From: Petter Reinholdtsen Date: Fri, 3 Dec 2021 07:34:21 +0000 (+0100) Subject: Updated the Brazilian Portuguese (pt_BR) proof reading HTML page. X-Git-Url: https://pere.pagekite.me/gitweb/text-madewithcc.git/commitdiff_plain/80f50d01fc40521c9058bc1980334c947fb0b808?ds=sidebyside Updated the Brazilian Portuguese (pt_BR) proof reading HTML page. --- diff --git a/public/MadewithCreativeCommonsmostup-to-dateversion.pt_BR.html b/public/MadewithCreativeCommonsmostup-to-dateversion.pt_BR.html index 80f90eb..7351ffe 100644 --- a/public/MadewithCreativeCommonsmostup-to-dateversion.pt_BR.html +++ b/public/MadewithCreativeCommonsmostup-to-dateversion.pt_BR.html @@ -13,7 +13,7 @@ razoavelmente mediano, prestar mais atenção e pensar muito mais longamente sobre todos os tipos de coisas diferentes do que a maioria de nós tem chance de fazer em nossas vidas diárias.

  --\begin{flushright} \textit{ David Foster Wallace } - \end{flushright}

Índice

Prefácio
Introdução
I. O Quadro Geral
1. O Novo Mundo dos Comuns Digitais
2. How to Be Made with Creative Commons
3. The Creative Commons Licenses
II. The Case Studies
4. Arduino
5. Ártica
6. Blender Institute
7. Cards Against Humanity
8. The Conversation
9. Cory Doctorow
10. Figshare
11. Figure.NZ
12. Knowledge Unlatched
13. Lumen Learning
14. Jonathan Mann
15. Noun Project
16. Open Data Institute
17. OpenDesk
18. OpenStax
19. Amanda Palmer
20. PLOS (Public Library of Science)
21. Rijksmuseum
22. Shareable
23. Siyavula
24. SparkFun
25. TeachAIDS
26. Tribe of Noise
27. Wikimedia Foundation
A. Bibliography
B. Acknowledgments

Lista de Figuras

1.1. Engajamento empresarial com comuns, estado e mercado.
1.2. Quatro aspectos da gestão de recursos
1.3. Como o mercado, os bens comuns e o estado geram recursos.
1.4. Na sociedade pré-industrializada.
1.5. O comum é gradualmente substituído pelo Estado.
1.6. Como o mercado, o estado e os comuns são hoje.

Prefácio

+ \end{flushright}

Índice

Prefácio
Introdução
I. O Quadro Geral
1. O Novo Mundo dos Comuns Digitais
2. Como ser Feito com Creative Commons
3. The Creative Commons Licenses
II. The Case Studies
4. Arduino
5. Ártica
6. Blender Institute
7. Cards Against Humanity
8. The Conversation
9. Cory Doctorow
10. Figshare
11. Figure.NZ
12. Knowledge Unlatched
13. Lumen Learning
14. Jonathan Mann
15. Noun Project
16. Open Data Institute
17. OpenDesk
18. OpenStax
19. Amanda Palmer
20. PLOS (Public Library of Science)
21. Rijksmuseum
22. Shareable
23. Siyavula
24. SparkFun
25. TeachAIDS
26. Tribe of Noise
27. Wikimedia Foundation
A. Bibliography
B. Acknowledgments

Lista de Figuras

1.1. Engajamento empresarial com comuns, estado e mercado.
1.2. Quatro aspectos da gestão de recursos
1.3. Como o mercado, os bens comuns e o estado geram recursos.
1.4. Na sociedade pré-industrializada.
1.5. O comum é gradualmente substituído pelo Estado.
1.6. Como o mercado, o estado e os comuns são hoje.

Prefácio

Três anos atrás, logo depois de ser contratado como CEO da Creative Commons, me encontrei com Cory Doctorow no bar do Gladstone Hotel, em Toronto. Como um dos proponentes mais conhecidos da CC – alguém que também teve uma @@ -31,10 +31,11 @@ fins lucrativos. O dinheiro é um meio para um fim social, não o fim em si.”

No estudo de caso sobre Cory Doctorow, Sarah Hinchliff Pearson cita as -palavras de Cory em seu livro Information Doesn’t Want to Be Free: -“Entrar nas artes porque você quer ficar rico é como comprar bilhetes -de loteria porque você quer ficar rico. Pode funcionar, mas quase certamente -não. Embora, é claro, alguém sempre ganhe na loteria.” +palavras de Cory em seu livro Information Doesn’t Want to Be +Free: “Entrar nas artes porque você quer ficar rico é como +comprar bilhetes de loteria porque você quer ficar rico. Pode funcionar, mas +quase certamente não. Embora, é claro, alguém sempre ganhe na +loteria.”

Hoje, o direito autoral é como um bilhete de loteria – todo mundo tem um e quase ninguém ganha. O que eles não dizem é que, se você decidir @@ -257,7 +258,7 @@ a usar o Creative Commons e, assim, contribuir para a transformação de nossa economia e do mundo para melhor.

 

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

Parte I. O Quadro Geral

Índice

1. O Novo Mundo dos Comuns Digitais
2. How to Be Made with Creative Commons
3. The Creative Commons Licenses

Capítulo 1. O Novo Mundo dos Comuns Digitais

Índice

Os Comuns, o Mercado e o Estado
Os Quatro Aspectos de um Recurso
Uma Breve História dos Comuns
A Revolução Digital
O Nascimento da Creative Commons
O Mercado em Mudança
Benefícios do Comum Digital
Our Case Studies
 

 
 --\begin{flushright} + \end{flushright}

Parte I. O Quadro Geral

Índice

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

Capítulo 1. O Novo Mundo dos Comuns Digitais

Índice

Os Comuns, o Mercado e o Estado
Os Quatro Aspectos de um Recurso
Uma Breve História dos Comuns
A Revolução Digital
O Nascimento da Creative Commons
O Mercado em Mudança
Benefícios do Comum Digital
Nossos estudos de caso
 

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

Jonathan Rowe descreve eloquentemente os comuns como “o ar e os @@ -266,7 +267,7 @@ são partes dos bens comuns. Assim como a linguagem e o conhecimento, as calçadas e praças públicas, as histórias da infância e os processos de democracia. Algumas partes dos comuns são dádivas da natureza, outras são o produto do esforço humano. Alguns são novos, como a Internet; outros são tão -antigos quanto o solo e a caligrafia.” [1] +antigos quanto o solo e a caligrafia.”[1]

Em Feito com Creative Commons, nos concentramos em nossa era atual de comuns digitais, um patrimônio comum de obras produzidas pelo homem. Esse comum @@ -280,11 +281,11 @@ Creative Commons para compartilhar seus recursos online pela Internet. O comum não se trata apenas de recursos compartilhados, no entanto. É também sobre as práticas sociais e os valores que os gerem. Um recurso é um substantivo, mas "comunalizar" – colocar o recurso no espaço comum – é um -verbo.[2] Os criadores, organizações e +verbo.[2] Os criadores, organizações e empresas que definimos estão todos engajados em compartilhar. O uso da Creative Commons os envolve na prática social de compartilhamento, gerenciando recursos de forma coletiva com uma comunidade de -usuários.[3] O compartilhamento é guiado +usuários.[3] O compartilhamento é guiado por um conjunto de valores e normas que equilibram os custos e benefícios da empresa com aqueles da comunidade. Atenção especial é dada ao acesso, uso e sustentabilidade equitativos. @@ -292,13 +293,13 @@ sustentabilidade equitativos. Historicamente, houve três maneiras de gerenciar recursos e compartilhar riqueza: os comuns (administrados coletivamente), o estado (ou seja, o governo) e o mercado – com os dois últimos sendo as formas dominantes -hoje.[4] +hoje.[4]

As organizações e empresas em nossos estudos de caso são únicas na forma como participam dos bens comuns enquanto se envolvem com o mercado e/ou estado. A extensão do envolvimento com o mercado ou estado varia. Alguns operam principalmente como comuns com o mínimo ou nenhuma dependência do -mercado ou estado.[5] Outros fazem parte +mercado ou estado.[5] Outros fazem parte do mercado ou estado, dependendo deles para a sustentabilidade financeira. Todos operam como híbridos, mesclando as normas dos comuns com as do mercado ou do estado. @@ -339,7 +340,7 @@ estratégia para o sucesso.

Os Quatro Aspectos de um Recurso

Como parte de sua obra ganhadora do Prêmio Nobel, Elinor Ostrom desenvolveu uma estrutura para analisar como os recursos naturais são gerenciados em um -comum.[6] Sua estrutura considerou coisas +comum.[6] Sua estrutura considerou coisas como as características biofísicas de recursos comuns, os atores da comunidade e as interações que ocorrem entre eles, regras em uso e resultados. Essa estrutura foi simplificada e generalizada para se aplicar @@ -419,7 +420,7 @@ produzidos em massa e vendidos aos consumidores com base em uma transação em dinheiro.

Em contraste com o estado e o mercado, os recursos em um comum são -gerenciados mais diretamente pelas pessoas envolvidas.[7] Os criadores de recursos humanos produzidos podem +gerenciados mais diretamente pelas pessoas envolvidas.[7] Os criadores de recursos humanos produzidos podem colocá-los no comum por escolha pessoal. Nenhuma permissão do estado ou do mercado é necessária. Qualquer um pode participar dos comuns e determinar por si mesmo até que ponto deseja se envolver – como contribuidor, usuário @@ -450,7 +451,7 @@ políticas, regulamentos e leis estaduais. Mas as normas e regras de um comum são amplamente definidas pela comunidade. Elas pesam os custos e benefícios individuais em relação aos custos e benefícios para toda a comunidade. A consideração é dada não apenas à eficiência econômica, mas também à equidade -e sustentabilidade.[8] +e sustentabilidade.[8]

Objetivos

A combinação dos aspectos que discutimos até agora – as características inerentes do recurso, pessoas e processos, e normas e regras – moldam como @@ -460,7 +461,7 @@ objetivos que o estado, o mercado e os comuns têm. No mercado, o foco é maximizar a utilidade de um recurso. O que pagamos pelos bens que consumimos é visto como uma medida objetiva da utilidade que eles fornecem. A meta então passa a ser maximizar o valor monetário total na -economia.[9] As unidades consumidas se +economia.[9] As unidades consumidas se traduzem em vendas, receita, lucro e crescimento, e todas essas são maneiras de medir as metas do mercado.

