designers from around +

+ The Noun Project currently has about seven thousand designers from around the world. But not all submissions are accepted. The Noun Projectâs 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. -

- Creative Commons is an integral part of the Noun Projectâs business model; +

+ Creative Commons is an integral part of the Noun Projectâs business model; this decision was inspired by Chris Andersonâs book Free: The Future of Radical Price, which introduced Edward to the idea that you could build a business model around free content. -

- 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 +

+ 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 +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. -

- Noun Projectâs business model and means of generating revenue have evolved +

+ Noun Projectâs 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 +others) wanted to keep marketing and presentation materials clean and free of attribution statements. For Edward, âThatâs when our lightbulb went off.â -

- They asked their global network of designers whether theyâd be open to +

+ They asked their global network of designers whether theyâd 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. -

- The Noun Project first adopted a model whereby using an icon without giving +

+ The Noun Project first adopted a model whereby using an icon without giving attribution would cost $1.99 per icon. The modelâs second iteration added a subscription component, where there would be a monthly fee to access a certain number of iconsâten, fifty, a hundred, or five hundred. However, @@ -4558,23 +4548,23 @@ 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 wellâgood for customers, good for creators, and good for the platform. -

- Customers then began asking for an application-programming interface (API), +

+ 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 couldnât 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 +from within other applications. Edward knew that the icons and symbols +would be valuable in a lot of different contexts and that they couldnât +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 whatâs called the âPlayground APIâ for free to test how it integrates with your application, but full implementation will require you to purchase the API Pro version. -

- The Noun Project shares revenue with its international designers. For +

+ 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. -

- The revenue from premium purchases (the subscription and API options) is +

+ 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 Projectâs total number of downloads, resulting in a rate per downloadâfor example, it could be $0.13 per download @@ -4582,18 +4572,18 @@ 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, itâs per use instead of per download.) Noun Projectâs share is higher this time as itâs providing more service to the user. -

- The Noun Project tries to be completely transparent about their royalty -structure.^[127] They tend to over +

+ The Noun Project tries to be completely transparent about their royalty +structure.^[127] They tend to over communicate with creators about it because building trust is the top priority. -

- For most creators, contributing to the Noun Project is not a full-time job +

+ 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. -

- Recently the Noun Project launched a new app called Lingo. Designers can +

+ 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 @@ -4601,85 +4591,85 @@ 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 otherâs collections. And if you subscribe to NounPro, you -can access Noun Project from within Lingo. -

- The Noun Project gives a ton of value away for free. A very large percentage +assets to each otherâs collections. And if you subscribe to NounPro, you can +access Noun Project from within Lingo. +

+ 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. -

- For Edward, âcreating, sharing, and celebrating the worldâs visual +

+ For Edward, âcreating, sharing, and celebrating the worldâs visual languageâ is the most important aspect of what they do; itâs their stated mission. It differentiates them from others who offer graphics, icons, or clip art. -

- 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 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. Itâs striking to see that money comes third, and mission, first. If you want to engage a global network of contributors, itâs important to have a mission beyond making money. -

- In Edwardâs view, Creative Commons is central to their mission of sharing +

+ In Edwardâs view, Creative Commons is central to their mission of sharing and social good. Using Creative Commons makes the Noun Projectâs mission genuine and has generated a lot of their initial traction and credibility. CC comes with a built-in community of users and fans. -

- Edward told us, âDonât underestimate the power of a passionate +

+ Edward told us, âDonât underestimate the power of a passionate community around your product or your business. They are going to go to bat for you when youâre getting ripped in the media. If you go down the road of choosing to work with Creative Commons, youâre 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.â -

- The Noun Project nurtures their creatorsâ second motivationâpromoting a +

+ The Noun Project nurtures their creatorsâ second motivationâpromoting a personal brandâby connecting every icon and symbol to the creatorâs name and profile page; each profile features their full collection. Users can also search the icons by the creatorâs name. -

- The Noun Project also builds community through Iconathonsâhackathons for -icons.^[128] In partnership with a sponsoring +

+ The Noun Project also builds community through Iconathonsâhackathons for +icons.^[128] 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 +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. -

- Providing a free version of their product that satisfies a lot of their +

+ Providing a free version of their product that satisfies a lot of their customersâ needs has actually enabled the Noun Project to build the paid version, using a service-oriented model. The Noun Projectâs success lies in creating services and content that are a strategic mix of free and paid while staying true to their missionâcreating, sharing, and celebrating the worldâs visual language. Integrating Creative Commons into their model has been key to that goal. -

^[126]http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description

^[127]http://thenounproject.com/handbook/royalties/#getting_paid

^[128]http://thenounproject.com/handbook/royalties/#getting_paid

CapÃtulo 16. Open Data Institute

- The Open Data Institute is an independent nonprofit that connects, equips, +

^[126]http://www.kickstarter.com/projects/tnp/building-a-free-collection-of-our-worlds-visual-sy/description

^[127]http://thenounproject.com/handbook/royalties/#getting_paid

^[128]http://thenounproject.com/handbook/royalties/#getting_paid

CapÃtulo 16. Open Data Institute

+ 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. -

http://theodi.org

Revenue model: grant and government funding, charging for custom services, donations -

Interview date: November 11, 2015 -

Interviewee: Jeni Tennison, technical +

Interview date: November 11, 2015 +

Interviewee: Jeni Tennison, technical director -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Cofounded by Sir Tim Berners-Lee and Sir Nigel Shadbolt in 2012, the + 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 customersâ open. CC BY (Attribution), CC BY-SA (Attribution-ShareAlike), and CC0 (placed in the -public domain) all play a critical role in ODIâs mission to help people +public domain) all play a critical role in ODIâs mission to help people around the world innovate with data. -

- Data underpins planning and decision making across all aspects of +

+ 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 @@ -4688,52 +4678,52 @@ 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. -

- The Open Data Instituteâs 2012â17 business plan starts out by describing its +

+ The Open Data Instituteâs 2012â17 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 governmentâs 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 toâ -

- demonstrate the commercial value of open government data and how open-data +initiatives.) It goes on to say that the ODI wants toâ +
- + demonstrate the commercial value of open government data and how open-data policies affect this; -
- - develop the economic benefits case and business models for open data; -
- - help UK businesses use open data; and -
- - show how open data can improve public services.^[129] -
- ODI is very explicit about how it wants to make open business models, and +
+ develop the economic benefits case and business models for open data; +
+ help UK businesses use open data; and +
+ show how open data can improve public services.^[129] +

+ ODI is very explicit about how it wants to make open business models, and defining what this means. Jeni Tennison, ODIâs technical director, puts it this way: âThere is a whole ecosystem of openâopen-source software, open government, open-access researchâand a whole ecosystem of data. ODIâs work cuts across both, with an emphasis on where they overlapâwith open data.â ODIâs particular focus is to show open dataâs potential for revenue. -

- As an independent nonprofit, ODI secured Â£10 million over five years from +

+ As an independent nonprofit, ODI secured Â£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. -

- Jeni started out as a developer and technical architect for data.gov.uk, the -UK governmentâs pioneering open-data initiative. She helped make data sets +

+ Jeni started out as a developer and technical architect for data.gov.uk, the +UK governmentâs 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. -

- ODI strives to have half its annual budget come from the core UK government +

+ 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 Jeniâs 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. -

- On the commercial side, ODI generates funding through memberships, training, +

+ On the commercial side, ODI generates funding through memberships, training, and advisory services. -

- You can join the ODI as an individual or commercial member. Individual +

+ You can join the ODI as an individual or commercial member. Individual membership is pay-what-you-can, with options ranging from Â£1 to Â£100. Members receive a newsletter and related communications and a discount on ODI training courses and the annual summit, and they can display an @@ -4742,9 +4732,9 @@ two tiers: small to medium size enterprises and nonprofits at Â£720 a year, and corporations and government organizations at Â£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.)^[130] -

- ODI provides standardized open data training courses in which anyone can +are listed on their website.)^[130] +

+ 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 @@ -4754,53 +4744,53 @@ for participation. Jeni says, âMost of pay donât know they need it. Most who know they need it canât pay.â Public-sector organizations sometimes give vouchers to their employees so they can attend as a form of professional development. -

- ODI customizes training for clients as well, for which there is more +

+ 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. -

- Education about open data is also a part of ODIâs annual summit event, where +

+ Education about open data is also a part of ODIâs 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. -

- In addition to memberships and training, ODI provides advisory services to +

+ 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. -

- On the commercial side, the following value propositions seem to resonate: -

- Data-driven insights. Businesses need data from outside their business to +
+ On the commercial side, the following value propositions seem to resonate: +
- + Data-driven insights. Businesses need data from outside their business to get more insight. Businesses can generate value and more effectively pursue their own goals if they open up their own data too. Big data is a hot topic. -
- - Open innovation. Many large-scale enterprises are aware they donât innovate +
- + Open innovation. Many large-scale enterprises are aware they donât innovate very well. One way they can innovate is to open up their data. ODI encourages them to do so even if it exposes problems and challenges. The key is to invite other people to help while still maintaining organizational autonomy. -
- - Corporate social responsibility. While this resonates with businesses, ODI +
- + 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. -
- During their early years, ODI wanted to focus solely on the United +

+ 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 governmentâs 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 ânodes.â -

- Nodes are franchises of the ODI at a regional or city level. Hosted by +

+ 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 @@ -4809,35 +4799,35 @@ 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. -

- ODI also runs programs to help start-ups in the UK and across Europe develop +

+ 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.^[131] -

- A big part of ODIâs business model revolves around community +training, and even office space.^[131] +

+ A big part of ODIâs 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. -

- ODI has created an online tool that organizations can use to assess the +

+ 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 ODIâs Open Data Certificate, a globally recognized mark that signals that their open data is useful, -reliable, accessible, discoverable, and supported.^[132] -

- Separate from commercial activities, the ODI generates funding through +reliable, accessible, discoverable, and supported.^[132] +

+ 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. -

- Creative Commons 4.0 licenses cover database rights and ODI recommends CC +

+ 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 âopen licensesâ of their own. -

- For ODI, open is at the heart of what they do. They also release any +

+ 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. ODIâs mission is to connect and equip people around the world so they can innovate with @@ -4851,48 +4841,48 @@ use. Producing open content, data, and source code helps establish credibility and creates leads for the paid services that they offer. According to Jeni, âThe biggest lesson we have learned is that it is completely possible to be open, get customers, and make money.â -

- To serve as evidence of a successful open business model and return on +

+ 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: -

- Total amount of cash investments unlocked in direct investments in ODI, +
- + 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: Â£44.5 million -
- - Total number of active members and nodes across the globe: 1,350 -
- - Total sales since ODI began: Â£7.44 million -
- - Total number of unique people reached since ODI began, in person and online: +
- + Total number of active members and nodes across the globe: 1,350 +
- + Total sales since ODI began: Â£7.44 million +
- + Total number of unique people reached since ODI began, in person and online: 2.2 million -
- - Total Open Data Certificates created: 151,000 -
- - Total number of people trained by ODI and its nodes since ODI began: -5,080^[133] -
^[129]http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf
^[130]http://directory.theodi.org/members
^[131]http://theodi.org/odi-startup-programme; http://theodi.org/open-data-incubator-for-europe
^[132]http://certificates.theodi.org
^[133]http://dashboards.theodi.org/company/all

