The life of an artist, by @booksofadam
Not today Justin
Xuebing Du
taylor price

Janaina Medeiros
will byers stan first human second

â
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JBB: An Artblog!

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The life of an artist, by @booksofadam

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Alan Moore is an artist committed to his own invented system of symbols and divinities. Read the full story on the graphic novelist, who, on his fortieth birthday, declared himself a ceremonial magician.
11-08-16 many words later
Finished 2/3 main body paragraphs for the literature review. I have only used 22 of my resources so far. I am disappoint. xD No matter, more will appear. I donât have enough words to go in depth though, and thatâs actually a little disappointing :(
UGH WHY
I accidentally deleted all my tags when I opened the journal articles in Windows
Now I have even less clue which of my 60 articles had the exact quote I wanted UGH Well at least now I know what those âhidden filesâ on Windows actually does (HOLD THE DAMN OSX TAGGING SYSTEM)
10-08-16
Yeah updating here is a serious time-drain
Iâll just go ahead and write my literature review now

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The moral economy of crowdfunding and the transformative capacity of fan-ancing (Scott)
Date completed: 1 Aug 2016
Womanthology: Heroic and Veronica Mars are our case studies. Each successful campaign framed their fansâ financial, emotional and creative investments properly and fulfilled their transformative capacity and ideas of fan participation. Even though the creative process is still one-way, fans feel better when they are explicitly courted as a projectâs primary backers, leading to the moral economy growing.
Fans support each other by financing each othersâ works sometimes, through fan art, fan fiction or cosplay commissions. Big companies doing this can be offloading the risk and financial burden onto fans, but fans may be rewarded that they will have more if the project succeeds.
Fan-ancing raises questions about hte already destabilised moral economy between creators and fans within convergence culture. This also allows them to redefine âfan serviceâ, in a way they as fans actually want.
Veronica Mars, fandom, and the âaffective economicsâ of crowdfunding poachers (Hills)
Date completed: 1 Aug 2016
Affective economics in relation to crowdfunding focusses on fan-ancing, where media fans are targeted by crowdfunding campaigns. Veronica Marsâ fan-consumers as âcrowdfunding poachersâ who made the Kickstarter meaningful in relation to their own fan identities were doing so willingly to commodify their fandom.Â
Affective economics does not merely allow media producers to exploit fan engagement, it also calls upon producers to perform the ongoing emotional labour of a coherent âsocial frontâ where fan-like identities and decommoditising discourses are mobilised. There is still fan agency being displayed though, rather than these being process occurring behind their backs, and the fans âpoachâ the kickstarter crowdfunding process by negotiating how this is meaningful to them.
Rob Thomas was still the writer, the fans only produced the money, so technically the fans werenât creating anything creatively, only creating the opportunity to get their sequel film. So there wasnât any fan creativity happening. By tactically poaching from the crowdfunding campaign, fans engaged with it personally and socially via different agendas, experiences and emotions, which actually challenges the idea that there was no fan input at all.Â
Kickstarter campaigns can be designed to value the emotional investment of fansâ use and interaction with the media and then exchanging it for monetary gain and production capital, such as offering experiences and products that feel personal rather than the standardised commodities. Fans may poach from a crowdfund by interpreting it not only as securing symbolic proximity to the showrunner/production, but also as offering limited edition or time sensitive merchandise.
Basically, both fans and producers get a say in their involvement in these campaigns, decommoditising and voluntarily recommoditising the culture and experiences that matter to them.