@@ -497,7 +498,7 @@ e sua renovação atual, é útil saber um pouco de sua história.

Durante séculos, povos indígenas e sociedades pré-industrializadas administraram recursos, incluindo água, alimentos, lenha, irrigação, peixes, -caça selvagem e muitas outras coisas coletivamente como comuns.[10] Não havia mercado, não havia economia global. O +caça selvagem e muitas outras coisas coletivamente como comuns.[10] Não havia mercado, não havia economia global. O estado na forma de governantes influenciou os bens comuns, mas de forma alguma os controlou. A participação social direta em um comum era a principal maneira pela qual os recursos eram administrados e as necessidades @@ -506,10 +507,10 @@ comuns em relação ao Estado e ao mercado.)

Figura 1.4. Na sociedade pré-industrializada.

Na sociedade pré-industrializada.

Isso é seguido por uma longa história do Estado (uma monarquia ou governante) assumindo o controle dos comuns para seus próprios fins. Isso é -chamado de cerco dos comuns.[11] +chamado de cerco dos comuns.[11] Antigamente, “plebeus” eram expulsos da terra, cercas e sebes erguidas, leis aprovadas e segurança 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).

@@ -551,7 +552,7 @@ familiarizadas com o recurso natural, têm com ele a relação e a história mais direta e, portanto, estão em melhor posição para gerenciá-lo. A abordagem de Ostrom para a governança dos recursos naturais rompeu com as convenções; ela reconheceu a importância dos comuns como uma alternativa ao -mercado ou estado para resolver problemas de ação coletiva.[13] +mercado ou estado para resolver problemas de ação coletiva.[13]

Hardin deixou de considerar a real dinâmica social dos comuns. Seu modelo pressupõe que as pessoas comuns agem de forma autônoma, por puro interesse @@ -565,7 +566,7 @@ Tragédia do Mercado.

A história de Hardin é baseada na premissa de recursos esgotáveis. Os economistas têm se concentrado quase exclusivamente nos mercados baseados na -escassez. Muito pouco se sabe sobre como funciona a abundância.[14] O surgimento da tecnologia da informação e da +escassez. Muito pouco se sabe sobre como funciona a abundância.[14] O surgimento da tecnologia da informação e da Internet levou a uma explosão de recursos digitais e novos meios de compartilhamento e distribuição. Os recursos digitais nunca podem ser esgotados. A ausência de uma teoria ou modelo de funcionamento da @@ -593,7 +594,7 @@ faça sua computação como você desejar. A liberdade de redistribuir cópias.

  • A liberdade de distribuir cópias de suas versões modificadas para outras -pessoas.[15] +pessoas.[15]

    • Esses princípios e liberdades constituem um conjunto de normas e regras que tipificam um comum digital. @@ -607,7 +608,7 @@ revisão por pares independentes – tornaram-se amplamente reconhecidos e aceitos. Os clientes gostaram da maneira como o código aberto lhes deu controle sem ficar preso a uma tecnologia proprietária fechada. O software livre e de código aberto também gerou um efeito de rede onde o valor de um -produto ou serviço aumenta com o número de pessoas que o usam.[16] O crescimento dramático da própria Internet deve +produto ou serviço aumenta com o número de pessoas que o usam.[16] O crescimento dramático da própria Internet deve muito ao fato de que ninguém tem um bloqueio proprietário nos protocolos básicos da Internet.

    @@ -617,7 +618,7 @@ baseados em licenças e padrões de software de código aberto evoluíram junto com organizações que gerenciavam o código de software com base em princípios de abundância em vez de escassez. O ensaio de Eric Raymond “The Magic Cauldron” faz um ótimo trabalho ao analisar a economia e os modelos -de negócios associados ao software de código aberto.[17] Esses modelos podem fornecer exemplos de abordagens +de negócios associados ao software de código aberto.[17] Esses modelos podem fornecer exemplos de abordagens sustentáveis para aqueles feitos com Creative Commons.

    Não se trata apenas de uma disponibilidade abundante de ativos digitais, mas @@ -636,7 +637,7 @@ criador. compartilhando conteúdo valioso e divertido. Fazer isso desenvolve e nutre relacionamentos, busca mudar opiniões, incentiva a ação e informa os outros sobre quem somos e com o que nos importamos. Compartilhar permite que nos -sintamos mais envolvidos com o mundo.[18] +sintamos mais envolvidos com o mundo.[18]

    O Nascimento da Creative Commons

    Em 2001, Creative Commons foi criada como uma organização sem fins lucrativos para apoiar todos aqueles que desejavam compartilhar conteúdo @@ -656,7 +657,7 @@ rapidamente. Ele atua como uma interface amigável para a camada de código legal abaixo. A terceira camada é a que pode ser lida por máquina, tornando mais fácil para a web saber que uma obra é licenciada pelo Creative Commons, expressando permissões de uma forma que sistemas de software, mecanismos de -busca e outros tipos de tecnologia possam entender.[19] Juntas, essas três camadas garantem que criadores, +busca e outros tipos de tecnologia possam entender.[19] Juntas, essas três camadas garantem que criadores, usuários e até mesmo a própria web entendam as normas e regras associadas ao conteúdo digital em um comum.

    @@ -671,7 +672,7 @@ pesquisa em periódicos, recursos educacionais, música e outras faixas de Commons, mas o mesmo acontece com museus, governos, indústrias criativas, fabricantes e editoras. Milhões de sites usam licenças CC, incluindo plataformas principais como Wikipédia e Flickr e outras menores como -blogs.[20] Os usuários do Creative Commons +blogs.[20] Os usuários do Creative Commons são diversos e abrangem muitos setores diferentes. (Nossos estudos de caso foram escolhidos para refletir essa diversidade.)

    @@ -696,7 +697,7 @@ para qualquer pessoa acessar, usar e modificar livremente. Parceria para Governo Aberto foi lançada em 2011 para fornecer uma plataforma internacional para os governos se tornarem mais abertos, responsáveis e responsivos aos cidadãos. Desde então, cresceu de oito países -participantes para setenta.[21] Em todos +participantes para setenta.[21] Em todos esses países, o governo e a sociedade civil estão trabalhando juntos para desenvolver e implementar reformas ambiciosas de governo aberto. Os governos estão adotando cada vez mais a Creative Commons para garantir que as obras @@ -708,28 +709,28 @@ sistemas jurídicos e financeiros são estruturados para apoiar a extração, a privatização e o crescimento corporativo. A percepção de que o mercado é mais eficiente do que o estado levou à privatização contínua de muitos recursos naturais públicos, serviços públicos, serviços e -infraestruturas.[22] Embora este sistema +infraestruturas.[22] Embora este sistema tenha sido altamente eficiente na geração de consumismo e no crescimento do produto interno bruto, o impacto no bem-estar humano foi misto. Compensando o aumento dos padrões de vida e as melhorias na saúde e na educação, estão sempre aumentando a desigualdade de riqueza, a desigualdade social, a pobreza, a deterioração de nosso ambiente natural e o colapso da -democracia.[23] +democracia.[23]

    Diante desses desafios, há um crescente reconhecimento de que o crescimento do PIB não deve ser um fim em si mesmo, que o desenvolvimento precisa ser social e economicamente inclusivo, que a sustentabilidade ambiental é um requisito, não uma opção, e que precisamos equilibrar melhor o mercado , -Estado e comunidade.[24] +Estado e comunidade.[24]

    Essas realizações levaram a um ressurgimento do interesse pelos comuns como meio de viabilizar esse equilíbrio. Prefeituras como Bolonha, na Itália, estão colaborando com seus cidadãos para estabelecer regulamentações para o -cuidado e regeneração de comuns urbanos.[25] Seul e Amsterdã se autodenominam “cidades +cuidado e regeneração de comuns urbanos.[25] Seul e Amsterdã se autodenominam “cidades compartilhadas”, buscando tornar mais sustentáveis e eficientes uso de recursos escassos. Eles veem o compartilhamento como uma forma de melhorar o uso dos espaços públicos, a mobilidade, a coesão social e a -segurança.[26] +segurança.[26]

    O próprio mercado se interessou pela economia de compartilhamento, com empresas como o Airbnb fornecendo um mercado ponto a ponto para hospedagem @@ -740,7 +741,7 @@ como uma empresa tradicional em busca de ganhos financeiros. Grande parte da economia compartilhada não trata dos comuns ou da construção de uma alternativa para uma economia de mercado impulsionada pelas corporações; trata-se de estender o mercado livre desregulamentado a novas áreas de -nossas vidas.[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 @@ -758,7 +759,7 @@ largura de banda estão aumentando rapidamente, mas, em vez de os custos aumentarem, os custos estão diminuindo. As tecnologias digitais estão ficando mais rápidas, melhores e mais baratas. O custo de qualquer coisa construída sobre essas tecnologias sempre diminuirá até chegar perto de -zero.[28] +zero.[28]

    Aquelas que são feitas com Creative Commons procuram aproveitar as características inerentes exclusivas dos recursos digitais, incluindo a @@ -776,7 +777,7 @@ visam a abundância em vez da escassez. é próximo a zero, tornando a abundância possível. Mas imaginar um mercado baseado na abundância e não na escassez é tão estranho ao modo como concebemos a teoria e prática econômica que lutamos para -fazê-lo.[29] Aqueles que são feitos com +fazê-lo.[29] Aqueles que são feitos com Creative Commons são, cada um, pioneiros neste novo cenário, criando seus próprios modelos e práticas econômicas.