CapÃtulo 17. OpenDesk

- Opendesk is a for-profit company offering an online platform that connects +

+ Total Open Data Certificates created: 151,000 +

+ Total number of people trained by ODI and its nodes since ODI began: +5,080^[133] +

^[129]http://e642e8368e3bf8d5526e-464b4b70b4554c1a79566214d402739e.r6.cf3.rackcdn.com/odi-business-plan-may-release.pdf

^[130]http://directory.theodi.org/members

^[131]http://theodi.org/odi-startup-programme; http://theodi.org/open-data-incubator-for-europe

^[132]http://certificates.theodi.org

^[133]http://dashboards.theodi.org/company/all

CapÃtulo 17. OpenDesk

+ 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. -

http://www.opendesk.cc

Revenue model: charging a transaction fee -

Interview date: November 4, 2015 -

Interviewees: Nick Ierodiaconou and Joni +

Interview date: November 4, 2015 +

Interviewees: Nick Ierodiaconou and Joni Steiner, cofounders -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Opendesk is an online platform that connects furniture designers around the + 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. -

- Cofounders Nick Ierodiaconou and Joni Steiner studied and worked as +

+ 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 Mintâs interest in open licensing got them to @@ -4903,16 +4893,16 @@ not the goods.â They created the design using software, put it u an open license, and had it manufactured locally near the client. This was the start of the idea for Opendesk. The idea for Wikihouseâanother open project dedicated to accessible housing for allâstarted as discussions -around the same table. The two projects ultimately went on separate paths, +around the same table. The two projects ultimately went on separate paths, with Wikihouse becoming a nonprofit foundation and Opendesk a for-profit company. -

- 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 +

+ 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. -

- And now this sector is emerging, and Nick and Joni are highly interested in +

+ 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 @@ -4920,215 +4910,215 @@ a design is copyrightable? What is patentable? How can allowing for digital sharing and distribution be balanced against the designerâs desire to still hold ownership? In the end, they decided there was no need to reinvent the wheel and settled on using Creative Commons. -

- When designing the Opendesk system, they had two goals. They wanted anyone, +

+ 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. -

- They gave a lot of thought to three anglesâthe potential for social sharing, +

+ They gave a lot of thought to three anglesâthe potential for social sharing, allowing designers to choose their license, and the impact these choices would have on the business model. -

- In support of social sharing, Opendesk actively advocates for (but doesnât +

+ In support of social sharing, Opendesk actively advocates for (but doesnât demand) open licensing. And Nick and Joni are agnostic about which Creative Commons license is used; itâs 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. -

- For the most part, designers love the idea of sharing content. They +

+ For the most part, designers love the idea of sharing content. They understand that you get positive feedback when youâre attributed, what Nick and Joni called âreputational glow.â And Opendesk does an -awesome job profiling the designers.^[134] -

- While designers are largely OK with personal sharing, there is a concern +awesome job profiling the designers.^[134] +

+ 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 +with the designer not getting any benefits. So most Opendesk designers choose the Attribution-NonCommercial license (CC BY-NC). -

- Anyone can download a design and make it themselves, provided itâs for -noncommercial useâââand there have been many, many downloads. Or users can +

+ Anyone can download a design and make it themselves, provided itâs for +noncommercial useâââand there have been many, many downloads. Or users can buy the product from Opendesk, or from a registered maker in Opendeskâs -network, for on-demand personal fabrication. The network of Opendesk makers +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. -

- Makers benefit from being part of Opendeskâs network. Making furniture for +

+ Makers benefit from being part of Opendeskâs network. Making furniture for local customers is paid work, and Opendesk generates business for them. Joni said, âFinding 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.â Opendesk now has relationships with -hundreds of makers in countries all around the world.^[135] -

- The makers are a critical part of the Opendesk business model. Their model +capabilities. Building the community by learning from the maker community +is how we have moved forward.â Opendesk now has relationships with +hundreds of makers in countries all around the world.^[135] +

+ The makers are a critical part of the Opendesk business model. Their model builds off the makersâ quotes. Hereâs how itâs expressed on Opendeskâs website: -

- When customers buy an Opendesk product directly from a registered maker, +

+ When customers buy an Opendesk product directly from a registered maker, they pay: -

- the manufacturing cost as set by the maker (this covers material and labour +
- + 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) -
- - a design fee for the designer (a design fee that is paid to the designer +
- + a design fee for the designer (a design fee that is paid to the designer every time their design is used) -
- - a percentage fee to the Opendesk platform (this supports the infrastructure +
- + a percentage fee to the Opendesk platform (this supports the infrastructure and ongoing development of the platform that helps us build out our marketplace) -
- - a percentage fee to the channel through which the sale is made (at the +
- + 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 channelsâthis covers sales and marketing fees for the relevant channel) -
- - a local delivery service charge (the delivery is typically charged by the +
- + 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) -
- - charges for any additional services the customer chooses, such as on-site +
- + charges for any additional services the customer chooses, such as on-site assembly (additional services are discretionaryâin many cases makers will be happy to quote for assembly on-site and designers may offer bespoke design options) -
- - local sales taxes (variable by customer and maker location)^[136] -
- They then go into detail how makersâ quotes are created: -
- When a customer wants to buy an Opendesk . . . they are provided with a +
+ local sales taxes (variable by customer and maker location)^[136] +

+ They then go into detail how makersâ quotes are created: +

+ 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 +sale. Percentage fees are always based on the underlying manufacturing cost and are typically apportioned as follows: -

- manufacturing cost: fabrication, finishing and any other costs as set by the +
- + manufacturing cost: fabrication, finishing and any other costs as set by the maker (excluding any services like delivery or on-site assembly) -
- - design fee: 8 percent of the manufacturing cost -
- - platform fee: 12 percent of the manufacturing cost -
- - channel fee: 18 percent of the manufacturing cost -
- - sales tax: as applicable (depends on product and location) -
- Opendesk shares revenue with their community of designers. According to +
+ design fee: 8 percent of the manufacturing cost +
+ platform fee: 12 percent of the manufacturing cost +
+ channel fee: 18 percent of the manufacturing cost +
+ sales tax: as applicable (depends on product and location) +

+ Opendesk shares revenue with their community of designers. According to Nick and Joni, a typical designer fee is around 2.5 percent, so Opendeskâs 8 percent is more generous, and providing a higher value to the designer. -

- The Opendesk website features stories of designers and makers. Denis Fuzii +

+ The Opendesk website features stories of designers and makers. Denis Fuzii published the design for the Valovi Chair from his studio in SÃ£o 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. -

- To manage resources and remain effective, Opendesk has so far focused on a +United Kingdom. Opendesk now makes up a large proportion of his business. +

+ To manage resources and remain effective, Opendesk has so far focused on a very narrow nicheâprimarily 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. -

- On their website, Opendesk describes what they do as âopen +

+ On their website, Opendesk describes what they do as âopen makingâ: âDesigners 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.â -

- Nick and Joni say that customers like the fact that the furniture has a +

+ 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; itâs a great story to tell. It certainly sets apart Opendesk furniture from the usual mass-produced items from a store. -

- Nick and Joni are taking a community-based approach to define and evolve -Opendesk and the âopen makingâ business model. Theyâre -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.^[137] People can submit ideas and discuss the principles +

+ Nick and Joni are taking a community-based approach to define and evolve +Opendesk and the âopen makingâ business model. Theyâre 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.^[137] People can submit ideas and discuss the principles and business practices theyâd like to see used. -

- Nick and Joni talked a lot with us about intellectual property (IP) and +

+ 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). -

- Opendesk established a set of principles for what their community considers +

+ Opendesk established a set of principles for what their community considers commercial and noncommercial use. Their website states: -

- It is unambiguously commercial use when anyone: -

- charges a fee or makes a profit when making an Opendesk -
- sells (or bases a commercial service on) an Opendesk -

- It follows from this that noncommercial use is when you make an Opendesk +

+ It is unambiguously commercial use when anyone: +

+ charges a fee or makes a profit when making an Opendesk +
+ sells (or bases a commercial service on) an Opendesk +

+ 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: -

- you are an individual with your own CNC machine, or access to a shared CNC +
- + 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 -
- - you are a student (or teacher) and you use the design files for educational +
- + 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) -
- - you work for a charity and get furniture cut by volunteers, or by employees +
- + you work for a charity and get furniture cut by volunteers, or by employees at a fab lab or maker space -
- Whether or not people technically are doing things that implicate IP, Nick +

+ 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 +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 stakeholdersâdesigners, channels, manufacturers, and customers. For them, the value Opendesk generates hangs off âopen,â not IP. -

- The mission of Opendesk is about relocalizing manufacturing, which changes +

+ 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 theyâve begun to focus on success metrics that track how many makers and designers are engaged through Opendesk in revenue-making work. -

- As a global platform for local making, Opendeskâs business model has been +

+ As a global platform for local making, Opendeskâs 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. -

^[134]http://www.opendesk.cc/designers

^[135]http://www.opendesk.cc/open-making/makers/

^[136]http://www.opendesk.cc/open-making/join

^[137]http://openmaking.is

CapÃtulo 18. OpenStax

- OpenStax is a nonprofit that provides free, openly licensed textbooks for +

^[134]http://www.opendesk.cc/designers

^[135]http://www.opendesk.cc/open-making/makers/

^[136]http://www.opendesk.cc/open-making/join

^[137]http://openmaking.is

CapÃtulo 18. OpenStax

+ 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. -

http://www.openstaxcollege.org

Revenue model: grant funding, charging for custom services, charging for physical copies (textbook sales) -

Interview date: December 16, 2015 -

Interviewee: David Harris, +

Interview date: December 16, 2015 +

Interviewee: David Harris, editor-in-chief -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- OpenStax is an extension of a program called Connexions, which was started -in 1999 by Dr.Â Richard Baraniuk, the Victor E. Cameron Professor of + OpenStax is an extension of a program called Connexions, which was started +in 1999 by Dr.Â 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.Â 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 worldâs -best libraries of customizable educational materials, all licensed with -Creative Commons and available to anyone, anywhere, anytimeâfor free. -

- In 2008, while in a senior leadership role at WebAssign and looking at ways +freely adapt educational materials such as courses, books, and reports. +Today, Connexions (now called OpenStax CNX) is one of the worldâs best +libraries of customizable educational materials, all licensed with Creative +Commons and available to anyone, anywhere, anytimeâfor free. +

+ 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 @@ -5136,8 +5126,8 @@ OER so that it could meet the needs of students who couldnât 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. -

- David brought with him a deep understanding of the best practices of +

+ David brought with him a deep understanding of the best practices of publishing along with where publishers have inefficiencies. In Davidâs 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 @@ -5146,94 +5136,94 @@ 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. -

- In 2012, OpenStax College launched as a nonprofit with the aim of producing +

+ 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.^[138] Professionally produced content scales rapidly. All +could help and how much money they could help save.^[138] Professionally produced content scales rapidly. All with no sales force! -

