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Selection of Discussion on Fairtunes
spiny norman
Crosbie Fitch I've just e-mailed those two chappies to let them know. Weird how these things go. Must be morphic resonance or something...
JamGrrl This would apply very well to the needlework patterns industry which is facing some serious problems due to pirating, as we've talked about in previous discussions. Since the dynamics of needlework sales and consumption are so different from that of music, the Fairtunes model wouldn't work as well for it. Also, we've talked about the movie industry, and how complicated that whole thing is. We've asked the question, "Would Fairtunes work for that?" Who knows? But the pre-bid model would work wonderfully for the movies. I know I would fork out $20 in advance to be sure I was the first to see Lord of the Rings. And I would up that bid if need be. It would work for low-budget movies as well, since their budget is lower, you don't have to get as many people. This is the area where niche viewers could really help, and cult-classics would run rampent. It would be "cool" to have been in on a certain movie long before it became popular, so people would have an interest in following it. The nice thing about movies is there's something to describe. "This movie is about a man who has copied himself into the net." You can describe the whole plot, and even post or sell copies of the script. You can even get bidders involved in a higher level in the production -- allowing them access to a members-only site showing rehersals, cuts from the film, etc. With movies, most people usually know whether they want to see the movie or not just based on the promo. The only difference here is how long they have to wait. The model would also work well for established artists in the music field, but not so well for new artists. It's almost impossible to tell if you're going to like an artist before you've heard them. However, I think that a pre-bid system would work very well with a post-tipping system -- especially for new artists. After all, if you didn't know about The Next Big Thing until after it was done, streamed on the net, and everyone was talking about it, you would want to see it anyway, and you may still want to pay for the experience, even though copies are freely available everywhere.
Matt
Crosbie Fitch You summarised this: That is much closer to the original Street Performer Protocol (and the mechanism used on CoSource). I'm suggesting that the advantages of very large numbers of people allow everyone to pay the same price, thus: "Each person pledges what they are willing to pay, be it $1 or $100, and when the artist feels that a certain price point is a good deal, e.g. $2, then all those people who bid at least $2 get charged $2, and get a 'presentation/collectors' edition of the work". Everyone else can bootleg it for nothing - perfectly legitimately - as the work is now in the public domain. Those who bid $100, only end up paying $2. But, the artist might have set the price point at $100 - it is possible the artist would get more money by selling to 50 bidders of $100 than 4000 bidders @ $1. The point is, the performance only happens if the artist gets paid. If enough people want the art badly enough, then they will pay the artist, despite the fact that a bunch of freeloaders (who wouldn't have paid much anyway) will be able to get the work for nothing. The important thing is: the artist gets paid and their fans get the art. Who gives a damn about freeloaders anyway? Only publishers get upset about freeloaders - and who cares about publishers? IdeaLive is similar, but they are using the old 'aggregation' style, and not thinking large scale, i.e. $2,000 minimum investment. If they geared up to allow 400,000 fans the chance to pay $1 up front for a
CD, that's hefty dosh for a performance.
Crosbie Fitch Yes, there will still be a place for 'packagers' and value added resellers. Just as with Open Source companies like Red Hat. I daresay that people will still buy CDs of their favourite music even though they can download it off the web overnight into their media drives. The CD or DVD-Audio is likely to have plenty of inlay info, biographical details, competitions, fanzine news, t-shirt offers, etc. etc. People still go to live performances too, even though they have the music
already. VARs will simply have to pull their socks up when they produce the
packaging, e.g. 'the complete works of Motorhead in velvet and leather box, with
free biker jacket'. |
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