    @@ -790,26 +791,26 @@ operações é difícil, pois é legalmente exigido para tomar decisões que beneficiam financeiramente os acionistas. Mas novas formas de negócios estão surgindo. Existem corporações de benefícios e empresas sociais, que ampliam seus objetivos de negócios de gerar lucro para gerar um impacto positivo na -sociedade, nos trabalhadores, na comunidade e no meio ambiente.[30] Empresas de propriedade da comunidade, empresas de +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 à corporação tradicional. Coletivamente, essas entidades de mercado alternativas estão -mudando as regras e normas do mercado.[31] +mudando as regras e normas do mercado.[31]

    “Um livro sobre modelos de negócios abertos” é como o descrevemos na campanha Kickstarter deste livro. Usamos um manual chamado Business Model Generation como nossa referência para definir o que é um modelo de negócios. Desenvolvido ao longo de nove anos usando um “processo aberto” envolvendo 470 coautores de quarenta e cinco países, é útil como uma estrutura para falar sobre modelos -de negócios [32] +de negócios [32]

    Ele contém uma “tela de modelo de negócios ”, que concebe um -modelo de negócios como tendo nove blocos de construção.[33] Essa tela em branco pode servir como uma ferramenta +modelo de negócios como tendo nove blocos de construção.[33] Essa tela em branco pode servir como uma ferramenta para qualquer pessoa projetar seu próprio modelo de negócios. Remixamos essa tela de modelo de negócios em uma tela de modelo de negócios aberta, adicionando mais três blocos de construção relevantes para o mercado híbrido, empresas comuns: bem social, licença Creative Commons e “tipo -de ambiente aberto em que a empresa se encaixa”.[34] Essa tela aprimorada provou ser útil quando +de ambiente aberto em que a empresa se encaixa”.[34] Essa tela aprimorada provou ser útil quando analisamos empresas e ajudamos as start-ups a planejar seu modelo econômico.

    Em nossas entrevistas de estudo de caso, muitos expressaram desconforto em @@ -830,7 +831,7 @@ feito variam amplamente. Doações, pague o que puder, assinaturas, matchmaking, serviços de valor agregado, patrocinadores... A lista continua e continua. (Descrição inicial de como obter receita disponível por meio da nota de referência. Para as reflexões mais recentes, consulte Como trazer -dinheiro na próxima seção.)[35] Não existe +dinheiro na próxima seção.)[35] Não existe uma fórmula mágica única e cada empreendimento inventou maneiras que funcionem para eles. A maioria usa mais de uma maneira. A diversificação dos fluxos de receita reduz o risco e oferece vários caminhos para a @@ -876,7 +877,7 @@ nunca imaginados pelo criador original. Alguns empreendimentos Feitos com Creative Commons encorajam deliberadamente os usuários a pegar os recursos que estão sendo compartilhados e inová-los. Isso move a pesquisa e o desenvolvimento (R&D) de apenas dentro da organização para estar na -comunidade.[36] A inovação baseada na +comunidade.[36] A inovação baseada na comunidade manterá uma organização ou negócio em alerta. Deve continuar a contribuir com novas ideias, absorver e construir sobre as inovações dos outros e administrar os recursos e o relacionamento com a comunidade. @@ -902,406 +903,418 @@ investimento. O valor não é medido apenas em termos financeiros. Cada novo recurso adicionado aos comuns fornece valor ao público e contribui para o valor geral dos comuns.

    - The commons brings people together for a common cause. The commons vests -people directly with the responsibility to manage the resources for the -common good. The costs and benefits for the individual are balanced with the -costs and benefits for the community and for future generations. Resources -are not anonymous or mass produced. Their provenance is known and -acknowledged through attribution and other means. Those that are Made with -Creative Commons generate awareness and reputation based on their -contributions to the commons. The reach, impact, and sustainability of those -contributions rest largely on their ability to forge relationships and -connections with those who use and improve them. By functioning on the basis -of social engagement, not monetary exchange, the commons unifies people. + Os comuns unem as pessoas por uma causa comum. Os comuns conferem às pessoas +a responsabilidade direta de administrar os recursos para o bem comum. Os +custos e benefícios para o indivíduo são equilibrados com os custos e +benefícios para a comunidade e para as gerações futuras. Os recursos não são +anônimos ou produzidos em massa. Sua proveniência é conhecida e reconhecida +por meio de atribuição e outros meios. Aqueles que são Feitos com Creative +Commons geram consciência e reputação com base em suas contribuições para os +comuns. O alcance, o impacto e a sustentabilidade dessas contribuições +dependem em grande parte de sua capacidade de estabelecer relacionamentos e +conexões com aqueles que as usam e melhoram. Ao funcionar com base no +engajamento social, não na troca monetária, os comuns unificam as pessoas.

    - The benefits of the commons are many. When these benefits align with the -goals of individuals, communities, businesses in the market, or state -enterprises, choosing to manage resources as a commons ought to be the -option of choice. -

    Our Case Studies

    - The creators, organizations, and businesses in our case studies operate as -nonprofits, for-profits, and social enterprises. Regardless of legal -status, they all have a social mission. Their primary reason for being is -to make the world a better place, not to profit. Money is a means to a -social end, not the end itself. They factor public interest into decisions, -behavior, and practices. Transparency and trust are really important. Impact -and success are measured against social aims expressed in mission -statements, and are not just about the financial bottom line. + Os benefícios dos comuns são muitos. Quando esses benefícios se alinham com +os objetivos dos indivíduos, comunidades, negócios no mercado ou empresas +estatais, a escolha de administrar recursos como os comuns deve ser a melhor +opção. +

    Nossos estudos de caso

    + Os criadores, organizações e empresas em nossos estudos de caso operam como +organizações sem fins lucrativos, com fins lucrativos e empresas +sociais. Independentemente do status legal, todos eles têm uma missão +social. A principal razão de sua existência é tornar o mundo um lugar +melhor, sem fins lucrativos. O dinheiro é um meio para um fim social, não o +fim em si. Eles fatoram o interesse público nas decisões, comportamento e +práticas. Transparência e confiança são muito importantes. O impacto e o +sucesso são medidos em relação aos objetivos sociais expressos nas +declarações de missão e não se referem apenas aos resultados financeiros.

    - The case studies are based on the narratives told to us by founders and key -staff. Instead of solely using financials as the measure of success and -sustainability, they emphasized their mission, practices, and means by which -they measure success. Metrics of success are a blend of how social goals -are being met and how sustainable the enterprise is. + Os estudos de caso são baseados nas narrativas contadas a nós por fundadores +e funcionários principais. Em vez de usar apenas finanças como medida de +sucesso e sustentabilidade, eles enfatizaram sua missão, práticas e meios +pelos quais medem o sucesso. As métricas de sucesso são uma mistura de como +as metas sociais estão sendo atendidas e o quão sustentável é a empresa.

    - Our case studies are diverse, ranging from publishing to education and -manufacturing. All of the organizations, businesses, and creators in the -case studies produce digital resources. Those resources exist in many forms -including books, designs, songs, research, data, cultural works, education -materials, graphic icons, and video. Some are digital representations of -physical resources. Others are born digital but can be made into physical -resources. + Nossos estudos de caso são diversos, abrangendo desde publicação até +educação e manufatura. Todas as organizações, empresas e criadores nos +estudos de caso produzem recursos digitais. Esses recursos existem em muitas +formas, incluindo livros, designs, canções, pesquisas, dados, obras +culturais, materiais educacionais, ícones gráficos e vídeo. Alguns são +representações digitais de recursos físicos. Outros nascem digitais, mas +podem ser transformados em recursos físicos.

    - They are creating new resources, or using the resources of others, or mixing -existing resources together to make something new. They, and their audience, -all play a direct, participatory role in managing those resources, including -their preservation, curation, distribution, and enhancement. Access and -participation is open to all regardless of monetary means. + Eles estão criando novos recursos, ou usando os recursos de outras pessoas, +ou combinando recursos existentes para fazer algo novo. Eles, e seu público, +todos desempenham um papel direto e participativo no gerenciamento desses +recursos, incluindo sua preservação, curadoria, distribuição e +aprimoramento. O acesso e a participação estão abertos a todos, +independentemente dos meios monetários.

    - And as users of Creative Commons licenses, they are automatically part of a -global community. The new digital commons is global. Those we profiled come -from nearly every continent in the world. To build and interact within this -global community is conducive to success. + E como usuários de licenças Creative Commons, eles automaticamente fazem +parte de uma comunidade global. Os novos comuns digitais são +globais. Aqueles que traçamos vêm de quase todos os continentes do +mundo. Construir e interagir dentro desta comunidade global conduz ao +sucesso.

    - Creative Commons licenses may express legal rules around the use of -resources in a commons, but success in the commons requires more than -following the letter of the law and acquiring financial means. Over and over -we heard in our interviews how success and sustainability are tied to a set -of beliefs, values, and principles that underlie their actions: Give more -than you take. Be open and inclusive. Add value. Make visible what you are -using from the commons, what you are adding, and what you are -monetizing. Maximize abundance. Give attribution. Express gratitude. Develop -trust; don’t exploit. Build relationship and community. Be -transparent. Defend the commons. + As licenças Creative Commons podem expressar regras legais sobre o uso de +recursos nos comuns, mas o sucesso nos comuns requer mais do que seguir a +letra da lei e obter meios financeiros. Repetidamente, ouvimos em nossas +entrevistas como o sucesso e a sustentabilidade estão vinculados a um +conjunto de crenças, valores e princípios que fundamentam suas ações: Dê +mais do que recebe. Seja aberto e inclusivo. Adicionar valor. Torne visível +o que você está usando dos comuns, o que você está adicionando e o que está +monetizando. Maximize a abundância. Dê atribuição. Expressar +gratidão. Desenvolva confiança; não explore. Construa relacionamento e +comunidade. Seja transparente. Defenda os comuns.

    - The new digital commons is here to stay. Made With Creative Commons case -studies show how it’s possible to be part of this commons while still -functioning within market and state systems. The commons generates benefits -neither the market nor state can achieve on their own. Rather than the -market or state dominating as primary means of resource management, a more -balanced alternative is possible. + Os novos comuns digitais estão aqui para ficar. Os estudos de caso de Feito +com Creative Commons mostram como é possível fazer parte desses comuns +enquanto ainda funciona dentro dos sistemas de mercado e estaduais. Os +comuns geram benefícios que nem o mercado nem o estado podem alcançar por +conta própria. Em vez de o mercado ou estado dominar como meio principal de +gestão de recursos, uma alternativa mais equilibrada é possível.