- 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 +

+ 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 +appealing. OpenStax encourages students to talk to their professor and librarians about these textbooks and to advocate for their use. -

- Teachers are invited to try out a single chapter from one of the textbooks +

+ Teachers are invited to try out a single chapter from one of the textbooks with students. If that goes well, theyâre 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. -

- Any teacher can post corrections, suggest examples for difficult concepts, +

+ 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. -

- Institutions can stand out by offering students a lower-cost education +

+ Institutions can stand out by offering students a lower-cost education through the use of OpenStax textbooks; thereâs 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.^[139] -

- Unlike traditional publishersâ monolithic approach of controlling +textbooks.^[139] +

+ Unlike traditional publishersâ 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. -

- Up-front funding of a professionally produced all-color turnkey textbook is +

+ 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 +Foundation, the Calvin K. Kazanjian Foundation, and Rice University. To develop additional titles and supporting technology is probably still going to require philanthropic investment. -

- However, ongoing operations will not rely on foundation grants but instead +

+ 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. -

- Another example is Odigia, who has turned OpenStax books into interactive +

+ 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. -

- In Davidâs view, this approach lets the market operate at peak +

+ In Davidâs view, this approach lets the market operate at peak efficiency. OpenStaxâs partners donât 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 costânot free, but still saving students money. OpenStax benefits not only by receiving -mission-support fees but through free publicity and marketing. OpenStax +mission-support fees but through free publicity and marketing. OpenStax doesnât have a sales force; partners are out there showcasing their materials. -

- OpenStaxâs cost of sales to acquire a single student is very, very low and +

+ OpenStaxâs 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. -

- While OpenStax books are available online for free, many students still want +

+ 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 +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. -

- Campus-based bookstores are part of the OpenStax solution. OpenStax +

+ 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 @@ -5243,15 +5233,15 @@ 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. -

- David thinks of the OpenStax model as âOER 2.0.â So what is OER +

+ David thinks of the OpenStax model as âOER 2.0.â So what is OER 1.0? Historically in the OER field, many OER initiatives have been locally funded by institutions or government ministries. In Davidâs view, this results in content that has high local value but is infrequently adopted nationally. Itâs therefore difficult to show payback over a time scale that is reasonable. -

- OER 2.0 is about OER intended to be used and adopted on a national level +

+ 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 @@ -5260,12 +5250,12 @@ 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. -

- The process is similar for both models. First they look at the scope and +

+ 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 evaluationâonly one in ten -authors make it through. OpenStax selects a team of authors who come +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 doesnât do books with just a single author as David says it risks the project going @@ -5275,111 +5265,111 @@ 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. -

- All the people involved in this process are paid. OpenStax does not rely on +

+ 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 feeâOpenStax 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 Davidâs 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. -

- David thinks of the Attribution license (CC BY) as the âinnovation +

+ David thinks of the Attribution license (CC BY) as the âinnovation license.â Itâs 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 +bring on partners. OpenStax sees a lot of customization of their materials. By enabling frictionless remixing, CC BY gives teachers control and academic freedom. -

- Using CC BY is also a good example of using strategies that traditional +

+ Using CC BY is also a good example of using strategies that traditional publishers canât. Traditional publishers rely on copyright to prevent others from making copies and heavily invest in digital rights management to ensure -their books arenât shared. By using CC BY, OpenStax avoids having to deal +their books arenât 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. -

- As of September 16, 2016, OpenStax has achieved some impressive +

+ As of September 16, 2016, OpenStax has achieved some impressive results. From the OpenStax at a Glance fact sheet from their recent press kit: -

- Books published: 23 -
- Students who have used OpenStax: 1.6 million -
- Money saved for students: $155 million -
- Money saved for students in the 2016/17 academic year: $77 million -
- Schools that have used OpenStax: 2,668 (This number reflects all +
- + Books published: 23 +
- + Students who have used OpenStax: 1.6 million +
- + Money saved for students: $155 million +
- + Money saved for students in the 2016/17 academic year: $77 million +
- + 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.) -
- While OpenStax has to date been focused on the United States, there is +

+ 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. -

- OpenStax has primarily focused on introductory-level college courses where +

+ OpenStax has primarily focused on introductory-level college courses where there is high enrollment, but they are starting to think about verticalsâa 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. -

- Finally, for OpenStax success is not just about the adoption of their +

+ 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 +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. -

^[138]http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg

^[139]http://openstax.org/adopters

CapÃtulo 19. Amanda Palmer

- Amanda Palmer is a musician, artist, and writer. Based in the U.S. -

^[138]http://news.rice.edu/files/2016/01/0119-OPENSTAX-2016Infographic-lg-1tahxiu.jpg

^[139]http://openstax.org/adopters

CapÃtulo 19. Amanda Palmer

+ Amanda Palmer is a musician, artist, and writer. Based in the U.S. +

http://amandapalmer.net

Revenue model: crowdfunding (subscription-based), pay-what-you-want, charging for physical copies (book and album sales), charg-ing for in-person version (performances), selling merchandise -

Interview date: December 15, 2015 -

--\begin{flushright} +

Interview date: December 15, 2015 +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- Since the beginning of her career, Amanda Palmer has been on what she calls + Since the beginning of her career, Amanda Palmer has been on what she calls a âjourney with no roadmap,â continually experimenting to find -new ways to sustain her creative work.^[140] -

- In her best-selling book, The Art of Asking, Amanda articulates exactly what +new ways to sustain her creative work.^[140] +

+ In her best-selling book, The Art of Asking, Amanda articulates exactly what she has been and continues to strive forââthe 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.â -

- While she seems to have successfully found that sweet spot for herself, +

+ 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. âOn the one hand, we have this beautiful shareability,â Amanda said. âOn the other, youâve got a bunch of confused artists wondering how to make money to buy food so we can make more art.â -

- Amanda began her artistic career as a street performer. She would dress up +

+ 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. âAll -I needed was . . . some people,â she wrote in her book. âEnough -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.â -

- Amanda has come a long way from her street-performing days, but her career +people who ignored her, she felt thankful for those who stopped. âAll +I needed was . . . some people,â she wrote in her +book. âEnough 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.â +

+ Amanda has come a long way from her street-performing days, but her career remains dominated by that same sentimentâfinding ways to reach âher crowdâ and feeling gratitude when she does. With her band the Dresden Dolls, Amanda tried the traditional path of signing with a record label. It @@ -5387,8 +5377,8 @@ didnât take for a variety of reasons, but one of them was that the label had absolutely no interest in Amandaâs view of success. They wanted hits, but making music for the masses was never what Amanda and the Dresden Dolls set out to do. -

- After leaving the record label in 2008, she began experimenting with +

+ 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 âpay what you wantâ basis and selling CDs and vinyl. She also made money from @@ -5397,8 +5387,8 @@ 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. -

- Today, Amanda has switched gears away from crowdfunding for specific +

+ 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 @@ -5407,8 +5397,8 @@ support her so she can create music, art, and any other creative made on a âper thingâ basis. All of the content she makes is made freely available under an Attribution-NonCommercial-ShareAlike license (CC BY-NC-SA). -

- Making her music and art available under Creative Commons licensing +

+ 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 @@ -5422,76 +5412,76 @@ ad,â Amanda said. Once she discovered Creative Commons, adopting 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. -

- Amanda embraces the way her fans share and build upon her music. In The Art +

+ Amanda embraces the way her fans share and build upon her music. In The Art of Asking, she wrote that some of her fansâ 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. âWe got into this because we wanted to share the joy of music,â she said. -

- This is symbolic of how nearly everything she does in her career is +

+ 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. âNot only did most our early fans know where I lived and where we practiced, but most of them had also been in my kitchen,â Amanda wrote in The Art of Asking. -

- Even though her fan base is now huge and global, she continues to seek this +

+ 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 +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. âListening fast and caring immediately is a skill unto itself,â Amanda wrote. -

- Another part of the connection fans feel with Amanda is how much they know +

+ 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 +essentially lives her life as an open book. She has written openly about incredibly personal events in her life, and she isnât afraid to be vulnerable. Having that kind of trust in her fansâthe trust it takes to be truly honestâbegets 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. -

âWith social media, weâre so concerned with the picture looking +

âWith social media, weâre 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,â Amanda said. âEverything 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.â -

- Not only does she disclose intimate details of her life to them, she sleeps +

+ 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 mentalityâthat fans are friendsâis completely intertwined with Amandaâs success as an artist. It is also intertwined with her use of Creative Commons licenses. Because that is what you do with your friendsâyou share. -

- After years of investing time and energy into building trust with her fans, +

+ After years of investing time and energy into building trust with her fans, she has a strong enough relationship with them to ask for supportâthrough 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. -

âWhen you openly, radically trust people, they not only take care of +

âWhen you openly, radically trust people, they not only take care of you, they become your allies, your family,â 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 âweird little family.â -

- This sort of intimacy with fans is not possible or even desirable for every +

+ This sort of intimacy with fans is not possible or even desirable for every creator. âI donât take for granted that I happen to be the type of person who loves cavorting with strangers,â Amanda said. âI recognize that itâs not necessarily everyoneâs idea of a good time. Everyone does it differently. Replicating what I have done wonât work for others if it isnât joyful to them. Itâs about finding a way to channel energy in a way that is joyful to you.â -

- Yet while Amanda joyfully interacts with her fans and involves them in her +

+ 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 herselfâwriting 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 @@ -5501,38 +5491,38 @@ 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. -

- For Amanda, the entire point of being an artist is to establish and maintain +

+ For Amanda, the entire point of being an artist is to establish and maintain this connection. âIt sounds so corny,â she said, âbut my experience in forty years on this planet has pointed me to an obvious truthâthat 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.â -

- As she explains it, when a fan gives her a ten-dollar bill, usually what +

+ 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; itâs 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 +music and other artistic gifts. She shares herself. And then rather than forcing people to help her, she lets them. -

^[140]http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67

CapÃtulo 20. PLOS (Public Library of Science)

- PLOS (Public Library of Science) is a nonprofit that publishes a library of -academic journals and other scientific literature. Founded in 2000 in the +

^[140]http://www.forbes.com/sites/zackomalleygreenburg/2015/04/16/amanda-palmer-uncut-the-kickstarter-queen-on-spotify-patreon-and-taylor-swift/#44e20ce46d67

CapÃtulo 20. PLOS (Public Library of Science)

+ PLOS (Public Library of Science) is a nonprofit that publishes a library of +academic journals and other scientific literature. Founded in 2000 in the U.S. -

http://plos.org

Revenue model: charging content creators an author processing charge to be featured in the journal -

Interview date: March 7, 2016 -

Interviewee: Louise Page, publisher -

--\begin{flushright} +

Interview date: March 7, 2016 +

Interviewee: Louise Page, publisher +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- The Public Library of Science (PLOS) began in 2000 when three leading + The Public Library of Science (PLOS) began in 2000 when three leading scientistsâHarold E. Varmus, Patrick O. Brown, and Michael Eisenâstarted an online petition. They were calling for scientists to stop submitting papers to journals that didnât make the full text of their papers freely available @@ -5543,18 +5533,18 @@ 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. -

- Traditionally, academic publishing begins with an author submitting a +

+ 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 +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. -