Amazonâs fan fiction store: opportunity or fandom-ination? (Bukatz)
Date completed: 1 Aug 2016
This one was about Kindle Worlds, which is definitely about trying to get money from the fans. While some fans might contribute to it, most people Iâve encountered in fandom have the opinion that that would be totally selling out and very disrespectful to the spirit of fandom, i.e. the moral economy. You canât even have explicit content there, so whatâs the point; honestly xD But this is a good experiment from Amazon to see if:
fanfiction harms the canon or not
whether canon actually benefits from fan fiction
how much (financially and other wise) does fan fiction benefit canon
I look forward to the results!
The Thinning Line between Fandom, Consumerism and Citizenship (Gary)
Date completed: 1 Aug 2016
This paper argues that media producers are purposefully cultivating fans out of their young audiences in order to satisfy their own capitalist desires (interesting! Continue). The existing youth consumer culture in the USA has fostered a strong connection in children believing their material objects define their social status, leading to huge spending by parents as their children become the companyâs guerilla marketers (LMAO Learn to say no to your kids though). There also continues an infantilisation ethos where adults are encouraged to âremain youngâ and children wish to grow up faster. Nickelodeon even has a virtual city called Nicktropolis where children can play in this MMORPG, training them for future interaction and methods of play.Â
As fandom becomes less about being situated in the margins and more about the mainstream and commercialised practices, the line between fandom and consumerism will disappear and the social and political implications of being a fan may be resituated as characteristics of being an engaged national citizen. Yet it is unclear if the fan is being more commercialised or if the consumer is appropriating the fan experience.
Adults may also become fans of kids shows as they follow the infantilisation ethos or rely on cartoons to bring back nostalgia (e,g. adult fans of SpongeBob Squarepants)
My goodness. something to think about would definitely be the loss of something unique in fandom should things be too commercialised. Is that a good thing (growth economy, more popularity, engaged audience) or a bad thing (commercialisation, exploitation, money flowing to giant companies that hoard it rather than take a chance on new creative ideas)? Wow...
Fifty Shades of Remix: The Intersecting Pleasures of Commercial Fan Romances (Morrissey)
Date completed: 1 Aug 2016
Some quotes:
âWhile fan work has become more visible as a social practice in recent years, fansâ creative practices remain contested and debated. Fan work challenges traditional notions of authorship, ownership and labor practices around creative production.â
âStigma around romance and fan writing is part of a long legacy of public concern around womenâs writing and reading practices...Scholarship examining the relationship between fan fiction and commercial romance has a tendency to either rapidly align the two modes of writing and move on or position them in opposition to each other.â
âMoving away from the metaphor of the ever-exapnding archive, Mafalda Stasi describes slash fan fiction instead as an âintertextual palimpsestâ connecting âthe various types of intertextuality in slash... to other textual strategies in different genres, styles and periodsâ. Stasi uses the palimpsest - a surface that has been cleared for new work, but still contains traces of what came before - as a metaphor for fansâ use of existing characters and story-worlds as archetypal tools with which fan writers test new possibilities and variant histories.â
âThe intertextuality underlying commercial and fan romances may sometimes play out in different ways, but these are stories in whcih the blending of personal voice with shared characters and forms is profoundly pleasurable... while drawing up disciplinary boundaries is necessary to develop fields and methodologies, shcolars also need to be mindful of interdisciplinary flows and of the intertextuality of their own work. Stories and readers do not easily stay in fixed categories, and in todayâs transmedia market, genres flow messily across media forms.â