    - Enterprise use of Creative Commons has only just begun. The case studies in -this book are merely starting points. Each is changing and evolving over -time. Many more are joining and inventing new models. This overview aims to -provide a framework and language for thinking and talking about the new -digital commons. The remaining sections go deeper providing further guidance -and insights on how it works. -


    [1] + O uso empresarial do Creative Commons apenas começou. Os estudos de caso +neste livro são apenas pontos de partida. Cada um está mudando e evoluindo +com o tempo. Muitos mais estão se juntando e inventando novos modelos. Esta +visão geral tem como objetivo fornecer uma estrutura e uma linguagem para +pensar e falar sobre os novos comuns digitais. As seções restantes são +aprofundadas, fornecendo mais orientações e percepções sobre como funciona. +


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

    [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, “Learning from Lin: Lessons and Cautions from the Natural Commons for the Knowledge Commons”, 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, Creativity and the Commons (Nova York: Zed Books, 2014), 93. -

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

    [9] Joshua Farley e Ida Kubiszewski, “The Economics of Information in a Post-Carbon Economy” em Free Knowledge: Confronting the Commodification of Human Discovery, eds. Patricia W. Elliott e Daryl H. Hepting (Regina, SK: University of Regina Press, 2015), 201–4. -

    [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), 42–43. -

    [11] Bollier, Think Like a Commoner, 55–78. -

    [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), 46–57; e Bollier, Think Like a Commoner, 88. -

    [13] Brett M. Frischmann, Michael J. Madison e Katherine J. Strandburg, “Governing Knowledge Commons”, em Frischmann, Madison e Strandburg, Governing Knowledge Commons, 12. -

    [14] Farley e Kubiszewski, “Economics of Information”, em Elliott y Hepting, Free Knowledge, 203. -

    [15] “O que é software livre?” Sistema operacional GNU, o +

    [15] “O que é software livre?” Sistema operacional GNU, o Laboratório de licenciamento e conformidade da Free Software Foundation, acessado em 30 de dezembro de 2016, http://www.gnu.org/philosophy/free-sw. -

    [16] Wikipédia, s.v. “Open-source software”, última modificação em 22 de novembro de 2016. -

    [17] Eric S. Raymond, “The Magic Cauldron”, em The Cathedral and the Bazaar: Musings on Linux and Open Source by an Accidental Revolutionary, rev. ed. Sebastopol, CA: O’Reilly 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] “Licensing Considerations”, Creative Commons, acessado em 30 de +

    [19] “Licensing Considerations”, 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 View, CA: Creative Commons, 2015), http://stateof.creativecommons.org/2015/. -

    [21] Wikipédia, s.v. “Open Government Partnership”, última modificação 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 Agência Sueca de Cooperação para o Desenvolvimento Internacional, “Stockholm Statement” 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 and the City for the Care and Regeneration of Urban Commons, trans. LabGov (LABoratory for the GOVernance of Commons) (Bolonha, Itália: 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 é http://english.sharehub.kr; para Amsterdam Sharing City, acesse http://www.sharenl.nl/amsterdam-sharing-city/. -

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

    [28] Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving Something for Nothing, reimpressão com novo prefácio. (Nova 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 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 Revolution; Journeys to a Generative Economy (São Francisco: Berrett-Koehler, 2012), 8–9. -

    [32] Alex Osterwalder e Yves Pigneur, Business Model Generation (Hoboken, NJ: John Wiley and Sons, 2010). Uma pré-visualização do livro está disponível em http://strategyzer.com/books/business-model-generation. -

    [33] Esta tela de modelo de negócios está disponível para download em http://strategyzer.com/canvas/business-model-canvas. -

    [34] Fizemos o “Open Business Model Canvas”, projetado pelo co-autor Paul Stacey, disponível online em http://docs.google.com/drawings/d/1QOIDa2qak7wZSSOa4Wv6qVMO77IwkKHN7CYyq0wHivs/edit. Você também 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 está disponível neste post que escrevi no Medium em 6 de março de 2016. “What Is an Open Business Model and How Can You Generate Revenue?”, disponível 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 and Profiting from Technology (Boston: Harvard Business Review Press, 2006), 31–44. -

    Capítulo 2. How to Be Made with Creative Commons

    Índice

    Problem Zero: Getting Discovered
    Making Money
    Making Human Connections
     

    		 
     --\begin{flushright} +

    Capítulo 2. Como ser Feito com Creative Commons

    Índice

    Problem Zero: Getting Discovered
    Making Money
    Making Human Connections
     

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

    - When we began this project in August 2015, we set out to write a book about -business models that involve Creative Commons licenses in some significant -way—what we call being Made with Creative Commons. With the help of our -Kickstarter backers, we chose twenty-four endeavors from all around the -world that are Made with Creative Commons. The mix is diverse, from an -individual musician to a university-textbook publisher to an electronics -manufacturer. Some make their own content and share under Creative Commons -licensing. Others are platforms for CC-licensed creative work made by -others. Many sit somewhere in between, both using and contributing creative -work that’s shared with the public. Like all who use the licenses, these -endeavors share their work—whether it’s open data or furniture designs—in a -way that enables the public not only to access it but also to make use of -it. -

    - We analyzed the revenue models, customer segments, and value propositions of -each endeavor. We searched for ways that putting their content under -Creative Commons licenses helped boost sales or increase reach. Using -traditional measures of economic success, we tried to map these business -models in a way that meaningfully incorporated the impact of Creative -Commons. In our interviews, we dug into the motivations, the role of CC -licenses, modes of revenue generation, definitions of success. -

    - In fairly short order, we realized the book we set out to write was quite -different from the one that was revealing itself in our interviews and -research. -

    - It isn’t that we were wrong to think you can make money while using Creative -Commons licenses. In many instances, CC can help make you more money. Nor -were we wrong that there are business models out there that others who want -to use CC licensing as part of their livelihood or business could -replicate. What we didn’t realize was just how misguided it would be to -write a book about being Made with Creative Commons using only a business -lens. -

    - According to the seminal handbook Business Model Generation, a business -model “describes the rationale of how an organization creates, -delivers, and captures value.”[37] -Thinking about sharing in terms of creating and capturing value always felt -inappropriately transactional and out of place, something we heard time and -time again in our interviews. And as Cory Doctorow told us in our interview -with him, “Business model can mean anything you want it to -mean.” -

    - Eventually, we got it. Being Made with Creative Commons is more than a -business model. While we will talk about specific revenue models as one -piece of our analysis (and in more detail in the case studies), we scrapped -that as our guiding rubric for the book. -

    - Admittedly, it took me a long time to get there. When Paul and I divided up -our writing after finishing the research, my charge was to distill -everything we learned from the case studies and write up the practical -lessons and takeaways. I spent months trying to jam what we learned into the -business-model box, convinced there must be some formula for the way things -interacted. But there is no formula. You’ll probably have to discard that -way of thinking before you read any further. -

    - In every interview, we started from the same simple questions. Amid all the -diversity among the creators, organizations, and businesses we profiled, -there was one constant. Being Made with Creative Commons may be good for -business, but that is not why they do it. Sharing work with Creative Commons -is, at its core, a moral decision. The commercial and other self-interested -benefits are secondary. Most decided to use CC licenses first and found a -revenue model later. This was our first hint that writing a book solely -about the impact of sharing on business might be a little off track. -

    - 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. -

    - At one level, being Made with Creative Commons expresses an affinity for the -value of Creative Commons. While there are many different flavors of CC -licenses and nearly infinite ways to be Made with Creative Commons, the -basic value system is rooted in a fundamental belief that knowledge and -creativity are building blocks of our culture rather than just commodities -from which to extract market value. These values reflect a belief that the -common good should always be part of the equation when we determine how to -regulate our cultural outputs. They reflect a belief that everyone has -something to contribute, and that no one can own our shared culture. They -reflect a belief in the promise of sharing. -

    - 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, “all rights reserved” under copyright is automatic, -so the copyright symbol (©) on the work does not necessarily come across as -a marker of distrust or excessive protectionism. But using a CC license can -be a symbol of the opposite—of wanting a real human relationship, rather -than an impersonal market transaction. It leaves open the possibility of -connection. -

    - Being Made with Creative Commons not only demonstrates values connected to -CC and sharing. It also demonstrates that something other than profit drives -what you do. In our interviews, we always asked what success looked like for -them. It was stunning how rarely money was mentioned. Most have a deeper -purpose and a different vision of success. -

    - The driving motivation varies depending on the type of endeavor. For -individual creators, it is most often about personal inspiration. In some -ways, this is nothing new. As Doctorow has written, “Creators usually -start doing what they do for love.”[38] But when you share your creative work under a CC license, that -dynamic is even more pronounced. Similarly, for technological innovators, it -is often less about creating a specific new thing that will make you rich -and more about solving a specific problem you have. The creators of Arduino -told us that the key question when creating something is “Do you as -the creator want to use it? It has to have personal use and meaning.” -

    - Many that are Made with Creative Commons have an express social mission that -underpins everything they do. In many cases, sharing with Creative Commons -expressly advances that social mission, and using the licenses can be the -difference between legitimacy and hypocrisy. Noun Project co-founder Edward -Boatman told us they could not have stated their social mission of sharing -with a straight face if they weren’t willing to show the world that it was -OK to share their content using a Creative Commons license. -

    - This dynamic is probably one reason why there are so many nonprofit examples -of being Made with Creative Commons. The content is the result of a labor of -love or a tool to drive social change, and money is like gas in the car, -something that you need to keep going but not an end in itself. Being Made -with Creative Commons is a different vision of a business or livelihood, -where profit is not paramount, and producing social good and human -connection are integral to success. -

    - Even if profit isn’t the end goal, you have to bring in money to be -successfully Made with Creative Commons. At a bare minimum, you have to make -enough money to keep the lights on. -

    - The costs of doing business vary widely for those made with CC, but there is -generally a much lower threshold for sustainability than there used to be -for any creative endeavor. Digital technology has made it easier than ever -to create, and easier than ever to distribute. As Doctorow put it in his -book Information Doesn’t Want to Be Free, “If analog dollars have -turned into digital dimes (as the critics of ad-supported media have it), -there is the fact that it’s possible to run a business that gets the same -amount of advertising as its forebears at a fraction of the price.” -

    - Some creation costs are the same as they always were. It takes the same -amount of time and money to write a peer-reviewed journal article or paint a -painting. Technology can’t change that. But other costs are dramatically -reduced by technology, particularly in production-heavy domains like -filmmaking.[39] CC-licensed content and -content in the public domain, as well as the work of volunteer -collaborators, can also dramatically reduce costs if they’re being used as -resources to create something new. And, of course, there is the reality that -some content would be created whether or not the creator is paid because it -is a labor of love. -