- For Louise Page, the current publisher of PLOS, this traditional model +

+ 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. Itâs unjust that the public who funded the research would be @@ -5563,8 +5553,8 @@ 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. -

- That new model became known as open access. That is, free and open +

+ 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 @@ -5573,36 +5563,36 @@ 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. -

- However, open access requires rethinking the business model of research +

+ 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 +known as an article-processing charge. This up-front fee, generally paid by the funder of the research or the authorâs 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. -

- Calculating the article-processing charge involves taking all the costs +

+ 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 PLOSâs 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. -

- PLOS believes that lack of funds should not be a barrier to +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. +

+ 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 canât afford the article-processing charges. -

- Louise identifies marketing as one area of big difference between PLOS and +

+ 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 +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 PLOSâs +access-control systems, staff to manage them, and sales staff. With PLOSâs open-access publishing, thereâs 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 @@ -5610,44 +5600,44 @@ 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. -

- For Louise, PLOS would not exist without the Attribution license (CC +

+ 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. -

- PLOS also has a broad open-data policy. To get their research paper +

+ 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. -

- Business-operation costs associated with the open-access model still largely +

+ 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. -

- Researchers are influenced by journal rankings, which reflect the place of a +

+ 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. -

- The promotion and tenure of researchers are partially based how many times +

+ 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. -

- Louise believes that open access has been a huge success, progressing from a +

+ 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. -

- PLOS further disrupted the traditional journal-publishing model by +

+ 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 @@ -5666,32 +5656,32 @@ 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. -

- Louise outlined some other aspects of the research-journal business model +

+ 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. -

- One slider is time to publication. Time to publication may shorten as -journals get better at providing quicker decisions to authors. However, +

+ 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. -

- Peer review is another part of the process that could change. Itâs possible +

+ Peer review is another part of the process that could change. Itâs possible to redefine what peer review actually is, when to review, and what -constitutes the final article for publication. Louise talked about the +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 weâre moving into a direction where itâs 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. -

- Louise says research with negative outcomes is almost as important as +

+ Louise says research with negative outcomes is almost as important as positive results. If journals published more research with negative outcomes, weâd learn from what didnât work. It could also reduce how much the research wheel gets reinvented around the world. -

- Another adjustable practice is the sharing of articles at early preprint +

+ 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 @@ -5704,136 +5694,135 @@ 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 donât have a lot of time to comment on preprints. -

- What constitutes a journal article could also change. The idea of a research +

+ 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 +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. -

- As journals scale up, and new journals are introduced, more and more +

+ 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.^[141] It also offers something called Article-Level +curates content from PLOS journals and their network of blogs.^[141] 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.^[142] Louise believes that the +ratings.^[142] 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. -

- The big picture for PLOS going forward is to combine and adjust these +

+ 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. -

- For PLOS, success is not about revenue. Success is about proving that +

+ 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 +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. -

- Ultimately, for PLOS, its authors, and its readers, success is about making +

+ Ultimately, for PLOS, its authors, and its readers, success is about making research discoverable, available, and reproducible for the advancement of science. -

^[141]http://collections.plos.org

^[142]http://plos.org/article-level-metrics

CapÃtulo 21. Rijksmuseum

- The Rijksmuseum is a Dutch national museum dedicated to art and +

^[141]http://collections.plos.org

^[142]http://plos.org/article-level-metrics

CapÃtulo 21. Rijksmuseum

+ The Rijksmuseum is a Dutch national museum dedicated to art and history. Founded in 1800 in the Netherlands -

http://www.rijksmuseum.nl

Revenue model: grants and government funding, charging for in-person version (museum admission), selling merchandise -

Interview date: December 11, 2015 -

Interviewee: Lizzy Jongma, the data +

Interview date: December 11, 2015 +

Interviewee: Lizzy Jongma, the data manager of the collections information department -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- The Rijksmuseum, a national museum in the Netherlands dedicated to art and + 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 +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. -

- 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 +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. +

+ 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 wouldnât be able to show very much of the whole collectionâeight 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 +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 Rijksmuseumâs collection using information -technology. And they put up a card-catalog like database of the entire +technology. And they put up a card-catalog like database of the entire collection online. -

- It was effective but a bit boring. It was just data. A hackathon they were +

+ 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? -

- Then, Lizzy says, Europeana came along. Europeana is Europeâs digital -library, museum, and archive for cultural heritage.^[143] As an online portal to museum collections all +

+ Then, Lizzy says, Europeana came along. Europeana is Europeâs digital +library, museum, and archive for cultural heritage.^[143] 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 +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. -

- They realized that they donât âownâ the collection and couldnât +

+ They realized that they donât âownâ the collection and couldnât realistically monitor and enforce compliance with the restrictive licensing terms they currently had in place. For example, many copies and versions of Vermeerâs 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 wouldnât make people stop using their images online. They ended up thinking itâs an utter waste of time to hunt -down people who use the Rijksmuseum collection. And anyway, restricting +down people who use the Rijksmuseum collection. And anyway, restricting access meant the people they were frustrating the most were schoolkids. -

- In 2011 the Rijksmuseum began making their digital photos of works known to +

+ 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 +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. -

- In 2013 the Rijksmuseum changed its business model. They Creative Commons +

+ 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. -

- Releasing these high-quality images for free reduced the number of +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. +

+ Releasing these high-quality images for free reduced the number of poor-quality images that were proliferating. The high-quality image of Vermeerâs Milkmaid, for example, is downloaded two to three thousand times a month. On the Internet, images from a source like the Rijksmuseum are more @@ -5844,15 +5833,15 @@ views per month. This extends Rijksmuseumâs reach far beyond the scope of its website. Sharing these images online creates what Lizzy calls the âMona Lisa effect,â where a work of art becomes so famous that people want to see it in real life by visiting the actual museum. -

- Every museum tends to be driven by the number of physical visitors. The +

+ 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 +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. -

- As museums create a digital presence for themselves and put up digital +

+ As museums create a digital presence for themselves and put up digital representations of their collection online, thereâs 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 @@ -5862,15 +5851,15 @@ 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 childrenâs toys, people also see what museum the image comes from and this increases the museumâs visibility. -

- In 2011 the Rijksmuseum received â¬1 million from the Dutch lottery to create +

+ In 2011 the Rijksmuseum received â¬1 million from the Dutch lottery to create a new web presence that would be different from any other museumâs. 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.^[144] -

- The Rijksstudio gives users access to over two hundred thousand high-quality +the Rijksmuseum collection.^[144] +

+ 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 âlikeâ works and compile your @@ -5878,13 +5867,13 @@ 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. -

- Users have created over 276,000 Rijksstudios, generating their own themed +

+ 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. -

- Some contemporary artists who have works in the Rijksmuseum collection +

+ 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 artistsâ works are still bound by copyright. The Rijksmuseum does encourage contemporary artists to use a @@ -5892,42 +5881,42 @@ 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. -

- The Rijksmuseum believes that art stimulates entrepreneurial activity. The -line between creative and commercial can be blurry. As Lizzy says, even +

+ 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. Theyâve even partnered with the DIY marketplace Etsy +images in Rijksstudio. Theyâve 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.^[145] -

- In 2013 the Rijksmuseum organized their first high-profile design -competition, known as the Rijksstudio Award.^[146] With the call to action Make Your Own Masterpiece, the competition +Threatened Swan.^[145] +

+ In 2013 the Rijksmuseum organized their first high-profile design +competition, known as the Rijksstudio Award.^[146] 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 â¬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.^[147] The Rijksmuseum has been thrilled +art.^[147] 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 +inspirational. The third international edition of the Rijksstudio Award started in September 2016. -

- For the next iteration of the Rijksstudio, the Rijksmuseum is considering an +

+ 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. -

- Going with a more open business model generated lots of publicity for the +

+ 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 +(that is, give free access) with high-quality images. This strategy, along with the many improvements to the Rijksmuseumâs website, dramatically increased visits to their website from thirty-five thousand visits per month to three hundred thousand. -

- The Rijksmuseum has been experimenting with other ways to invite the public +

+ 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 @@ -5937,8 +5926,8 @@ 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. -

- For the Rijksmuseum, adopting an open business model was scary. They came +

+ 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 museumâs works. But Lizzy says those fears did not come true because âninety-nine percent of people have respect for @@ -5946,39 +5935,39 @@ great art.â Many museums think they can make a lot of money by selling things related to their collection. But in Lizzyâs experience, museums are usually bad at selling things, and sometimes efforts to generate a small amount of money block something much biggerâthe real value that the -collection has. For Lizzy, clinging to small amounts of revenue is being +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 +never lose sight of its vision for the collection. Allowing access to and use of their collection has generated great promotional valueâfar more than the previous practice of charging fees for access and use. Lizzy sums up their experience: âGive away; get something in return. Generosity makes people happy to join you and help out.â -

^[143]http://www.europeana.eu/portal/en

^[144]http://www.rijksmuseum.nl/en/rijksstudio

^[145]http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe

^[146]http://www.rijksmuseum.nl/en/rijksstudio-award; the 2014 +

^[143]http://www.europeana.eu/portal/en

^[144]http://www.rijksmuseum.nl/en/rijksstudio

^[145]http://www.etsy.com/ca/listing/175696771/fringe-kimono-silk-kimono-kimono-robe

^[146]http://www.rijksmuseum.nl/en/rijksstudio-award; the 2014 award: http://www.rijksmuseum.nl/en/rijksstudio-award-2014; -the 2015 award: http://www.rijksmuseum.nl/en/rijksstudio-award-2015

^[147]http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4

CapÃtulo 22. Shareable

- Shareable is an online magazine about sharing. Founded in 2009 in the U.S. -

+the 2015 award: http://www.rijksmuseum.nl/en/rijksstudio-award-2015

^[147]http://www.rijksmuseum.nl/nl/rijksstudio/142328--nominees-rijksstudio-award/creaties/ba595afe-452d-46bd-9c8c-48dcbdd7f0a4

CapÃtulo 22. Shareable

+ Shareable is an online magazine about sharing. Founded in 2009 in the U.S. +

http://www.shareable.net

Revenue model: grant funding, crowdfunding (project-based), donations, sponsorships -

Interview date: February 24, 2016 -

Interviewee: Neal Gorenflo, cofounder and +

Interview date: February 24, 2016 +

Interviewee: Neal Gorenflo, cofounder and executive editor -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- In 2013, Shareable faced an impasse. The nonprofit online publication had + 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 âsharing economyâ we know nowâprofit-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 +Shareable to advocate for them. The magazine faced a choice: ride the wave or stand on principle. -

- As an organization, Shareable decided to draw a line in the sand. In 2013, +

+ 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 Shareableâs new critical stance on the Silicon Valley version of the sharing economy, while contrasting it with aspects of @@ -5987,55 +5976,55 @@ the real sharing economy like open-source software, participatory budgeting more. He wrote, âItâs not so much that collaborative consumption is dead, itâs more that it risks dying as it gets absorbed by the âBorg.ââ -

- Neal said their public critique of the corporate sharing economy defined +

+ 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. âWe would have gotten another type -of audience, but it would have spelled the end of us,â he +around had they chosen differently. âWe would have gotten another +type of audience, but it would have spelled the end of us,â he said. âWe are a small, mission-driven organization. We would never have been able to weather the criticism that Airbnb and Uber are getting now.â -