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Crowdfunding: A Spimatic application of digital fandom (Booth)
Date completed: 30 July 2016
Using Bruce Sterlingâs technosocial concept of the Spime as a means of investigating the relationship between crowdfunding and effect on particular audiences, through examples of the Veronica Mars film, Wish I was here film and Darciâs Walk of Shame, we find that this ecosystem is a technosocial system, and fan participation in this requires a more procedural examination of the relationship between fandom and technology.
Spime is a mix of the words âspaceâ and âtimeâ, expressing the idea that objects exist not only physically but in moments of time. The object becomes a lifecycle of technological transformation and uses time as another dimension an object can be measured. Spimes are individual and unique, and a Spimatic fandom sees the PROCESS of fan activity as key to fan affect through participation. Since every fandom is special, so is every fan unique. Their individual interaction creates a temporal exploration of crowdfunding and fandom. The spimatic effect of a kickstarter campaign means that even if a product fails to materialise, the overall process continues to exist. (The HanFree) As a product, it is nowhere, as a Spime, it is everywhere.
Different fans embrace different aspects of the web for different purposes, hence not everything can be summarised in broad sweeping terms about whether fans are being exploited or not. Some fans are aware, while others might not be.
In the Digi-Gratis economy, monetary, social and cultural values for products are interchangeable. Each element is a node in a networks of value and exchange within an affective media environment, and fan productivity isnât always sanctioned by the industries but continues anyway.
Each of the fan groups lobbying for continued seasons were active and participatory in the media environment only AFTER they had already been consumers of the show.Â
Fan Labor and Feminism: Capitalizing on the Fannish Labor of Love
Date completed: 30 July 2016
This article focussed on how the fans create items for their fandom to show their love and when it gets too popular, it gets commercialised by the original owners of the creative content and fans get exploited and told to step down or out of the market they created. This means risk gets shifted to fans and the large media companies take little or no risk throughout the whole commercialising or creation scheme.
When customers, viewers and users get rebranded as fans, the companies mimic fannish passions as user-generated content, using the existing infrastructure that fans have created for free.Â
âTechnological, cultural, and academic changes have all contributed to creating a world in which rebranded fan fiction breaks sales records, marketing firms run fan contests, and fan merchandise like knit hats get licensed... we must acknowledge that the subcultural, alternative outside remains intricately entwined with commercialised media industries.â
The Rise of Fanvestors: A study of a crowdfunding community
Date completed: 30 July 2016
This paper was mostly in the music/independent record making fandom where people used a crowdfunding platform called MegaTotal to support musicians and artists directly, sometimes getting a share of the profits when the label was successfully released.
Notable parts from the paper:
âthe unstable nature of todayâs entertainment industries, in conjunction with the mergence of the social networking sites, creates new phenomena that call for attention on the part of researchers... Crowdfunding can be defined as âthe act of informally generating and distributing funds, usually online, by groups of people for specific social, personal, entertainment or other purposesâ
âcrowdfunding is a viable alternative for artists who are interested in financing their works but do not have the necessary resources or proposals from record labels, publishers, or other institutions... this new business model... could show how the relationship between project initiators and contributors is shaped and how the legal system affects the effectiveness of crowdfunding.â
âFansâ creative expression adds new contexts to the act of consumption, transforming it into production, which results in the circulation of fan-written texts, fan-made movies and recordings, etc.â
âThree types of productivity by fans: semiotic, enunciative, and textual productivityâ
âCrowdfunding is a very special case of the social networking phenomenon. It combines the advantages of Web 2.0 with the dynamism of fan communitiesâ
âWeâd like to propose they be called âfanvestorsâ - a portmanteau formed by contracting âfanâ with âinvestorâ... where their reasons surpass a purely financial context and contribute more meaningfully to a cultural domainâ
Digital Fandom: New Media Studies (Booth)
Date completed: 31 July 2016
Not 100% the information I needed, but raises good thoughts about fandom within a few frameworks, notably the Alternate Reality Game (ARG) and fandom-as-carnivale. Also, spoilers and being forerunners of the text/fandom gives you cultural capital to show off among your fellow fans (probably why we ask âAre you up to date yetâ ALL THE DAMN TIME)
An ARG is a game-like narrative played both off- and online, which uses multiple modes of mediation to immerse the player in the gameâs narrative. players often roleplay and act with non-players in the real world. Examples include: writing fanfiction for fellow readers and lurkers, or running a RP account on social media.
Okay more extensive notes were written up in TextEdit so Iâll go back and refer to those but yeah Fandom as Carnivalesque is pretty amazing
The dynamics of crowdfunding: An exploratory study (Mollick)
Date completed: 31 July 2016
Long-term implications must be monitored since crowdfunding has only been around less than a decade in its current iteration
Out of successful projects, many of them are delayedÂ
Most crowdfunded projects seek to raise small amounts of capital, often under $1000, in initiate a particular one-time project (e.g. event) and capital is usually provided by friends and familyÂ
Reward-based crowdfunding: the generally accepted model where funders receive a reward for backing a projectÂ
This study eliminated the following:
extreme fundraising goals (over $1m in goals)
foreign Kickstarter projects (to focus on US ones)
Social networks and crowdfunding have a huge relationship
Herding and bystander effect definitely occur amongst funders
86% of projects had videos while 17% provided rapid updates
Fraudulent fundraisers appear to account for less than 5% on Kickstarter but may not be the case in other countries or platforms