    - 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. -

    - It’s important to recognize that the biggest impact of technology on -creative endeavors is that creators can now foot the costs of creation and -distribution themselves. People now often have a direct route to their -potential public without necessarily needing intermediaries like record -labels and book publishers. Doctorow wrote, “If you’re a creator who -never got the time of day from one of the great imperial powers, this is -your time. Where once you had no means of reaching an audience without the -assistance of the industry-dominating megacompanies, now you have hundreds -of ways to do it without them.”[41] -Previously, distribution of creative work involved the costs associated with -sustaining a monolithic entity, now creators can do the work -themselves. That means the financial needs of creative endeavors can be a -lot more modest. -

    - Whether for an individual creator or a larger endeavor, it usually isn’t -enough to break even if you want to make what you’re doing a livelihood. You -need to build in some support for the general operation. This extra bit -looks different for everyone, but importantly, in nearly all cases for those -Made with Creative Commons, the definition of “enough money” -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, “Business model is a -really grandiose word for it. It is really just about keeping the operation -going day to day.” -

    - This book is a testament to the notion that it is possible to make money -while using CC licenses and CC-licensed content, but we are still very much -at an experimental stage. The creators, organizations, and businesses we -profile in this book are blazing the trail and adapting in real time as they -pursue this new way of operating. -

    - There are, however, plenty of ways in which CC licensing can be good for -business in fairly predictable ways. The first is how it helps solve -“problem zero.” + Quando iniciamos este projeto em agosto de 2015, decidimos escrever um livro +sobre modelos de negócios que envolvem licenças Creative Commons de alguma +forma significativa -- o que chamamos de ser Feito com Creative Commons. Com +a ajuda de nossos patrocinadores do Kickstarter, escolhemos vinte e quatro +empreendimentos em todo o mundo que são Feitos com Creative Commons. A +mistura é diversa, de um músico individual a uma editora universitária de +livros didáticos a um fabricante de eletrônicos. Alguns fazem seu próprio +conteúdo e compartilham sob licença Creative Commons. Outros são plataformas +para obras criativas com licença CC feitos por terceiros. Muitos ficam em +algum ponto intermediário, usando e contribuindo com a obra criativa que é +compartilhada com o público. Como todos os que usam as licenças, esses +empreendimentos compartilham sua obra -- sejam dados abertos ou designs de +móveis -- de uma forma que permite ao público não apenas acessá-la, mas +também utilizá-la. +

    + Analisamos os modelos de receita, segmentos de clientes e propostas de valor +de cada empreendimento. Procuramos maneiras de colocar seu conteúdo sob +licenças Creative Commons para ajudar a impulsionar as vendas ou aumentar o +alcance. Usando medidas tradicionais de sucesso econômico, tentamos mapear +esses modelos de negócios de uma forma que incorporasse significativamente o +impacto do Creative Commons. Em nossas entrevistas, investigamos as +motivações, o papel das licenças CC, os modos de geração de receita e as +definições de sucesso. +

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

    + Não é que estivéssemos errados ao pensar que você pode ganhar dinheiro +usando licenças Creative Commons. Em muitos casos, o CC pode ajudar você a +ganhar mais dinheiro. Tampouco erramos ao dizer que existem modelos de +negócios que outras pessoas que desejam usar o licenciamento CC como parte +de seu sustento ou negócio poderiam replicar. O que não percebemos foi o +quão equivocado seria escrever um livro sobre ser Feito com Creative Commons +usando apenas lentes de negócios. +

    + De acordo com o manual seminal Business Model Generation, um modelo de +negócios “descreve a lógica de como uma organização cria, entrega e +captura valor.”[37] Pensar em +compartilhar em termos de criação e captura de valor sempre pareceu +inadequadamente transacional e deslocado, algo que ouvimos repetidamente em +nossas entrevistas. E como Cory Doctorow nos disse em nossa entrevista com +ele, “Modelo de negócios pode significar qualquer coisa que você +quiser”. +

    + Eventualmente, nós conseguimos. Ser Feito com Creative Commons é mais do que +um modelo de negócios. Embora falemos sobre modelos de receita específicos +como uma parte de nossa análise (e com mais detalhes nos estudos de caso), +descartamos isso como nossa rubrica orientadora para o livro. +

    + Reconheço que demorei muito para chegar lá. Quando Paul e eu dividimos nossa +redação depois de terminar a pesquisa, minha incumbência era destilar tudo o +que aprendemos com os estudos de caso e escrever as lições práticas e +resultados. Passei meses tentando colocar o que aprendemos na caixa do +modelo de negócios, convencido de que deve haver alguma fórmula para a forma +como as coisas interagem. Mas não existe fórmula. Você provavelmente terá +que descartar essa maneira de pensar antes de continuar a ler. +

    + Em todas as entrevistas, partimos das mesmas perguntas simples. Em meio a +toda a diversidade entre os criadores, organizações e empresas que traçamos +o perfil, havia uma constante. Ser Feito com Creative Commons pode ser bom +para os negócios, mas não é por isso que o fazem. Compartilhar a obra com o +Creative Commons é, em sua essência, uma decisão moral. Os benefícios +comerciais e outros benefícios de interesse próprio são secundários. A +maioria decidiu usar licenças CC primeiro e encontrou um modelo de receita +depois. Essa foi nossa primeira dica de que escrever um livro exclusivamente +sobre o impacto do compartilhamento nos negócios pode estar um pouco fora do +caminho. +

    + Mas também começamos a perceber algo sobre o que significa ser Feito com +Creative Commons. Quando as pessoas nos falaram sobre como e por que usaram +CC, ficou claro que significava algo mais do que usar uma licença de +copyright. Também representou um conjunto de valores. Existe um simbolismo +por trás do uso de CC, e esse simbolismo tem muitas camadas. +

    + Em um nível, ser Feito com Creative Commons expressa uma afinidade com o +valor do Creative Commons. Embora existam muitos sabores diferentes de +licenças CC e maneiras quase infinitas de ser Feito com Creative Commons, o +sistema de valores básico está enraizado em uma crença fundamental de que o +conhecimento e a criatividade são blocos de construção de nossa cultura, e +não apenas mercadorias das quais extrair valor de mercado. Esses valores +refletem a crença de que o bem comum deve sempre fazer parte da equação +quando determinamos como regular nossos resultados culturais. Eles refletem +a crença de que todos têm algo a contribuir e que ninguém pode ser dono de +nossa cultura compartilhada. Eles refletem a crença na promessa de +compartilhar. +

    + Quer o público aproveite a oportunidade para copiar e adaptar sua obra, +compartilhar com uma licença Creative Commons é um símbolo de como você +deseja interagir com as pessoas que consomem sua oba. Sempre que você cria +algo, “todos os direitos reservados” sob direitos autorais são +automáticos, portanto, o símbolo de copyright (©) na obra não +necessariamente aparece como um marcador de desconfiança ou protecionismo +excessivo. Mas usar uma licença CC pode ser um símbolo do oposto -- de +querer um relacionamento humano real, ao invés de uma transação de mercado +impessoal. Deixa aberta a possibilidade de conexão. +

    + Sendo Feito com Creative Commons não apenas demonstra valores ligados a CC e +compartilhamento. Também demonstra que algo diferente do lucro impulsiona o +que você faz. Em nossas entrevistas, sempre perguntamos como era o sucesso +para eles(as). Era impressionante como raramente se mencionava dinheiro. A +maioria tem um propósito mais profundo e uma visão diferente de sucesso. +

    + A motivação motriz varia dependendo do tipo de empreendimento. Para +criadores individuais, geralmente é uma questão de inspiração pessoal. De +certa forma, isso não é novidade. Como Doctorow escreveu, “Os +criadores geralmente começam a fazer o que fazem por +amor.”[38] Mas quando você +compartilha sua obra criativa sob uma licença CC, essa dinâmica é ainda mais +pronunciada. Da mesma forma, para os inovadores tecnológicos, geralmente se +trata menos de criar algo novo específico que o tornará rico e mais de +resolver um problema específico que você tem. Os criadores do Arduino nos +disseram que a questão chave ao criar algo é “Você, como criador, +deseja usá-lo? Deve ter uso e significado pessoal.” +

    + Muitos dos que são Feitos com Creative Commons têm uma missão social +expressa que sustenta tudo o que eles fazem. Em muitos casos, compartilhar +com Creative Commons avança expressamente essa missão social, e usar as +licenças pode ser a diferença entre legitimidade e hipocrisia. O cofundador +do Noun Project, Edward Boatman, nos disse que eles não poderiam ter +declarado sua missão social de compartilhar com uma cara séria se não +estivessem dispostos a mostrar ao mundo que não havia problema em +compartilhar seu conteúdo usando uma licença Creative Commons. +

    + Essa dinâmica é provavelmente um dos motivos pelos quais existem tantos +exemplos de organizações sem fins lucrativos feitos com Creative Commons. O +conteúdo é o resultado de uma obra de amor ou de uma ferramenta para +impulsionar a mudança social, e o dinheiro é como a gasolina no carro, algo +que você precisa para continuar, mas não é um fim em si mesmo. Sendo Feito +com Creative Commons é uma visão diferente de um negócio ou meio de vida, +onde o lucro não é primordial e a produção de bem social e conexão humana +são essenciais para o sucesso. +

    + Mesmo que o lucro não seja o objetivo final, você tem que trazer dinheiro +para ser Feito com Creative Commons com sucesso. No mínimo, você tem que +ganhar dinheiro suficiente para manter as luzes acesas. +

    + Os custos de fazer negócios variam amplamente para aqueles feitos com CC, +mas geralmente há um limite muito mais baixo para a sustentabilidade do que +costumava haver para qualquer empreendimento criativo. A tecnologia digital +tornou mais fácil do que nunca criar e distribuir. Como Doctorow colocou em +seu livro Information Doesn't Want to Be Free, +“Se os dólares analógicos se transformaram em moedas digitais (como +dizem os críticos da mídia financiada por anúncios), há o fato de que é +possível fazer funcionar uma empresa que obtém a mesma quantidade de +publicidade que seus ancestrais por uma fração do preço.” +