- Interestingly, impassioned supporters are only a small sliver of Shareableâs +

+ Interestingly, impassioned supporters are only a small sliver of Shareableâs 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 Shareableâs -credibility. Although they became detached from the corporate sharing -economy, the online magazine became the voice of the âreal sharing -economyâ and continued to grow their audience. -

- Shareable is a magazine, but the content they publish is a means to +major corporate players in the sharing space saved Shareableâs credibility. +Although they became detached from the corporate sharing economy, the online +magazine became the voice of the âreal sharing economyâ and +continued to grow their audience. +

+ 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. âAt that time, there was a sharing movement bubbling beneath the surface, but no one was connecting the -dots,â Neal said. âWe decided to step into that space and take +dots,â Neal said. âWe decided to step into that space and take on that role.â The small team behind the nonprofit publication truly believed sharing could be central to solving some of the major problems human beings faceâresource inequality, social isolation, and global warming. -

- They have worked hard to find ways to tell stories that show different +

+ They have worked hard to find ways to tell stories that show different metrics for success. âWe wanted to change the notion of what -constitutes the good life,â Neal said. While they started out with a +constitutes the good life,â Neal said. While they started out with a very broad focus on sharing generally, today they emphasize stories about the physical commons like âsharing citiesâ (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. -

- More than half of Shareableâs stories are written by paid journalists that +

+ More than half of Shareableâs stories are written by paid journalists that are contracted by the magazine. âParticularly in content areas that are a priority for us, we really want to go deep and control the quality,â 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 +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 otherâs stories. Much of the content created by the network is +promote each otherâs stories. Much of the content created by the network is licensed with Creative Commons. -

- All of Shareableâs original content is published under the Attribution +

+ All of Shareableâs 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 Shareableâs vision, mission, and identity. That alone explains the organizationâs @@ -6043,56 +6032,56 @@ embrace of the licenses for their content, but Neal also believes CC licensing helps them increase their reach. âBy using CC licensing,â he said, âwe realized we could reach far more people through a formal and informal network of republishers or -affiliates. That has definitely been the case. Itâs hard for us to measure +affiliates. That has definitely been the case. Itâs 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.â -

- In addition to their regular news and commentary online, Shareable has also +

+ 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 bookâalong with their CC-licensed guide Policies for Shareable Citiesâare two of the biggest generators of traffic on their website. -

- In 2016, Shareable self-published a book of curated Shareable stories called +

+ 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. -

- This recent book is one of many fund-raising experiments Shareable has +

+ 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 +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. -

- For Shareable, success is very much about their impact on the world. This is +

+ 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. âWe -attract passionate people,â 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. âA central part of human beings is -that we long to be on a great adventure with people we love,â he -said. âWe are a species who look over the horizon and imagine and -create new worlds, but we also seek the comfort of hearth and home.â -

- In 2013, Shareable ran its first crowdfunding campaign to launch their +attract passionate people,â 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. âA central part of human beings is that we long +to be on a great adventure with people we love,â he said. âWe +are a species who look over the horizon and imagine and create new worlds, +but we also seek the comfort of hearth and home.â +

+ 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 simpleââSit your ass in a chair and start making calls.â Thatâs 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. -

- For Neal, this symbolized how so much of success comes down to +

+ 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. -

- Shareable began hosting events in 2010. These events were designed to bring +

+ 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. âIf we wanted to go big on a conference, there was a huge risk @@ -6105,76 +6094,76 @@ 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. -

- Neal says Shareable stumbled upon this strategy, but it seems to perfectly +

+ 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. -

CapÃtulo 23. Siyavula

- Siyavula is a for-profit educational-technology company that creates +

CapÃtulo 23. Siyavula

+ Siyavula is a for-profit educational-technology company that creates textbooks and integrated learning experiences. Founded in 2012 in South Africa. -

http://www.siyavula.com

Revenue model: charging for custom services, sponsorships -

Interview date: April 5, 2016 -

Interviewee: Mark Horner, CEO -

--\begin{flushright} +

Interview date: April 5, 2016 +

Interviewee: Mark Horner, CEO +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- Openness is a key principle for Siyavula. They believe that every learner + 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. -

- In terms of creating an open business model that involves Creative Commons, +

+ In terms of creating an open business model that involves Creative Commons, Siyavulaâand its founder, Mark Hornerâhave been around the block a few times. Siyavula has significantly shifted directions and strategies to survive and prosper. Mark says itâs been very organic. -

- It all started in 2002, when Mark and several other colleagues at the +

+ 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 didnât 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. -

- As physicists, Mark and his colleagues were advocates of open-source +

+ As physicists, Mark and his colleagues were advocates of open-source software. To make the books open and free, they adopted the Free Software -Foundationâs GNU Free Documentation License.^[148] They chose LaTeX, a typesetting program used to publish scientific +Foundationâs GNU Free Documentation License.^[148] They chose LaTeX, a typesetting program used to publish scientific documents, to author the books. Over a period of five years, the Free High School Science Texts project produced math and physical-science textbooks for grades 10 to 12. -

- In 2007, the Shuttleworth Foundation offered funding support to make the +

+ 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 textbooksâ pedagogical content. This pleased both the authors and Shuttleworth; Mark remains incredibly proud of this accomplishment. -

- But the development of new textbooks froze at this stage. Mark shifted his +

+ But the development of new textbooks froze at this stage. Mark shifted his focus to rural schools, which didnât 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. -

- In 2007, Shuttleworth and the Open Society Institute convened a group of +

+ 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.^[149] Shuttleworth also invited Mark to +grow.^[149] Shuttleworth also invited Mark to run a project writing open content for all subjects for Kâ12 in English. That project became Siyavula. -

- They wrote six original textbooks. A small publishing company offered +

+ They wrote six original textbooks. A small publishing company offered Shuttleworth the option to buy out the publisherâs existing Kâ9 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. -

- Mark wanted to build out the remaining curricula collaboratively through +

+ Mark wanted to build out the remaining curricula collaboratively through communities of practiceâthat 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 @@ -6185,91 +6174,90 @@ 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. -

- Not only did Mark want the resources to be shareable, he wanted all teachers +

+ 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 theyâd acquired and authored on a platform called -Connexions.^[150] Siyavula trained many +Connexions.^[150] Siyavula trained many teachers to use Connexions, but it proved to be too complex and the textbooks were rarely edited. -

- Then the Shuttleworth Foundation decided to completely restructure its work +

+ 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 2009â10, Mark inherited Siyavula as an independent entity and took ownership over it as a Shuttleworth fellow. -

- Mark and his team experimented with several different strategies. They -tried creating an authoring and hosting platform called Full Marks so that +

+ 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. -

- Then the South African government approached Siyavula with an interest in +

+ 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. -

- They began to conceive of the six books as having massive marketing +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. +

+ 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 deviceâcomputer, tablet, or mobile phone. -

- Mark and his team began imagining what they could develop beyond what was in +

+ 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 canât 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 +that solution. Mark and his team developed practice items and detailed solutions, giving learners plenty of opportunity to test out what theyâve 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. -

- The costs for using Intelligent Practice were set very low, making it -accessible even to those with limited financial means. Siyavula was going +

+ 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. -

- The government distributed the books to 1.5 million students, but there was -an unexpected wrinkle: the books were delivered late. Rather than wait, +

+ 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 Siyavulaâs Intelligent Practice service inadvertently became low-income learners. -

- Siyavulaâs site did see a dramatic increase in traffic. They got five +

+ Siyavulaâs 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 âfeature phoneâ (a nonsmartphone with no apps). People on basic phones were reading math and science on a two-inch screen at all hours of the day. To Mark, it was quite amazing and spoke to a need they were servicing. -

- At first, the Intelligent Practice services could only be paid using a +

+ 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 +demographic, as credit cards were not prevalent. Mark says Siyavula got a harsh business-model lesson early on. As he describes it, itâs not just about product, but how you sell it, who the market is, what the price is, and what the barriers to entry are. -

- Mark describes this as the first version of Siyavulaâs business model: open +

+ Mark describes this as the first version of Siyavulaâs 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. -

- For Mark a key decision for Siyavulaâs business was to focus on how they can +

+ For Mark a key decision for Siyavulaâs business was to focus on how they can add value on top of their basic service. Theyâll charge only if they are adding unique value. The actual content of the textbook isnât 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. -

- Version two of Siyavulaâs business model was a big, ambitious ideaâscale +

+ Version two of Siyavulaâs business model was a big, ambitious ideaâscale 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 @@ -6277,41 +6265,41 @@ 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. -

- Teachers get a dashboard that allows them to monitor the progress of an +

+ Teachers get a dashboard that allows them to monitor the progress of an entire class or view an individual learnerâs 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 theyâve practiced, how many points theyâve earned, and how their performance is improving. -

- Based on the success of this effort, Siyavula decided to substantially +

+ 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. -

- In partnership with, and sponsored by, the Sasol Inzalo Foundation, Siyavula +

+ 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.^[151] Itâs a complete curriculum that also comes with +to 6 called Thunderbolt Kids that uses a fun comic-book style.^[151] Itâs a complete curriculum that also comes with teacherâs guides and other resources. -

- Through this experience, Siyavula learned they could get sponsors to help +

+ 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. -

- The Siyavula books that are reviewed, approved, and branded by the +

+ The Siyavula books that are reviewed, approved, and branded by the government are freely and openly available on Siyavulaâs website under an -Attribution-NoDerivs license (CC BY-ND) âNoDerivs means that these books -cannot be modified. Non-government-branded books are available under an +Attribution-NoDerivs license (CC BY-ND) âNoDerivs means that these books +cannot be modified. Non-government-branded books are available under an Attribution license (CC BY), allowing others to modify and redistribute the books. -

- Although the South African government paid to print and distribute hard +

+ 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 US35Â¢). With those funds, Mark @@ -6319,22 +6307,22 @@ 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. -

- Using Siyavula books generated huge savings for the government. Providing +

+ 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. -

- Just as Siyavula was planning to scale up the production of open textbooks +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. +

+ 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 Siyavulaâs would be chosen. This scared away potential sponsors. -

- Rather than producing more textbooks, Siyavula focused on improving its +

+ Rather than producing more textbooks, Siyavula focused on improving its Intelligent Practice technology for its existing books. Mark calls this version three of Siyavulaâs business modelâfocusing on the technology that provides the revenue-generating service and generating more users of this @@ -6342,19 +6330,19 @@ 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. -

- Mark says sales are way up, and they are really nailing Intelligent +

+ 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. -

- Siyavula is exploring a range of enhancements to their business model. These +

+ 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. -

- Siyavula is a for-profit business but one with a social mission. Their +

+ Siyavula is a for-profit business but one with a social mission. Their shareholdersâ agreement lists lots of requirements around openness for Siyavula, including stipulations that content always be put under an open license and that they canât charge for something that people volunteered to @@ -6365,100 +6353,100 @@ 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. -

