August 05, 2003
ブログ界隈（と言っておく）の、モブス化、emergentな集合の生成、祭り感はいいですね。賛同。
network styly *: 『「斎藤環氏に聞く ゲーム脳の恐怖」のGoogleランクを上げよう』運動
斎藤環氏に聞く ゲーム脳の恐怖1[www.tv-game.com]
『ゲーム脳の恐怖(生活人新書 ０３６)』オンライン書店ｂｋ１
July 30, 2003
Democratization of media, digital tools, media - Corante: Amateur Hour
9%マージンとって残りはアーティストだそうです。こういうのどんどん増えそう。
July 02, 2003
CHANGE THE BUSINESS OF MUSIC.
USE THE INTERNET TO ESTABLISH FAIRNESS FOR ALL ARTISTS.
ESTABLISH EDUCATIONAL PROGRAMS TO BENEFIT THE COMMUNITY.
WHAT MUSICLINK DOES:
Musiclink provides a new method of payment which incorporates contributions and grants that pay for artists' projects. This allows emerging and established artists to enhance their careers and insures fairness and support for diverse expression. Access to live music; music education is funded for all communities.
Musiclink fills a void. The National Endowment of the Arts no longer supports individual artists. The "Go Fish" granting process does not have the efficiency to support the tens of thousands of working and recording artists, who deserve attention. The industry is not able to foster emerging artists or maintain established ones no longer on the charts.
Musiclink provides an automated method to collect contributions from numerous sources and pay fairly for projects that enhance both the artists' careers and their communities.
HOW IT WORKS:
Fans contribute to projects online or by check. 100% of the funds go directly to pay for these projects. Vendors are paid directly and artists get the benefit of group discounts.
Matching funds, gathered from institutions and individuals, complement fan contributions, solicited by artists and%2
Microrefunds for a Creative Economy
Microrefunds for a Creative Economy
To solve the question of how to build a "creative economy" where creators of "content"/IP/art/call-it-what-you-will can be rewarded by those who appreciate it, there have been many ideas, but no clear success as yet. Systems like Napster, where nobody was paying, may help publicise music but don't directly put bread on the artist's table.
defining a new marketplace for media
mediAgora - home
Publishing business models assume costly production and distribution, and expect a few hits to fund the misses. Going digital changes this.
Perfect digital copies make distribution cheap; digital editing and recording tools make production cheaper too. It is easier than ever to create and give away work, and Creative Commons will help you do that.
Getting heard and getting credit are great, but wouldn't you like to get paid too? mediAgora defines a fair, workable market model that works with the new realities of digital media, instead of fighting them.
Principles and goals
mediAgora defines a new market model, based on coherent principles and goals.
Principles:
-Creators should be credited and rewarded for their work.
-Works can be incorporated into new creative works.
-When they are, all source works should be credited and rewarded.
-Customers should pay a known price.
-Successful promotion of work should be rewarded too.
-Individuals can play multiple roles - Creator, Promoter, Customer
-Prices and sales figures should be open
-Relationships are based on trust and reputation
-Copy protection destroys value
Goals:
-Creators have 3 main goals - getting heard, getting credited and getting paid
-Customers want to find works and pay a fair price
Creators set the price, customers decide to pay it (or not)
-Promoters have an incentive to promote Works, but not to compete with other promoters for the same work
-Working within the system is more attractive than subverting it
File-sharing has enabled music fans from around the world to build the largest library of recorded music in history. While this should be cause for celebration, large record labels have spent the last three years attacking peer-to-peer (P2P) technology and the people who use it. But neither user-empowering technologies nor consumers' desire for easy access to digital music are evil. Targeting technologists and users is not addressing the real problem.