    + Alguns custos de criação são os mesmos de sempre. Leva a mesma quantidade de +tempo e dinheiro para escrever um artigo de jornal revisado por pares ou +pintar um quadro. A tecnologia não pode mudar isso. Mas outros custos são +reduzidos drasticamente pela tecnologia, particularmente em domínios de +produção pesada como cinema.[39] Conteúdo +licenciado por CC e conteúdo de domínio público, bem como a oba de +colaboradores voluntários, também podem reduzir drasticamente os custos se +forem sendo usados como recursos para criar algo novo. E, claro, existe a +realidade de que algum conteúdo seria criado, independentemente de o criador +ser pago ou não, porque é um trabalho de amor. +

    + Distribuir conteúdo é quase universalmente mais barato do que nunca. Uma vez +que o conteúdo é criado, os custos para distribuir cópias digitalmente são +essencialmente zero.[40] Os custos para +distribuir cópias físicas ainda são significativos, mas menores do que eram +historicamente. E agora é muito mais fácil imprimir e distribuir cópias +físicas sob demanda, o que também reduz custos. Dependendo do esforço, pode +haver uma série de outras despesas possíveis, como marketing e promoção, e +até despesas associadas às várias maneiras como o dinheiro está sendo ganho, +como viagens ou treinamento personalizado. +

    + É importante reconhecer que o maior impacto da tecnologia nos +empreendimentos criativos é que os criadores agora podem arcar com os custos +de criação e distribuição sozinhos. As pessoas agora costumam ter um caminho +direto para seu público potencial, sem necessariamente precisar de +intermediários como gravadoras e editoras de livros. Doctorow escreveu: +“Se você é um criador que nunca obteve a hora de uma das grandes +potências imperiais, esta é a sua hora. Onde antes você não tinha meios de +alcançar um público sem a ajuda das megaempresas dominantes do setor, agora +você tem centenas de maneiras de fazer isso sem eles.”[41] Anteriormente, a distribuição de obra criativa +envolvia os custos associados à manutenção uma entidade monolítica, agora os +criadores podem fazer a obra sozinhos. Isso significa que as necessidades +financeiras de empreendimentos criativos podem ser muito mais modestas. +

    + Seja para um criador individual ou um empreendimento maior, geralmente não é +suficiente para quebrar, mesmo se você quiser fazer do que está fazendo um +meio de vida. Você precisa construir algum suporte para a operação +geral. Este bit extra parece diferente para todos, mas o mais importante, em +quase todos os casos para aqueles Feitos com Creative Commons, a definição +de “dinheiro suficiente” parece muito diferente do que no mundo +de capital de risco e opções de ações. É mais sobre sustentabilidade e menos +sobre crescimento e lucro ilimitados. O fundador do SparkFun, Nathan Seidle, +nos disse, “Modelo de negócios é uma palavra realmente grandiosa para +isso. Na verdade, trata-se apenas de manter a operação funcionando no dia a +dia.” +

    + Este livro é uma prova da noção de que é possível ganhar dinheiro usando +licenças CC e conteúdo licenciado CC, mas ainda estamos em um estágio muito +experimental. Os criadores, organizações e empresas que apresentamos neste +livro estão abrindo caminho e se adaptando em tempo real à medida que buscam +essa nova forma de operar. +

    + Existem, no entanto, muitas maneiras pelas quais o licenciamento CC pode ser +bom para os negócios de maneiras bastante previsíveis. A primeira é como ele +ajuda a resolver “o problema zero”.

    Problem Zero: Getting Discovered

    Once you create or collect your content, the next step is finding users, customers, fans—in other words, your people. As Amanda Palmer wrote, “It has to start with the art. The songs had to touch people initially, and mean something, for anything to work at -all.”[42] There isn’t any magic to +all.”[42] There isn’t any magic to finding your people, and there is certainly no formula. Your work has to connect with people and offer them some artistic and/or utilitarian value. In some ways, this is easier than ever. Online we are not limited by @@ -1311,7 +1324,7 @@ consumption becomes less about mainstream mass ““We are all different, with different wants and needs, and the Internet now has a place for all of them in the way that physical markets did -not.”[43] We are no longer limited +not.”[43] We are no longer limited to what appeals to the masses.

    While finding “your people” online is theoretically easier than @@ -1320,12 +1333,12 @@ 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, “The +well.[44] Anderson wrote, “The greatest change of the past decade has been the shift in time people spend consuming amateur content instead of professional -content.”[45] To top it all off, you +content.”[45] To top it all off, you have to compete against the rest of their lives, too—“friends, family, -music playlists, soccer games, and nights on the town.”[46] Somehow, some way, you have to get noticed by the +music playlists, soccer games, and nights on the town.”[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 @@ -1334,7 +1347,7 @@ is even any demand for it. In many cases, requiring payment for your work is part of the traditional copyright system. Even a tiny cost has a big effect on demand. It’s called the penny gap—the large difference in demand between something that is available at the price of one cent versus the price of -zero.[47] That doesn’t mean it is wrong to +zero.[47] That doesn’t mean it is wrong to charge money for your content. It simply means you need to recognize the effect that doing so will have on demand. The same principle applies to restricting access to copy the work. If your problem is how to get @@ -1344,7 +1357,7 @@ copying your work and sharing it with others is counterproductive. Of course, it’s not that being discovered by people who like your work will make you rich—far from it. But as Cory Doctorow says, “Recognition is one of many necessary preconditions for artistic -success.”[48] +success.”[48]

    Choosing not to spend time and energy restricting access to your work and policing infringement also builds goodwill. Lumen Learning, a for-profit @@ -1360,7 +1373,7 @@ 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, “Our natural human impulses to imitate and share—the essence of culture—have been -criminalized.”[49] +criminalized.”[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 @@ -1384,7 +1397,7 @@ 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] +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, “Using CC @@ -1392,7 +1405,7 @@ licenses shows you get the Internet.”

    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 +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 @@ -1424,7 +1437,7 @@ strategy, adopted by Google and other technology companies. According to Google’s Eric Schmidt, the idea is simple: “Take whatever it is you are doing and do it at the max in terms of distribution. The other way of saying this is that since marginal cost of distribution is free, you might -as well put things everywhere.”[52] +as well put things everywhere.”[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 @@ -1434,9 +1447,9 @@ 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 +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] +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, and that reusers supply a link back to the original source of the @@ -1446,7 +1459,7 @@ 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 @@ -1498,7 +1511,7 @@ goods with the image. Abundant copies of the content often entice more demand, not blunt it. Another example came with the advent of the radio. Although the music industry did not see it coming (and fought it!), free music on the radio functioned as advertising for the paid version -people bought in music stores.[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 @@ -1524,7 +1537,7 @@ otherwise adapt the work. Depending on the context, adaptation can mean wildly different things—translating, updating, localizing, improving, transforming. It enables a work to be customized for particular needs, uses, people, and communities, which is another distinct value to offer the -public.[57] Adaptation is more game +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. @@ -1532,20 +1545,20 @@ 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, “People often don’t care as much about things they don’t pay for, and as a result -they don’t think as much about how they consume them.”[58] If even the tiny act of volition of paying one +they don’t think as much about how they consume them.”[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 +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] +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, “To participate is to act as if your presence matters, as if, when you see something or hear something, your -response is part of the event.”[62] +response is part of the event.”[62] Opening the door to your content can get people more deeply tied to your work.

    Use CC to differentiate yourself

    @@ -1553,7 +1566,7 @@ work. the rules of establishment players in the media. Business strategies that are embedded in the traditional copyright system, like using digital rights management (DRM) and signing exclusivity contracts, can tie the hands of -creators, often at the expense of the creator’s best interest.[63] Being Made with Creative Commons means you can +creators, often at the expense of the creator’s 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 @@ -1566,7 +1579,7 @@ customers. Sometimes that value is subsidized by funders who are not actually beneficiaries of that value. Funders, whether philanthropic institutions, governments, or concerned individuals, provide money to the organization out of a sense of pure altruism. This is the way traditional -nonprofit funding operates.[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 @@ -1580,7 +1593,7 @@ 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, “The trick is in knowing when markets are an optimal way of organizing interactions and when they are -not.”[65] +not.”[65]

    Our case studies explore in more detail the various revenue-generating mechanisms used by the creators, organizations, and businesses we @@ -1590,11 +1603,11 @@ 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 +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] +provide.[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 @@ -1603,7 +1616,7 @@ 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 +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, “Copyright protection schemes, whether coded @@ -1617,7 +1630,7 @@ digital age, other things become more valuable. “” he wrote. You just have to find some way other than the content to provide value to your audience or customers. As Anderson says, “It’s easy to compete with Free: simply offer something -better or at least different from the free version.”[69] +better or at least different from the free version.”[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 @@ -1639,13 +1652,13 @@ is finding content that matches our needs and wants, so customized services are particularly valuable. As Anderson wrote, “Commodity information (everybody gets the same version) wants to be free. Customized information (you get something unique and meaningful to you) wants to be -expensive.”[70] This can be anything +expensive.”[70] This can be anything from the artistic and cultural consulting services provided by Ártica to the custom-song business of Jonathan “Song-A-Day” Mann.

    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 isn’t as valuable as the analog version, like book publishing where a significant subset of people still prefer reading something they can hold @@ -1683,16 +1696,16 @@ 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 isn’t the only thing people are willing to pay for—there 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 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 @@ -1709,7 +1722,7 @@ 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 +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 @@ -1756,9 +1769,9 @@ identity, community and culture. It is a vital brain function that helps the human species survive and evolve.”

    What is rare is to incorporate this sort of relationship into an endeavor -that also engages with the market.[76] We +that also engages with the market.[76] We almost can’t help but think of relationships in the market as being centered -on an even-steven exchange of value.[77] +on an even-steven exchange of value.[77]

    Memberships and individual donations [RECIPROCITY-BASED]

    While memberships and donations are traditional nonprofit funding models, in @@ -1857,7 +1870,7 @@ 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 +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 @@ -1872,7 +1885,7 @@ Kleon wrote, “Our work doesn’t speak 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.”[79] +understand about your work affects how they value it.”[79]

    A critical component to doing this effectively is not worrying about being a “brand.” That means not being afraid to be vulnerable. Amanda @@ -1890,7 +1903,7 @@ 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 “humanizing your interactions” -with the public.[80] But it can’t be a +with the public.[80] But it can’t be a gimmick. You can’t fake being human.