^[148]http://www.gnu.org/licenses/fdl

^[149]http://www.capetowndeclaration.org

^[150]http://cnx.org

^[151]http://www.siyavula.com/products-primary-school.html

CapÃtulo 24. SparkFun

- SparkFun is an online electronics retailer specializing in open +

^[148]http://www.gnu.org/licenses/fdl

^[149]http://www.capetowndeclaration.org

^[150]http://cnx.org

^[151]http://www.siyavula.com/products-primary-school.html

CapÃtulo 24. SparkFun

+ SparkFun is an online electronics retailer specializing in open hardware. Founded in 2003 in the U.S. -

http://www.sparkfun.com

Revenue model: charging for physical copies (electronics sales) -

Interview date: February 29, 2016 -

Interviewee: Nathan Seidle, founder -

--\begin{flushright} +

Interview date: February 29, 2016 +

Interviewee: Nathan Seidle, founder +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- SparkFun founder and former CEO Nathan Seidle has a picture of himself + 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. -

âBeing copied is the greatest earmark of flattery and success,â +

âBeing copied is the greatest earmark of flattery and success,â Nathan said. âI 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.â -

- This worldview runs through everything SparkFun does. SparkFun is an +

+ 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. -

- Nathan believes open licensing is good for the world. âIt touches on +

+ Nathan believes open licensing is good for the world. âIt touches on our natural human instinct to share,â 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 +twelve weeks of release. This forces the company to compete on something other than product design, or what most commonly consider their intellectual property. -

âWe compete on business principles,â Nathan said. +

âWe compete on business principles,â Nathan said. âClaiming 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.â -

- The result is an intense company-wide focus on product development and +

+ The result is an intense company-wide focus on product development and improvement. âOur products are so much better than they were five -years ago,â Nathan said. âWe used to just sell products. Now +years ago,â Nathan said. âWe used to just sell products. Now itâs 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, itâs better for the customers.â -

- SparkFun parts are available on eBay for lower prices. But people come +

+ 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. âI donât believe businesses should be competing with IP [intellectual property] barriers,â Nathan said. âThis is the stuff they should be competing on.â -

- SparkFunâs company history began in Nathanâs college dorm room. He spent a +

+ SparkFunâs company history began in Nathanâs college dorm room. He spent a lot of time experimenting with and building electronics, and he realized -there was a void in the market. âIf you wanted to place an order for +there was a void in the market. âIf you wanted to place an order for something,â he said, âyou first had to search far and wide to find it, and then you had to call or fax someone.â In 2003, during his third year of college, he registered http://sparkfun.com and started reselling products out of his bedroom. After he graduated, he started making and selling his own products. -

- Once he started designing his own products, he began putting the software +

+ 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 âhuman-readable deedsâ that explain the -licensing terms in simple terms. SparkFun still uses CC licenses for all of +licensing terms in simple terms. SparkFun still uses CC licenses for all of the schematics and firmware for the products they create. -

- The company has grown from a solo project to a corporation with 140 +

+ 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 SparkFunâs business. They sell their own products, but they also partner with Arduino (also profiled in this book) by manufacturing boards for resale using Arduinoâs brand. -

- SparkFun also has an educational department dedicated to creating a hands-on +

+ 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. -

âWe have the burden and opportunity to educate the next generation of -technical citizens,â Nathan said. âOur goal is to affect the +

âWe have the burden and opportunity to educate the next generation of +technical citizens,â Nathan said. âOur goal is to affect the lives of three hundred and fifty thousand high school students by 2020.â -

- The Creative Commons license underlying all of SparkFunâs products is +

+ The Creative Commons license underlying all of SparkFunâs 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 @@ -6466,16 +6454,16 @@ uses the Attribution-ShareAlike license (CC BY-SA), which is a âcopyleftâ 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. -

- 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 +

+ 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. -

- The public event, called the Autonomous Vehicle Competition, brings in a +

+ 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 @@ -6486,22 +6474,22 @@ employees donât,â he said. ââ The event infuses their work with a human element, which makes it more meaningful. -

- Nathan has worked hard to imbue a deeper meaning into the work SparkFun +

+ 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. âProfit is not the goal; it is the outcome of a well-executed plan,â Nathan -said. âWe focus on having a bigger impact on the world.â Nathan -believes they get some of the brightest and most amazing employees because -they arenât singularly focused on the bottom line. -

- The company is committed to transparency and shares all of its financials +said. âWe focus on having a bigger impact on the world.â +Nathan believes they get some of the brightest and most amazing employees +because they arenât singularly focused on the bottom line. +

+ 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 donât find only unchanging content. -

- SparkFunâs customer base is largely made up of industrious electronics +

+ SparkFunâs customer base is largely made up of industrious electronics enthusiasts. They have customers who are regularly involved in the companyâs customer support, independently responding to questions in forums and product-comment sections. Customers also bring product ideas to the @@ -6510,25 +6498,25 @@ tries to build on them where they can. ââCustomers would identify a pain point, and we would design something to address it.â -

- However, this sort of customer engagement does not always translate to -people actively contributing to SparkFunâs projects. The company has a +

+ However, this sort of customer engagement does not always translate to +people actively contributing to SparkFunâs 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. âThere is a theory that if you -open-source it, they will come,â Nathan said. âThatâs not +open-source it, they will come,â Nathan said. âThatâs not really true.â -

- Rather than focusing on cocreation with their customers, SparkFun instead +

+ 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. âWhat gives me joy is when people take open-source +independently. âWhat gives me joy is when people take open-source layouts and then build their own circuit boards from our designs,â Nathan said. -

- Obviously, opening up the design of their products is a necessary step if +

+ 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 @@ -6538,27 +6526,27 @@ 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. -

CapÃtulo 25. TeachAIDS

- TeachAIDS is a nonprofit that creates educational materials designed to +

CapÃtulo 25. TeachAIDS

+ TeachAIDS is a nonprofit that creates educational materials designed to teach people around the world about HIV and AIDS. Founded in 2005 in the U.S. -

http://teachaids.org

Revenue model: sponsorships -

Interview date: March 24, 2016 -

Interviewees: Piya Sorcar, the CEO, and +

Interview date: March 24, 2016 +

Interviewees: Piya Sorcar, the CEO, and Shuman Ghosemajumder, the chair -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- TeachAIDS is an unconventional media company with a conventional revenue + 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. -

- But unlike most media companies, Teach-AIDS is a nonprofit organization with +

+ 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 @@ -6568,14 +6556,14 @@ 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. -

- 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 +

+ 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 +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 @@ -6585,8 +6573,8 @@ 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. -

- In late 2005, Piya and her team used research-based design to create new +

+ 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, Piyaâs team started receiving requests from individuals and governments who were @@ -6595,39 +6583,39 @@ 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,â Piya said. -

- Very shortly after the initial release, Piyaâs team decided to spin the +

+ Very shortly after the initial release, Piyaâs 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. -

- 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. âWe wanted attribution for -TeachAIDS, and we couldnât stand by derivatives without vetting -them,â the cofounder and chair Shuman Ghosemajumder said. âIt +

+ 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. âWe wanted attribution +for TeachAIDS, and we couldnât stand by derivatives without vetting +them,â the cofounder and chair Shuman Ghosemajumder said. âIt 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.â -

- Choosing a license that does not allow adaptation of the content was an +

+ 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. âCreating high-quality content is what matters most to us,â Piya said. âResearch drives everything we do.â -

- One important finding was that people accept the message best when it comes +

+ 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. -

- Localization is probably the single-most important aspect of the way +

+ 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 @@ -6638,8 +6626,8 @@ 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. -

- The localization process relies heavily on volunteers. Their volunteer base +

+ 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 @@ -6651,35 +6639,36 @@ 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. -

- TeachAIDS employs full-time employees, contractors, and volunteers, all in +

+ 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. âIn our research, we -found we canât depend on people passing on the information correctly, even -if they have the best of intentions,â Piya said. âWe need -materials where you can push play and they will work.â -

- Piyaâs team was able to produce all of these versions over several years +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. âIn our +research, we found we canât depend on people passing on the information +correctly, even if they have the best of intentions,â Piya +said. âWe need materials where you can push play and they will +work.â +

+ Piyaâs 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 +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. âEducators from various nonprofits around the world were just -creating their own materials using whatever they could find for free -online,â Shuman said. âThe only way to persuade them to use our -highly effective model was to make it completely free.â -

- Like many content creators offering their work for free, they settled on +materials. Charging even a low price was simply not an option. +âEducators from various nonprofits around the world were just creating +their own materials using whatever they could find for free online,â +Shuman said. âThe only way to persuade them to use our highly +effective model was to make it completely free.â +

+ 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 @@ -6687,99 +6676,99 @@ 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. -

- TeachAIDS is careful not to seek funding to cover the costs of a specific +

+ 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. âIf we just created versions based on where we +area with no sponsors. âIf we just created versions based on where we could get sponsorships, we would only have materials for wealthier countries,â Shuman said. -

- As of 2016, TeachAIDS has dozens of sponsors. âWhen we go into a new +

+ As of 2016, TeachAIDS has dozens of sponsors. âWhen we go into a new country, various companies hear about us and reach out to us,â Piya said. âWe donât have to do much to find or attract them.â They believe the sponsorships are easy to sell because they offer so much value -to sponsors. TeachAIDS sponsorships give corporations the chance to reach +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. -

- Importantly, the value to corporate sponsors goes beyond commercial +

+ 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. âThis is something companies can be proud of internally,â Shuman said. Some companies have even built publicity campaigns around the fact that they have sponsored these initiatives. -

- The core mission of TeachAIDSâensuring global access to life-saving +

+ The core mission of TeachAIDSâensuring global access to life-saving educationâis 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. âThe Creative Commons license has been a game changer for TeachAIDS,â Piya said. -

CapÃtulo 26. Tribe of Noise

- Tribe of Noise is a for-profit online music platform serving the film, TV, -video, gaming, and in-store-media industries. Founded in 2008 in the +

CapÃtulo 26. Tribe of Noise

+ Tribe of Noise is a for-profit online music platform serving the film, TV, +video, gaming, and in-store-media industries. Founded in 2008 in the Netherlands. -

http://www.tribeofnoise.com

Revenue model: charging a transaction fee -

Interview date: January 26, 2016 -

Interviewee: Hessel van Oorschot, +

Interview date: January 26, 2016 +

Interviewee: Hessel van Oorschot, cofounder -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Paul Stacey - } + Profile written by Paul Stacey + } \end{flushright}

- In the early 2000s, Hessel van Oorschot was an entrepreneur running a + 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. -

- In 2005, Hessel and Sandra Brandenburg launched a niche video-production +

+ 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. -

- They hired two lawyers to investigate further, and while they uncovered five +

+ 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, âWhen lawyers are interested in a venture like this, you might have something special.â So after some more research, in early 2008, Hessel and Sandra decided to build a platform. -

- Building a platform posed a real chicken-and-egg problem. The platform had +

+ 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. -

- In July 2008, Tribe of Noise opened its virtual doors with a couple hundred +

+ 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. -

- As they were growing the community, Hessel got a phone call from a company +

+ 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.^[152] -

- In most countries, artists, authors, and musicians join a collecting society +uploaded by the Tribe of Noise community of musicians.^[152] +

