- Nov 2024
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Local file Local file
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Poverty, by America
the title of the book implies an ownership of poverty (by America)... there's also an implication of authorial voice as if America is a "creator", but specifically a creator of poverty as much as it is a creator of wealth
In the framing of toxic capitalism, it's almost as if one of the things America is good at manufacturing is poverty.
If we've outsourced most of our manufacturing sector, why not also include poverty?!?
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- Apr 2024
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arxiv.org arxiv.org
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Grassroots Social Networking safety implies that each member can be held accountable to theirown utterances, as well as to utterances that they forward. As Grassroots Social Networking hasno controlling entity that can be held accountable in case members of the social network breakthe law, accountability and law enforcement in Grassroots Social Networking are more similarto real life then to the social networks we are familiar with.
I.e., protocol creators are not responsible for how it's used.
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- Nov 2022
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oer.pressbooks.pub oer.pressbooks.pub
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partnerships, networking, and revenue generation such as donations, memberships, pay what you want, and crowdfunding
I have thought long about the same issue and beyond. The triple (wiki, Hypothesis, donations) could be a working way to search for OER, form a social group processing them, and optionally support the creators.
I imagine that as follows: a person wants to learn about X. They can head to the wiki site about X and look into its Hypothesis annotations, where relevant OER with their preferred donation method can be linked. Also, study groups interested in the respective resource or topic can list virtual or live meetups there. The date of the meetups could be listed in a format that Hypothesis could search and display on a calendar.
Wiki is integral as it categorizes knowledge, is comprehensive, and strives to address biases. Hypothesis stitches websites together for the benefit of the site owners and the collective wisdom that emerges from the discussions. Donations support the creators so they can dedicate their time to creating high-quality resources.
Main inspirations:
Deschooling Society - Learning Webs
Tags
- donations
- portfolio
- local
- Learning Webs
- hypothe
- crowdfunding
- schoolhouse
- prompt
- OER
- Ivan Illych
- wiki
- collaborative
- meetup
- learning
- schoolhouse.world
- processing
- roam
- pay what you want
- web monetization
- virtual
- discussion
- global
- monetization
- Deschooling
- social
- creators
- authors
- support
- annotations
- calendar
Annotators
URL
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www.youtube.com www.youtube.com
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https://www.youtube.com/watch?v=xbUEa9B0wLM
This appears like it might fit the bill for my Call for Model Examples of Zettelkasten Output Processea
<small><cite class='h-cite via'>ᔥ <span class='p-author h-card'>Eleanor Konik</span> in The Konik Method for Making Useful Notes (<time class='dt-published'>11/07/2022 12:03:38</time>)</cite></small>
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billyoppenheimer.com billyoppenheimer.com
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He has a warehouse of notecards with ideas and stories and quotes and facts and bits of research, which get pulled and pieced together then proofread and revised and trimmed and inspected and packaged and then shipped.
While the ancients thought of the commonplace as a storehouse of value or a treasury, modern knowledge workers and content creators might analogize it to a factory where one stores up ideas in a warehouse space where they can be easily accessed, put into a production line where those ideas can be assembled, revised, proofread, and then package and distributed to consumers (readers).
(summary)
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- Oct 2022
- Sep 2022
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Harris suggests a possible link for the weakening in stu-dents’ ability to include outside material to the testing movement that began in the 1990s,which has now encouraged a culture that rewards fast production;
rewards for fast production (see influencer culture) can also be seen in the broader social media space which doesn't provide space for the depth of potential rhetoric of Harris' five "moves".
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- Jun 2022
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Local file Local file
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The Essential Habits ofDigital Organizers
This chapter is too entailed with productivity advice, which can be useful to some, but isn't as note taking focused for those who probably need more of that.
What is the differentiator between knowledge workers, knowledge creators, students, researchers, academics. How do we even clearly delineate knowledge worker as a concept. It feels far too nebulous which makes it more difficult to differentiate systems for them to use for improving productivity and efficiency.
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www.higherlogic.com www.higherlogic.com
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User participation in any online internet community generally follows the 90-9-1 rule:90% of community members are lurkers who read or observe, but don’t contribute9% of community members edit or respond to content but don’t create content of their own1% of community members create new content
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- Jan 2022
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takingnotenow.blogspot.com takingnotenow.blogspot.com
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The mere scribe and the mere compiler have disappeared (almost completely), and the mere commentator has become very rare. Each exists only insofar as any author in creating his own work cannot do without some copying, some compiling (or research), and some commenting.
The digital era has made copying (scriptor) completely redundant. The click of a button allows the infinite copying of content.
Real compilators are few and far between, but exist in niches. Within social media many are compiling and tagging content within their accounts.
Commentators are a dime a dozen and have been made ubiquitous courtesy of social media.
Content creators or auctors still exist, but are rarer in the broader field of writing or other contexts.
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- May 2021
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doctorow.medium.com doctorow.medium.com
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That’s how blogging is complimentary to other forms of more serious work: when you’ve done enough of it, you can get entire essays, speeches, stories, novels, spontaneously appearing in a state of near-completeness, ready to be written.