    Be open and accountable

    Transparency helps people understand who you are and why you do what you do, @@ -1898,28 +1911,28 @@ but it also inspires trust. Max Temkin of Cards Against Humanity told us, “One of the most surprising things you can do in capitalism is just be honest with people.” That means sharing the good and the bad. As Amanda Palmer wrote, “You can fix almost anything by authentically -communicating.”[81] It isn’t about +communicating.”[81] It isn’t about trying to satisfy everyone or trying to sugarcoat mistakes or bad news, but instead about explaining your rationale and then being prepared to defend it -when people are critical.[82] +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 don’t go through the effort to actually respond to the input you receive, it can be worse -than not inviting input in the first place.[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 +own economic self-interest.[85] Any relatively introspective human knows this is a fiction—we are much more complicated beings with a whole range of needs, emotions, and motivations. In fact, we are hardwired to work together and ensure -fairness.[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 “irrational” in an economic sense. As Knowledge Unlatched’s Pinter told us, “It is @@ -1932,7 +1945,7 @@ that are Made with Creative Commons design for the good actors. self-fulfilling prophecy. Shirky wrote in Cognitive Surplus, “Systems that assume people will act in ways that create public goods, and that give them opportunities and rewards for doing so, often let them work together -better than neoclassical economics would predict.”[87] When we acknowledge that people are often motivated +better than neoclassical economics would predict.”[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.

    @@ -1944,17 +1957,17 @@ to make sure citizens act honestly and responsibly. And it’s impossible for any organization to rely on contracts alone to make sure that its managers and workers live up to their obligation.” Instead, we largely trust that people—mostly strangers—will do what they are supposed to -do.[88] And most often, they do. +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, “If you want fans, you have to be a fan -first.”[89] Even if you happen to be +first.”[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] +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 @@ -1963,14 +1976,14 @@ ensure its employees have personal, one-on-one interaction with users. When we treat people like humans, they typically return the gift in kind. It’s called karma. But social relationships are fragile. It is all too easy to destroy them if you make the mistake of treating people as anonymous -customers or free labor.[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 back the value that contributors generate. That does not mean you can solve this problem by simply paying contributors for their time or contributions. As soon as we introduce money into a relationship—at least when it takes a form of paying monetary value in exchange for other value—it -can dramatically change the dynamic.[92] +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 @@ -1993,14 +2006,14 @@ operate. When your end goal is not about making a profit, people trust that you aren’t just trying to extract value for your own gain. People notice when you have a sense of purpose that transcends your own -self-interest.[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 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. @@ -2011,11 +2024,11 @@ fostering a sense of belonging. As Jono Bacon writes in The Art of Community, “If there is no belonging, there is no community.” For Amanda Palmer and her band, that meant creating an accepting and inclusive environment where people felt a part of their “weird little -family.”[95] For organizations like +family.”[95] For organizations like Red Hat, that means connecting around common beliefs or goals. As the CEO Jim Whitehurst wrote in The Open Organization, “Tapping into passion is especially important in building the kinds of participative communities -that drive open organizations.”[96] +that drive open organizations.”[96]

    Communities that collaborate together take deliberate planning. Surowiecki wrote, “It takes a lot of work to put the group together. It’s @@ -2023,9 +2036,9 @@ difficult to ensure that people are working in the group’s interest and not in their own. And when there’s a lack of trust between the members of the group (which isn’t surprising given that they don’t really know each other), considerable energy is wasted trying to determine each other’s bona -fides.”[97] Building true community +fides.”[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 don’t have a voice, which in turn leads to disengagement.

    @@ -2038,9 +2051,9 @@ defines so much of the so-called sharing economy. In an article on the Harvard Business Review website called “The Sharing Economy Isn’t about Sharing at All,” 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. +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 can’t simply treat open content as a free pool of resources from @@ -2050,7 +2063,7 @@ 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 +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.

    @@ -2064,13 +2077,13 @@ 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 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] +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 @@ -2078,7 +2091,7 @@ small, incremental edits made by a diverse range of people acting on their own are immensely valuable in the aggregate. Those same sorts of small contributions would be less useful for many other types of creative work, and people are inherently less motivated to contribute when it doesn’t -appear that their efforts will make much of a difference.[105] +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 @@ -2086,7 +2099,7 @@ truly incredible and inspiring. But in a wide range of circumstances—perhaps more often than not—community cocreation is not part of the equation, even within endeavors built on CC content. Shirky wrote, “Sometimes the value of professional work trumps the value of amateur -sharing or a feeling of belonging.[106] The +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 @@ -2095,198 +2108,199 @@ 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,”The only department where I wasn’t open to input was the -writing, the music itself."[107] +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 “making in public” 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 mentality—treating ideas like something plentiful—and it can create an -environment where collaboration flourishes.[109] +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 and Yves Pigneur, Business Model Generation (Hoboken, NJ: -John Wiley and Sons, 2010), 14. A preview of the book is available at http://strategyzer.com/books/business-model-generation. -

    [38] - Cory Doctorow, Information Doesn’t Want to Be Free: Laws for the Internet -Age (San Francisco, CA: McSweeney’s, 2014) 68. -

    [39] +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 prévia +do livro está disponível em http://strategyzer.com/books/business-model-generation. +

    [38] + Cory Doctorow, *Information Doesn Want to Be Free: Laws for the Internet +Age* (São Francisco, CA: McSweeney’s, 2014) 68. +

    [39] Ibid., 55. -

    [40] - Chris Anderson, Free: How Today’s Smartest Businesses Profit by Giving -Something for Nothing, reprint with new preface (New York: Hyperion, 2010), -224. -

    [41] - Doctorow, Information Doesn’t Want to Be Free, 44. -

    [40] + Chris Anderson, Free: How Today’s Smartest Businesses Profit by +Giving Something for Nothing, reimpressão com novo prefácio (Nova +York: Hyperion, 2010), 224. +

    [41] + Doctorow, Information Doesn’t 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 Doesn’t Want to Be Free, 38. -

    [49] Bollier, Think Like a Commoner, 68. -

    [50] Anderson, Free, 86. -

    [51] Doctorow, Information Doesn’t 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, “The measure of success of laws and contracts is how rarely they are invoked.” -

    [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 Doesn’t Want to Be Free, 43. -

    [64] William Landes Foster, Peter Kim, and Barbara Christiansen, “Ten Nonprofit Funding Models,” 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 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: O’Reilly 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, “The Sharing Economy Isn’t about Sharing at All,” 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 new epilogue (New York: Portfolio, 2012). -

    [101] David Lee, “Inside Medium: An Attempt to Bring Civility to the Internet,” 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 within Us All (New York: Crown, 2013), 82. -

    [110] Whitehurst, foreword to Open Organization. -

    [111] Rachel Botsman and Roo Rogers, What’s Mine Is Yours: The Rise of Collaborative Consumption (New York: Harper Business, 2010), 188.

    Capítulo 3. The Creative Commons Licenses

    @@ -2550,7 +2564,7 @@ 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] +board to give it extra features), and kits.[112]

    Arduino’s focus is on high-quality boards, well-designed support materials, and the building of community; this focus is one of the keys to their @@ -2598,7 +2612,7 @@ sharing and which are closed. An Arduino blog post from 2013 entitled “Send In the Clones,” 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] +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 @@ -2616,7 +2630,7 @@ learn.” Ultimately, for Arduino, going open has been good business—good for product development, good for distribution, good for pricing, and good for manufacturing. -


    Capítulo 5. Ártica

     

    +


    Capítulo 5. Ártica

     

    Ártica provides online courses and consulting services focused on how to use digital technology to share knowledge and enable collaboration in arts and culture. Founded in 2011 in Uruguay. @@ -3160,7 +3174,7 @@ information.

    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 @@ -3238,7 +3252,7 @@ Conversation represents a new form of journalism that contributes to a more informed citizenry and improved democracy around the world. Its open business model and use of Creative Commons show how it’s possible to generate both a public good and operational revenue at the same time. -


    Capítulo 9. Cory Doctorow

     

    +


    Capítulo 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 @@ -3566,11 +3580,11 @@ license of choice. 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] Figshare’s API enables that data to be pulled into an app developed by a completely different researcher that converts the data into a visually interesting graph, which any viewer can alter by changing any of the -variables.[116] +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 @@ -3584,7 +3598,7 @@ of using Creative Commons licenses. Mark says his success is partly about being in the right place at the right time. He also believes that the diversification of Figshare’s model over time has been key to success. Figshare now offers a comprehensive set of -services to researchers, publishers, and institutions.[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 Figshare’s early days, their primary users were early-career and late-career academics. It has only been because funders mandated open licensing that @@ -3607,7 +3621,7 @@ free version. Figshare’s principles and advocacy for openness are a key differentiator. Going forward, Mark sees Figshare not only as supporting open access to research but also enabling people to collaborate and make new discoveries. -


    Capítulo 11. Figure.NZ

     

    +


    Capítulo 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. @@ -3623,7 +3637,7 @@ services to creators, donations, sponsorships } \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 +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 don’t use them. She used to think this meant people didn’t care about being informed, but she’s come to see that she was wrong. Almost everyone @@ -3680,7 +3694,7 @@ others to understand. Over time, she’s come to realize just how fortunate and important that decision turned out to be. New Zealand’s government has an open-access and licensing framework called NZGOAL, which provides guidance for agencies when they release copyrighted and noncopyrighted work -and material.[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 @@ -3746,9 +3760,9 @@ that has never been done before. Statistics New Zealand are partners who back Figure.NZ’s efforts. As one example, with their support Figure.NZ has been able to create Business Figures, a special way for businesses to find useful data without having to -know what questions to ask.[120] +know what questions to ask.[120]

    - Figure.NZ also has patrons.[121] Patrons + 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. @@ -3830,7 +3844,7 @@ their focus is completely on making Figure.NZ work in New Zealand and to get the “network effect”— users dramatically increasing value for themselves and for others through use of their service. Creative Commons is core to making the network effect possible. -


    Capítulo 12. Knowledge Unlatched

     

    +


    Capítulo 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. @@ -3934,7 +3948,7 @@ the total collected from the libraries.

  • 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] +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 @@ -3945,7 +3959,7 @@ 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 +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 @@ -4009,7 +4023,7 @@ 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] +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 @@ -4055,7 +4069,7 @@ 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. -


    Capítulo 13. Lumen Learning

     

    +


    Capítulo 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.