+ 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 @@ -6795,8 +6784,8 @@ primarily work with unknown artists and provide them exposure in parts of the world where they donât get airtime normally and a source of revenueâand this convinced them that it was OK. However, Hessel says, âWe are still fighting for a good cause every single day.â -

- Instead of building a large sales force, Tribe of Noise partnered with big +

+ 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 Tribeâs In-store Music Service subscriptions to their business @@ -6806,32 +6795,31 @@ restaurants in the country. Hessel hopes to â^[153] -

- Tribe of Noise has another model that does not involve Creative Commons. In +month.^[153] +

+ 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 +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. -

- Hesselâs legal team took this feedback and created a second model and +

+ Hesselâs 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 arenât Creative Commons licensed; Tribe of Noise has instead created a ânonexclusive exploitationâ contract, similar @@ -6839,42 +6827,42 @@ 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. -

- Tribe of Noise Pro is primarily geared toward media makers who are looking +

+ Tribe of Noise Pro is primarily geared toward media makers who are looking for music. If they buy a license from this catalog, they donât 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 +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. -

- Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and +

+ Lots of Tribe of Noise musicians upload songs to both Tribe of Noise Pro and the community area of Tribe of Noises. There arenât that many artists who upload only to Tribe of Noise Pro, which has a smaller repertoire of music than the community area. -

- Hessel sees the two as complementary. Both are needed for the model to +

+ 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 +create exposure, and generate money. And after that, musicians may become more interested in exploring other models like Tribe of Noise Pro. -

- Every musician who joins Tribe of Noise gets their own home page and free +

+ 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 +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. -

- Another way Tribe of Noise creates community and interest is with contests, +

+ 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. -

- Tribe of Noise now has twenty-seven thousand members from 192 countries, and +

+ 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 @@ -6883,8 +6871,8 @@ 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. -

- Itâs not uncommon for performance-rights organizations, record labels, or +

+ Itâs 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 @@ -6897,8 +6885,8 @@ 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. -

- For Hessel the key to Tribe of Noiseâs success is trust. The fact that +

+ For Hessel the key to Tribe of Noiseâs 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 @@ -6906,33 +6894,33 @@ 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 thatâs based on trust. -

^[152]http://www.instoremusicservice.com

^[153]http://www.tribeofnoise.com/info_instoremusic.php

CapÃtulo 27. Wikimedia Foundation

- The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia +

^[152]http://www.instoremusicservice.com

^[153]http://www.tribeofnoise.com/info_instoremusic.php

CapÃtulo 27. Wikimedia Foundation

+ The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia and its sister projects. Founded in 2003 in the U.S. -

http://wikimediafoundation.org

Revenue model: donations -

Interview date: December 18, 2015 -

Interviewees: Luis Villa, former Chief +

Interview date: December 18, 2015 +

Interviewees: Luis Villa, former Chief Officer of Community Engagement, and Stephen LaPorte, legal counsel -

--\begin{flushright} +

--\begin{flushright} \textit{ - Profile written by Sarah Hinchliff Pearson - } + Profile written by Sarah Hinchliff Pearson + } \end{flushright}

- Nearly every person with an online presence knows Wikipedia. -

- In many ways, it is the preeminent open project: The online encyclopedia is + Nearly every person with an online presence knows Wikipedia. +

+ 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. -

- As of December 2016, there were more than forty-two million articles in the +

+ As of December 2016, there were more than forty-two million articles in the 295 language editions of the online encyclopedia, according toâwhat else?âthe Wikipedia article about Wikipedia. -

- The Wikimedia Foundation is a U.S.-based nonprofit organization that owns +

+ 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 @@ -6943,30 +6931,30 @@ 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. -

- As Wikimedia legal counsel Stephen LaPorte told us, âThere is a common +

+ As Wikimedia legal counsel Stephen LaPorte told us, âThere is a common saying that Wikipedia works in practice but not in theory.â While it undoubtedly has its challenges and flaws, Wikipedia and its sister projects are a striking testament to the power of human collaboration. -

- 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 +

+ 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 successfulâcommunity, transparency, a strong mission, trustâare consistent with what it takes to be successfully Made with Creative Commons more generally. With Wikipedia, everything just happens at an unprecedented scale. -

- The story of Wikipedia has been told many times. For our purposes, it is +

+ 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 +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 +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. -

- The nature of the content the community creates is ideal for asynchronous +

+ The nature of the content the community creates is ideal for asynchronous cocreation. âAn encyclopedia is something where incremental community improvement really works,â Luis Villa, former Chief Officer of Community Engagement, told us. The rules and processes that govern @@ -6984,8 +6972,8 @@ 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 foundationâs budget went to direct support for the Wikimedia sites. -

- Some of that is directed at servers and general IT support, but the +

+ 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. âThere is a constantly evolving system to keep the balance in place to avoid Wikipedia @@ -6997,18 +6985,18 @@ to having any healthy community is bringing back the right people,ââVandals tend to get bored and go away. That is partially our model working, and partially just human nature.â Most of the time, people want to do the right thing. -

- Wikipedia not only relies on good behavior within its community and on its +

+ 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, âBeing open has only made -Wikipedia bigger and stronger. The desire to protect is not always what is +Wikipedia bigger and stronger. The desire to protect is not always what is best for everyone.â -

- Of course, the primary reason no one has successfully co-opted Wikipedia is +

+ 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 topicâit is also a global patchwork of humans working together @@ -7019,310 +7007,310 @@ explanation. âIn a movement as large a diversity of motivations,â 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.^[154] Only a fraction of Wikipedia +times.^[154] Only a fraction of Wikipedia users are also editors. But editing is not the only way to contribute to Wikipedia. âSome donate text, some donate images, some donate financially,â Stephen told us. âThey are all contributors.â -

- But the vast majority of us who use Wikipedia are not contributors; we are +

+ 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. -

- The foundation has a fund-raising team that works year-round to raise money, +

+ 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. -

- The vision of the Wikimedia Foundation is a world in which every single +

+ 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. -

- The philosophy behind the endeavor also enables the foundation to be +

+ 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. -

- Any given edit on Wikipedia could be motivated by nearly an infinite number +

+ 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. âWikipedia is an example of how a mission can +community together. âWikipedia is an example of how a mission can motivate an entire movement,â Stephen told us. -

- Of course, what results from that movement is one of the Internetâs great +

+ Of course, what results from that movement is one of the Internetâs great public resources. âThe Internet has a lot of businesses and stores, but it is missing the digital equivalent of parks and open public -spaces,â Stephen said. âWikipedia has found a way to be that +spaces,â Stephen said. âWikipedia has found a way to be that open public space.â -

^[154]http://gimletmedia.com/episode/14-the-art-of-making-and-fixing-mistakes/

\chapter*{Bibliography}\addcontentsline{toc}{chapter}{Bibliography}

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\chapter*{Acknowledgments}\addcontentsline{toc}{chapter}{Acknowledgments}

- We extend special thanks to Creative Commons CEO Ryan Merkley, the Creative +

\chapter*{Acknowledgments}\addcontentsline{toc}{chapter}{Acknowledgments}

+ 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. -

- Huge appreciation to all the Made with Creative Commons interviewees for -sharing their stories with us. You make the commons come alive. Thanks for +

+ 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. -

- We interviewed more than the twenty-four organizations profiled in this +

+ 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. -

- This book was made possible by the generous support of 1,687 Kickstarter +

+ 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. -

- Co-editor Kickstarter backers (alphabetically by first name): Abraham +

+ 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, @@ -7366,8 +7354,8 @@ TimothÃ©e PlantÃ©, 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 -