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Some Simple Economics of Crowdfunding (Agrawal, Catalini, Goldfarb)
Date Completed: 31 July 2016
Early stage creative projects and ventures usually use local visions and community ties to overcome high risk and uncertainty, but crowdfunding is busting that preconception
JOBS Act: Jumpstart Our Business Startups (2012)
legalises crowdfunding for equity by relaxing various restrictions concerning the sale of securities
Crowdfunding started in arts and creativity-based industries (recorded music, film, video games)
Research on non-equity crowdfunding found:
Funding is not geographically constrained
Funding is highly skewed, eg 1% of projects net 70% of all money
Funding propensity increases with accumulated capital and may lead to herding
Friends and family are a big early role
Funding follows existing agglomeration (doesnât trickle down to industries that donât actually have money, instead going to ones that do)
Funders and creators are overoptimistic
Crowdfunding capital may substitute for traditional sources of financing, such as home equity loans, shown when house prices rose, letting businesses use home equity more, entrepreneurs turning to crowdfunding decreased
Crowdfunding can act as cheap funds through:
Better matches with most willing customers
Bundling with goods that are otherwise difficult to trade (e.g. recognition, early access)
Information through communication with investors and creators
For funders, the benefits are:
Access to investment opportunities at all ranks of investing
Early access to new products
Community participation
Support for a product, service or idea
Formalisation of contracts, previously social or informal financing from family and friends can be tracked and held accountable for
Creator risks are:
disclosure agreement, as it opens one up to imitation
loss of bargaining power, Quest problem with suppliers
Oversubscription draining a small teamâs energy and ability to deliver the actual product
Inability to prevent funders with different visions and strong personalities from joining and adversely affecting the dialogue
Funder risks are:
creator incompetence
fraud
project risk
The free-rider issue is such a problem because most funders wait for other people to do the research
Although there are problems and policymakers twiddle their thumbs, the market will probably innovate around the issues and make it a better platform for funding
A snapshot on Crowdfunding, Hemer
Date completed: 31 July 2016
Important pointers:
Crowdsourcing =/= crowdfunding
The mass psychology/internet psychology of crowdfunding
âCrowdfunding in Europeâ - actual research topic section
crowdsourcing: the process of outsourcing tasks to a large, often anonymous number of individuals (usually on the internet) and drawing on their assets, resources, knowledge or expertise.
Delimiting terms such as:
crowd donations
crowd sponsoring
crowd pre-selling/pre-ordering
crowd lending
crowd equity/investing
Crowdfunding platforms are intermediaries (like an investment bank underwriting the initial public offering)
Classification of commercial background:
Not-For-Profit (charity, common pool)
For Profit (commercial)
Intermediate (art, entertainment, music, films)
Original organisational embeddedness: (how institutional it is)
Independent and single (people only)
Embedded (run by a company, NGO, etc)
Start Up (starts individual may grow into firm)
Intrinsic rewards are better for crowdfunding, like:
personal identification with project goals
contribution to societally important mission
satisfaction in community and success
being engaged in and interacting with the team (hence the $1 reward to keep updated I reckon)
chance to expand oneâs work
chance to attract funders in return for own project
Threshold pledge model: all or nothing
predominant model
good for all involved
Microlending models
Investment or equity models (usually in music business)
Holding model (sort of investment)
The Club model (offering the investment chance only to a small âclubâ of less risky funders, not necessarily actually less risky)