    @@ -4075,7 +4089,7 @@ 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 @@ -4283,7 +4297,7 @@ through sharing. Their biggest recommendations for others wanting to pursue the open model are to make your commitment to open resources public, let people know where you stand, and don’t back away from it. It really is about trust. -


    Capítulo 14. Jonathan Mann

     

    +


    Capítulo 14. Jonathan Mann

     

    Jonathan Mann is a singer and songwriter who is most well known as the “Song A Day” guy. Based in the U.S.

    http://jonathanmann.net and http://jonathanmann.bandcamp.com @@ -4484,7 +4498,7 @@ symbols from volunteer designers around the world. 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 it’d +was in its infancy.[126] They thought it’d be a good way to introduce the global web community to their idea. Their goal was to raise $1,500, but in twenty days they got over $14,000. They realized their idea had the potential to be something much bigger. @@ -4570,7 +4584,7 @@ instead of per download.) Noun Project’s share is higher this time as it’s providing more service to the user.

    The Noun Project tries to be completely transparent about their royalty -structure.[127] They tend to over +structure.[127] They tend to over communicate with creators about it because building trust is the top priority.

    @@ -4627,7 +4641,7 @@ profile page; each profile features their full collection. Users can also search the icons by the creator’s name.

    The Noun Project also builds community through Iconathons—hackathons for -icons.[128] In partnership with a sponsoring +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 @@ -4641,7 +4655,7 @@ creating services and content that are a strategic mix of free and paid while staying true to their mission—creating, sharing, and celebrating the world’s visual language. Integrating Creative Commons into their model has been key to that goal. -


    Capítulo 16. Open Data Institute

     

    +


    Capítulo 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. @@ -4688,7 +4702,7 @@ policies affect this;

  • help UK businesses use open data; and

  • - show how open data can improve public services.[129] + 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, ODI’s technical director, puts it @@ -4728,7 +4742,7 @@ two tiers: small to medium size enterprises and nonprofits at £720 a year, and corporations and government organizations at £2,200 a year. Commercial members have greater opportunities to connect and collaborate, explore the benefits of open data, and unlock new business opportunities. (All members -are listed on their website.)[130] +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 @@ -4798,7 +4812,7 @@ brand.

    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] +training, and even office space.[131]

    A big part of ODI’s business model revolves around community building. Memberships, training, summits, consulting services, nodes, and @@ -4811,7 +4825,7 @@ and effort to build it, not just online but through face-to-face events. legal, practical, technical, and social aspects of their open data. If it is of high quality, the organization can earn ODI’s Open Data Certificate, a globally recognized mark that signals that their open data is useful, -reliable, accessible, discoverable, and supported.[132] +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 @@ -4857,8 +4871,8 @@ million Total Open Data Certificates created: 151,000

  • Total number of people trained by ODI and its nodes since ODI began: -5,080[133] -


    • Capítulo 17. OpenDesk

     

    +5,080[133] +


    Capítulo 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. @@ -4926,7 +4940,7 @@ themselves how open or closed they want to be. For the most part, designers love the idea of sharing content. They understand that you get positive feedback when you’re attributed, what Nick and Joni called “reputational glow.” And Opendesk does an -awesome job profiling the designers.[134] +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, @@ -4948,7 +4962,7 @@ said, “Finding a whole network and com 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.” Opendesk now has relationships with -hundreds of makers in countries all around the world.[135] +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 makers’ quotes. Here’s how it’s expressed on Opendesk’s @@ -4981,7 +4995,7 @@ assembly (additional services are discretionary—in many cases makers will be happy to quote for assembly on-site and designers may offer bespoke design options)

  • - local sales taxes (variable by customer and maker location)[136] + local sales taxes (variable by customer and maker location)[136]

    • They then go into detail how makers’ quotes are created:

    @@ -5038,7 +5052,7 @@ furniture from the usual mass-produced items from a store. Opendesk and the “open making” business model. They’re engaging thought leaders and practitioners to define this new movement. They have a separate Open Making site, which includes a manifesto, a field guide, -and an invitation to get involved in the Open Making community.[137] People can submit ideas and discuss the principles +and an invitation to get involved in the Open Making community.[137] People can submit ideas and discuss the principles and business practices they’d like to see used.

    Nick and Joni talked a lot with us about intellectual property (IP) and @@ -5088,7 +5102,7 @@ work. 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. -


    Capítulo 18. OpenStax

     

    +


    Capítulo 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. @@ -5138,7 +5152,7 @@ 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 @@ -5163,7 +5177,7 @@ presentations, test banks, answer keys, and so on. through the use of OpenStax textbooks; there’s even a textbook-savings calculator they can use to see how much students would save. OpenStax keeps a running list of institutions that have adopted their -textbooks.[139] +textbooks.[139]

    Unlike traditional publishers’ monolithic approach of controlling intellectual property, distribution, and so many other aspects, OpenStax has @@ -5322,7 +5336,7 @@ 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. -


    Capítulo 19. Amanda Palmer

     

    +


    Capítulo 19. Amanda Palmer

     

    Amanda Palmer is a musician, artist, and writer. Based in the U.S.

    http://amandapalmer.net @@ -5338,7 +5352,7 @@ merchandise \end{flushright}

    Since the beginning of her career, Amanda Palmer has been on what she calls a “journey with no roadmap,” continually experimenting to find -new ways to sustain her creative work.[140] +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 for—“the ideal sweet spot @@ -5503,7 +5517,7 @@ relationship. Viewed from this lens, what Amanda does today is not that different from what she did as a young street performer. She shares her music and other artistic gifts. She shares herself. And then rather than forcing people to help her, she lets them. -


    Capítulo 20. PLOS (Public Library of Science)

     

    +


    Capítulo 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. @@ -5702,11 +5716,11 @@ article would undergo transformation. 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.

    @@ -5729,7 +5743,7 @@ more than 135,000 quality articles to peruse for free. Ultimately, for PLOS, its authors, and its readers, success is about making research discoverable, available, and reproducible for the advancement of science. -


    Capítulo 21. Rijksmuseum

     

    +


    Capítulo 21. Rijksmuseum

     

    The Rijksmuseum is a Dutch national museum dedicated to art and history. Founded in 1800 in the Netherlands

    @@ -5778,7 +5792,7 @@ 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 Europe’s digital -library, museum, and archive for cultural heritage.[143] As an online portal to museum collections all +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 @@ -5854,7 +5868,7 @@ a new web presence that would be different from any other museum’s. In addition to redesigning their main website to be mobile friendly and responsive to devices like the iPad, the Rijksmuseum also created the Rijksstudio, where users and artists could use and do various things with -the Rijksmuseum collection.[144] +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 @@ -5887,17 +5901,17 @@ images in Rijksstudio. They’ve even partnered with the DIY marketplace Etsy to inspire people to sell their creations. One great example you can find on Etsy is a kimono designed by Angie Johnson, who used an image of an elaborate cabinet along with an oil painting by Jan Asselijn called The -Threatened Swan.[145] +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 +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 €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 started in September 2016. @@ -5939,9 +5953,9 @@ use of their collection has generated great promotional value—far more than the previous practice of charging fees for access and use. Lizzy sums up their experience: “Give away; get something in return. Generosity makes people happy to join you and help out.” -


    Capítulo 22. Shareable

     

    +the 2015 award: http://www.rijksmuseum.nl/en/rijksstudio-award-2015

    Capítulo 22. Shareable

     

    Shareable is an online magazine about sharing. Founded in 2009 in the U.S.

    http://www.shareable.net @@ -6130,7 +6144,7 @@ colleagues set out to write them and make them freely available.

    As physicists, Mark and his colleagues were advocates of open-source software. To make the books open and free, they adopted the Free Software -Foundation’s GNU Free Documentation License.[148] They chose LaTeX, a typesetting program used to publish scientific +Foundation’s 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. @@ -6150,7 +6164,7 @@ enough to meet the need. 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 K–12 in English. That project became Siyavula.

    @@ -6176,7 +6190,7 @@ were safe to share and free from legal repercussions. to be able to remix and edit the content. Mark and his team had to come up with an open editable format and provide tools for editing. They ended up putting all the books they’d acquired and authored on a platform called -Connexions.[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.

    @@ -6279,7 +6293,7 @@ grades 4 to 6 and later grades 7 to 9.

    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] It’s a complete curriculum that also comes with +to 6 called Thunderbolt Kids that uses a fun comic-book style.[151] It’s a complete curriculum that also comes with teacher’s guides and other resources.

    Through this experience, Siyavula learned they could get sponsors to help @@ -6351,7 +6365,7 @@ 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. -


    Capítulo 24. SparkFun

     

    +


    Capítulo 24. SparkFun

     

    SparkFun is an online electronics retailer specializing in open hardware. Founded in 2003 in the U.S.

    @@ -6763,7 +6777,7 @@ 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] +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 @@ -6807,7 +6821,7 @@ contains 350 songs so the musician’s share is 5/350 = 1.43%. The license fee agreed with this retailer is US$12 per month per play-out. So if 42.5% is shared with the Tribe musicians in this playlist and your share is 1.43%, you end up with US$12 * 1000 stores * 0.425 * 0.0143 = US$73 per -month.[153] +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 @@ -6892,7 +6906,7 @@ can only do that if they have a live and kicking community, with people who think that the Tribe of Noise team has their best interests in mind. Creative Commons makes it possible to create a new business model for music, a model that’s based on trust. -


    Capítulo 27. Wikimedia Foundation

     

    +


    Capítulo 27. Wikimedia Foundation

     

    The Wikimedia Foundation is the nonprofit organization that hosts Wikipedia and its sister projects. Founded in 2003 in the U.S.

    @@ -7005,7 +7019,7 @@ explanation. “In a movement as large a diversity of motivations,” 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. “Some donate text, some donate images, some donate financially,” Stephen told us. “They are all @@ -7050,7 +7064,7 @@ public resources. “The Internet has a but it is missing the digital equivalent of parks and open public spaces,” Stephen said. “Wikipedia has found a way to be that open public space.” -


    \chapter*{Bibliography}\addcontentsline{toc}{chapter}{Bibliography}

    +


    \chapter*{Bibliography}\addcontentsline{toc}{chapter}{Bibliography}

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