- All other Kickstarter backers (alphabetically by first name): A. Lee, Aaron +

+ 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, @@ -7378,7 +7366,7 @@ 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 +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, Ãlvaro Justen, Amanda Palmer, Amanda Wetherhold, Amit Bagree, Amit Tikare, @@ -7449,35 +7437,35 @@ 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 +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.Â Braddlee, Drew Spencer, Duncan Sample, Durand Dâsouza, 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, Ãtienne 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 HÃ¤hnel, Florian Schneider, Floyd Wilde, Foxtrot -Games, Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois -Grey, FranÃ§ois Gros, FranÃ§ois Pelletier, Fred Benenson, FrÃ©dÃ©ric Abella, -FrÃ©dÃ©ric SchÃ¼tz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel -Staples, Gabriel VÃ©jar Valenzuela, Gal Buki, Gareth Jordan, Garrett Heath, -Gary Anson, Gary Forster, Gatien de Broucker, Gaurav Kapil, Gauthier de +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 Dâsouza, 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, Ãtienne 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 HÃ¤hnel, Florian Schneider, Floyd Wilde, Foxtrot Games, +Francis Clarke, Francisco Rivas-Portillo, Francois Dechery, Francois Grey, +FranÃ§ois Gros, FranÃ§ois Pelletier, Fred Benenson, FrÃ©dÃ©ric Abella, FrÃ©dÃ©ric +SchÃ¼tz, Fredrik Ekelund, Fumi Yamazaki, Gabor Sooki-Toth, Gabriel Staples, +Gabriel VÃ©jar 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, @@ -7502,135 +7490,134 @@ 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 CarrÃ©, 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, JÃ©rÃ´me Mizeret, -Jessica Dickinson Goodman, Jessica Litman, Jessica Mackay, Jessy Kate -Schingler, JesÃºs LongÃ¡s Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim -OâFlaherty, Jim Pellegrini, Jim Tittsler, Jimmy Alenius, JiÅÃ Marek, Jo -Allum, Joachim Brandon LeBlanc, Joachim Pileborg, Joachim von Goetz, Joakim -Bang Larsen, Joan Rieu, Joanna Penn, JoÃ£o Almeida, Jochen Muetsch, Jodi -Sandfort, Joe Cardillo, Joe Carpita, Joe Moross, Joerg Fricke, Johan Adda, -Johan Meeusen, Johannes FÃ¶rstner, 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 Ãberg, Jonas Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan -Holst, Jonathan Lin, Jonathan Schmid, Jonathan Yao, Jordon Kalilich, JÃ¶rg -Schwarz, Jose Antonio Gallego VÃ¡zquez, 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 HellÃ©n, Julia Benson-Slaughter, -Julia Devonshire, Julian Fietkau, Julie Harboe, Julien Brossoit, Julien -Leroy, Juliet Chen, Julio Terra, Julius MikkelÃ¤, Justin Christian, Justin -Grimes, Justin Jones, Justin Szlasa, Justin Walsh, JustinChung.com, K. J. -Przybylski, Kaloyan Raev, Kamil Åliwowski, 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 -lâAzin, 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 HÃ¥varstein, Maira Sutton, Mairi Thomson, Mandy -Wultsch, Manickkavasakam Rajasekar, Marc Bogonovich, Marc Harpster, Marc -MartÃ, Marc Olivier Bastien, Marc Stober, Marc-AndrÃ© 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 KjÃ¦rgaard, 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, MÃ©dÃ©ric 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, MichaÅ SzymaÅski, 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, MikoÅaj -Podlaszewski, Millie Gonzalez, Mindi Lovell, Mindy Lin, Mirko -âMacroâ Fichtner, Mitch Featherston, Mitchell Adams, Molika -Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan Loomis, Moritz -Schubert, Mrs.Â 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. GobÃ©e, Ohad Mayblum, -Olivia Wilson, Olivier De Doncker, Olivier Schulbaum, Olle Ahnve, Omar -Kaminski, Omar Willey, OpenBuilds, Ove ÃdegÃ¥rd, Ãystein KjÃ¦rnet, Pablo LÃ³pez -Soriano, Pablo Vasquez, Pacific Design, Paige Mackay, Papp IstvÃ¡n PÃ©ter, -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 DostÃ¡l, Peeter SÃ¤llstrÃ¶m -Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny Pearson, Per ÃstrÃ¶m, Perry -Jetter, PÃ©ter Fankhauser, Peter Hirtle, Peter Humphries, Peter Jenkins, -Peter Langmar, Peter le Roux, Peter Marinari, Peter Mengelers, Peter -OâBrien, 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, RaphaÃ«l Alexandre, RaphaÃ«l -SchrÃ¶der, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca Godar, -Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, Rich -McCue, Richard âTalkToMeGuyâ Olson, Richard Best, Richard +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 CarrÃ©, 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, JÃ©rÃ´me Mizeret, Jessica Dickinson +Goodman, Jessica Litman, Jessica Mackay, Jessy Kate Schingler, JesÃºs LongÃ¡s +Gamarra, Jesus Marin, Jim Matt, Jim Meloy, Jim OâFlaherty, Jim Pellegrini, +Jim Tittsler, Jimmy Alenius, JiÅÃ Marek, Jo Allum, Joachim Brandon LeBlanc, +Joachim Pileborg, Joachim von Goetz, Joakim Bang Larsen, Joan Rieu, Joanna +Penn, JoÃ£o Almeida, Jochen Muetsch, Jodi Sandfort, Joe Cardillo, Joe +Carpita, Joe Moross, Joerg Fricke, Johan Adda, Johan Meeusen, Johannes +FÃ¶rstner, 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 Ãberg, Jonas +Weitzmann, Jonathan Campbell, Jonathan Deamer, Jonathan Holst, Jonathan Lin, +Jonathan Schmid, Jonathan Yao, Jordon Kalilich, JÃ¶rg Schwarz, Jose Antonio +Gallego VÃ¡zquez, 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 HellÃ©n, Julia Benson-Slaughter, Julia Devonshire, +Julian Fietkau, Julie Harboe, Julien Brossoit, Julien Leroy, Juliet Chen, +Julio Terra, Julius MikkelÃ¤, Justin Christian, Justin Grimes, Justin Jones, +Justin Szlasa, Justin Walsh, JustinChung.com, K. J. Przybylski, Kaloyan +Raev, Kamil Åliwowski, 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 lâAzin, 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 +HÃ¥varstein, Maira Sutton, Mairi Thomson, Mandy Wultsch, Manickkavasakam +Rajasekar, Marc Bogonovich, Marc Harpster, Marc MartÃ, Marc Olivier Bastien, +Marc Stober, Marc-AndrÃ© 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 KjÃ¦rgaard, 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, MÃ©dÃ©ric 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, MichaÅ SzymaÅski, 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, MikoÅaj Podlaszewski, Millie Gonzalez, Mindi +Lovell, Mindy Lin, Mirko âMacroâ Fichtner, Mitch Featherston, +Mitchell Adams, Molika Oum, Molly Shaffer Van Houweling, Monica Mora, Morgan +Loomis, Moritz Schubert, Mrs.Â 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. GobÃ©e, Ohad Mayblum, Olivia Wilson, Olivier De Doncker, Olivier +Schulbaum, Olle Ahnve, Omar Kaminski, Omar Willey, OpenBuilds, Ove ÃdegÃ¥rd, +Ãystein KjÃ¦rnet, Pablo LÃ³pez Soriano, Pablo Vasquez, Pacific Design, Paige +Mackay, Papp IstvÃ¡n PÃ©ter, 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 DostÃ¡l, Peeter SÃ¤llstrÃ¶m Randsalu, Peggy Frith, Pen-Yuan Hsing, Penny +Pearson, Per ÃstrÃ¶m, Perry Jetter, PÃ©ter Fankhauser, Peter Hirtle, Peter +Humphries, Peter Jenkins, Peter Langmar, Peter le Roux, Peter Marinari, +Peter Mengelers, Peter OâBrien, 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, RaphaÃ«l Alexandre, +RaphaÃ«l SchrÃ¶der, Rasmus Jensen, Rayn Drahps, Rayna Stamboliyska, Rebecca +Godar, Rebecca Lendl, Rebecca Weir, Regina Tschud, Remi Dino, Ric Herrero, +Rich McCue, Richard âTalkToMeGuyâ 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, @@ -7669,7 +7656,7 @@ MeiÃl, StÃ©phane 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-JÃ¸rund B. Ã. Arnesen, Stuart Drewer, Stuart +Knudsen, Steven Melvin, Stig-JÃ¸rund B. Ã. Arnesen, Stuart Drewer, Stuart Maxwell, Stuart Reich, Subhendu Ghosh, Sujal Shah, Sune BÃ¸egh, Susan Chun, Susan R Grossman, Suzie Wiley, Sven Fielitz, Swan/Starts, Sylvain Carle, Sylvain Chery, Sylvia Green, Sylvia van Bruggen, Szabolcs Berecz, @@ -7699,4 +7686,4 @@ 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 -

Feito com Creative Commons

Paul Stacey

Sarah Hinchliff Pearson

PrefÃ¡cio

IntroduÃ§Ã£o

ParteÂ I.Â O Quadro Geral

CapÃ­tulo 1. O Novo Mundo dos Comuns Digitais

Os Comuns, o Mercado e o Estado

Os Comuns, o Mercado e o Estado

Os Quatro Aspectos de um Recurso

Os Quatro Aspectos de um Recurso

CaracterÃ­sticas

CaracterÃ­sticas

Pessoas e processos

Pessoas e processos

Normas e regras

Normas e regras

Objetivos

Objetivos

Uma Breve HistÃ³ria dos Comuns

Uma Breve HistÃ³ria dos Comuns

A RevoluÃ§Ã£o Digital

A RevoluÃ§Ã£o Digital

O Nascimento da Creative Commons

O Nascimento da Creative Commons

O Mercado em MudanÃ§a

O Mercado em MudanÃ§a

BenefÃ­cios do Comum Digital

BenefÃ­cios do Comum Digital

Nossos estudos de caso

Nossos estudos de caso

CapÃ­tulo 2. Como ser Feito com Creative Commons

CapÃ­tulo 2. Como ser Feito com Creative Commons

Problem Zero: Getting Discovered

Problema zero: ser descoberto

Use CC to grow a larger audience

Usar CC para criar uma audiÃªncia grande

Use CC to get attribution and name recognition

Usar CC para obter atribuiÃ§Ã£o e reconhecimento de nome

Use CC-licensed content as a marketing tool

Usar conteÃºdo licenciado por CC como ferramenta de marketing

Use CC to enable hands-on engagement with your work

Use CC to differentiate yourself

Usar CC para permitir o envolvimento prÃ¡tico com seu trabalho

Usar CC para se diferenciar

Making Money

Fazendo dinheiro

Market-based revenue streams

Fluxos de receita com base no mercado

Providing a custom service to consumers of your work [MARKET-BASED]

Charging for the physical copy [MARKET-BASED]

Charging for the physical copy [MARKET-BASED]

Charging for the in-person version [MARKET-BASED]

Charging for the in-person version [MARKET-BASED]

Selling merchandise [MARKET-BASED]

Selling merchandise [MARKET-BASED]

Charging advertisers or sponsors [MARKET-BASED]

Charging advertisers or sponsors [MARKET-BASED]

Charging your content creators [MARKET-BASED]

Charging your content creators [MARKET-BASED]

Charging a transaction fee [MARKET-BASED]

Charging a transaction fee [MARKET-BASED]

Providing a service to your creators [MARKET-BASED]

Providing a service to your creators [MARKET-BASED]

Licensing a trademark [MARKET-BASED]

Licensing a trademark [MARKET-BASED]

Reciprocity-based revenue streams

Reciprocity-based revenue streams

Memberships and individual donations +on an even-steven exchange of value.[77] +

Memberships and individual donations [RECIPROCITY-BASED]

The pay-what-you-want model [RECIPROCITY-BASED]

The pay-what-you-want model [RECIPROCITY-BASED]

Crowdfunding [RECIPROCITY-BASED]

Crowdfunding [RECIPROCITY-BASED]

Making Human Connections

Making Human Connections

Be human

Be human

Be open and accountable

Be open and accountable

CapÃtulo 1. O Novo Mundo dos Comuns Digitais

CaracterÃsticas

CaracterÃsticas

BenefÃcios do Comum Digital

BenefÃcios do Comum Digital

CapÃtulo 2. Como ser Feito com Creative Commons

CapÃtulo 2. Como ser Feito com Creative Commons

Memberships and individual donations +on an even-steven exchange of value.^[77] +

CapÃtulo 3. The Creative Commons Licenses

CapÃtulo 3. The Creative Commons Licenses

CapÃtulo 4. Arduino

CapÃtulo 4. Arduino

CapÃtulo 5. Ãrtica

CapÃtulo 5. Ãrtica

CapÃtulo 6. Blender Institute

CapÃtulo 6. Blender Institute

CapÃtulo 7. Cards Against Humanity

CapÃtulo 7. Cards Against Humanity

CapÃtulo 8. The Conversation

CapÃtulo 8. The Conversation

CapÃtulo 9. Cory Doctorow

CapÃtulo 9. Cory Doctorow

CapÃtulo 10. Figshare

CapÃtulo 10. Figshare

CapÃtulo 11. Figure.NZ

CapÃtulo 11. Figure.NZ

CapÃtulo 12. Knowledge Unlatched

CapÃtulo 12. Knowledge Unlatched

CapÃtulo 13. Lumen Learning

CapÃtulo 13. Lumen Learning

CapÃtulo 14. Jonathan Mann

CapÃtulo 14. Jonathan Mann

CapÃtulo 15. Noun Project

CapÃtulo 15. Noun Project

CapÃtulo 16. Open Data Institute

CapÃtulo 16. Open Data Institute

CapÃtulo 17. OpenDesk

CapÃtulo 17. OpenDesk

CapÃtulo 18. OpenStax

CapÃtulo 18. OpenStax

CapÃtulo 19. Amanda Palmer

CapÃtulo 19. Amanda Palmer

CapÃtulo 20. PLOS (Public Library of Science)

CapÃtulo 20. PLOS (Public Library of Science)

CapÃtulo 21. Rijksmuseum

CapÃtulo 21. Rijksmuseum

CapÃtulo 22. Shareable

CapÃtulo 22. Shareable

CapÃtulo 23. Siyavula

CapÃtulo 23. Siyavula

CapÃtulo 24. SparkFun

CapÃtulo 24. SparkFun

CapÃtulo 25. TeachAIDS

CapÃtulo 25. TeachAIDS

CapÃtulo 26. Tribe of Noise

CapÃtulo 26. Tribe of Noise

CapÃtulo 27. Wikimedia Foundation

CapÃtulo 27. Wikimedia Foundation