I remember hearing a story that Mozart wrote music "like a cow pees" (in one giant and immediate flood and then done) and this thought of large works of writing, etc. springing, as if fully formed from the head of Zeus, makes me wonder if there was a similar process Mozart used for music. How did he see it internally/mentally? Or had he simply played it so much or played with it to do this?
I've heard other writers mention similar things.
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www.economist.com www.economist.com
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Record labels are another endangered middleman. They have historically taken care of turning a song into a hit, in return for an ongoing share of revenues. But more and more artists are going it alone. More than 60,000 new songs are uploaded to Spotify every day, most by bedroom-based rockstars who can use new online services to handle the logistics themselves. UnitedMasters, a music-distribution platform which bills itself as “a record label in your pocket”, recently raised $50m in a venture-capital round led by Apple. Tools like Splice make recording easier. Companies like Fanjoy take care of merchandise.And financing is getting simpler. One startup, HIFI, helps artists manage their royalties, paying them regularly and fronting them small sums to make up shortfalls. Another, Karat, extends credit to creators based on their follower count. Helped by such services independent artists took home 5.1% of global recorded music revenues last year, up from 1.7% in 2015, calculates MIDiA Research, a consultancy. In the same period the share of the three largest record labels fell from 71.1% to 65.5%.
The same sort of dis-aggregation and disintermediation that has hit the publishing business is also taking place to newspapers, magazines, and music.
The question is how to best put the pieces of the pie together in the best way possible. There's probably room for talented producers to put these together to better leverage the artists' work.
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A tyrannical few deny their writer-serfs bylines, ensuring that the value from every article accrues to the brand and not the author.
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The main way to monetise online content has been advertising. Making real money requires a huge audience: even 1m views on YouTube might make the poster only about $2,000. Some types of content attract even lower ad rates. PornHub says its amateur contributors earn an average of $0.60 per 1,000 views; 1m hits would net just $600. Ads can make megastars rich, but cannot provide a living for small-time foot goddesses and other niche creators.
More thumbnail details about ad earnings for creators online.
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Yet what of those creators with more modest followings? A few online stars earn megabucks, but the tail is long (see charts). Spotify says it wants to give “a million creative artists the opportunity to live off their art”. But only about 0.2% of the 7m-plus musicians on the platform make more than $50,000 a year in royalties; just 3% make more than $1,000. There are 20m gaming “experiences” on Roblox, but nearly 15% of all play takes place on one game, “Brookhaven RP”, according to analysis by Ran Mo of Electronic Arts, a game developer. On Patreon, where people can subscribe to creative services of all sorts, 200,000 creators earn a total of $1bn a year. The top earner makes around $2m, but about 98% make less than the federal minimum wage of $1,257 a month.
Some reasonable basic stats showing how rough this market can be for creators.
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The share of revenue that creators can earn seems to depend on how easily they could leave. Moving one’s email list away from Substack is simple, so the firm lets writers keep 90% of their revenues. Game-makers on Roblox, who are basically stuck there, keep about 25%.
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Last month Apple announced that it would let podcasters charge subscription fees, of which it would take a 30% cut for the first year, then dropping to 15%; days later Spotify followed suit—but said creators could keep the lot (from 2023 it will take 5%).
Good to see some of these platforms competing for creators this way. The big question is will the creators really "own" their audiences? or will they just be stuck in a silo in a few years with prices rising?
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YouTube, which has long given regular video-posters a 55% cut of ad revenue, is developing new features including tips in the form of paid “applause”.
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- Apr 2021
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mignano.medium.com mignano.medium.com
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Thus, the creative freedom of creators is limited.
And thus draconian methods for making the distribution unnecessarily complicated, siloed, surveillance capitalized, and over-monitized beyond all comprehension are beyond the reach of one or two for profit companies who want to own the entire market like monopolistic giants are similarly limited. (But let's just stick with the creators we're pretending to champion, shall we?)
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- Mar 2021
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www.tubefilter.com www.tubefilter.com
- Oct 2020
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scroll.blog scroll.blog
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However, a healthy news ecosystem doesn’t just require a thriving free press, it also needs a diversity of curators, newsletters and content discovery options that enable the weird and wonderful to surface. We want to use Nuzzel as a test kitchen to see what models works for curators as well as content creators. The simple goal is a sustainable open web where the goals of creators, curators and consumers are aligned around the best possible experience.
This sounds exciting to me and could dovetail with efforts of many with respect to IndieWeb for Journalism.
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- Aug 2020
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logicmag.io logicmag.io
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A more compelling vision, grounded in a materialist analysis of the conditions of production, would be a world where no one needs to get paid for these contributions because their material needs are taken care of through other means.
Absolutely. The argument is always "how will creators get paid" and if they don't get paid, "why would they create?" but this completely misses the point. Creators don't create to get paid, they create to create. Payment is a nice side effect of creation (sometimes). It would be really neat to see a UBI situation where creators are freed up to do what drives them instead of what they need to do to pay the bills.
Tags
Annotators
URL
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- Apr 2019
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www.bloomberg.com www.bloomberg.com
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crisis. Its “creators,”
I see crisis and creators close to each other in the text here and can't help but think about the neologism "crisis creators" as the thing we should be talking about instead of "crisis actors", a word that seems to have been created by exactly those "crisis creators"!
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