An open letter from @stephenfry to his 2Millionth follower

Amplify’d from www.stephenfry.com

“Eat shit, a hundred billion flies can’t be wrong,” the old graffito used to say. “Follow Stephen, two million tweeters can’t be wrong,” I say.

I have always been an early adopter, and many of the services to which I have ardently subscribed have come to nothing or are yet to take off, Buzz, OrkutFourSquare, Diaspora and Maphook spring to mind … one moribund, the other mostly Brazilian, the rest reasonably hot, but like bubbling under and waiting to erupt.

Facebook I joined enthusiastically in 2007, but soon realised that it wasn’t for me. Etiquette demands that messages be answered, that friend requests be attended to and the whole thing cultivated and cared for: I soon received too many requests for me to handle and disappeared into a secret squirrel FB identity that only my friends know and that, even if it were guessed at, is plugged too tight to penetrated, like a … well, provide your own simile, Jonathan.

With a great following comes great responsibility. It is not hard to see why so many people with goods and services to sell, charities and deserving causes to promote and ideas to disseminate want to piggy-back on the shoulders of those who can guarantee them eyeballs, web traffic and mouseclicks.

Ah, and you fear being deserted, do you? Well, I try hard not to make Twitter a contest. I am not in it for bragging rights and kudos (honest), but I am human and I would be odd if I didn’t get a glow from having so many followers. On the other hand…

The secret of twitter, or at least the secret for me, lies in coping with the trade-off between the need for the sensible management of twitter and the need to try as hard as possible to be me, actually me, not a public image, not an image-massaged celebrity, not an on-display simulacrum, but the “real” me, warts and all.

And yet it’s mostly wonderful here, Jonathan. The majority, the great majority of people are friendly, forgiving and kind. It is a miracle that so much can be read into little messages of 140 characters that offer no personal clues by way of handwriting, styling or formatting. After a while you will be astonished by how perceptively your moods and meanings are interpreted and with what bewildering accuracy. You will be astonished too by the wit. The speediness, elegance and brilliance of some twitterers regularly takes my breath away.

I like replying, I like being involved in twitter. If I’m raw from a recent mauling I’ll stay away and feel shy and nervous of looking at any single tweet or DM, either because they’ll be upsettingly sympathetic and concerned or because they’ll be mean. But mostly Twitter and my two million followers are as good a reason as I know to trust people. To respect people. To believe in people.

Read more at www.stephenfry.com

 

mobile oline gameбизнес процесс powered by dle

Thinking about using Kickstarter to fund your album?

Here are some thoughts to work on beforehand.

Amplify’d from www.hypebot.com

image from blog.eliotsykes.com Recently, I spoke with Yancey Strickler, who is the co-founder of Kickstarter, a crowdfunding platform for creativity. In this interview, Strickler talks about moving past a one-size fits all model for financing creativity, how pull marketing models relate to Kickstarter, and why fan-funding encourages fans to become more active particiapants in their cultural lives.

On Kickstarter there’s no one to satisfy except your fans.

Yancey Strickler: The biggest differences are in who controls the relationship. Labels, studios, publishers, etc have always shielded artists from the public, but we’ve now reached a moment where that fan relationship is every artist’s most important asset. Relationships can’t be pirated, and neither can the shared experiences that come with them. A Kickstarter project hones those interactions.

Artists and fans have always had relationships, of course. The difference now is that the relationship is being pushed further up the pipe. Rather than waiting until the album is out and the tour is in full swing to engage, it’s now in everyone’s best interests to interact from the get-go. Don’t wait until the thing is out to build an audience. Do it constantly and directly. Invite people to participate as much as you feel comfortable. If you’re lucky enough to have an audience that deeply cares about your work, reward them! Bring them closer, make them part of the process, think like a fan.

How does crowdfunding encourage fans to become more active participants in their cultural lives and does it serve to more closely connect fans to the material processes of arts creation? 

Yancey Strickler: The web has been steadily pulling us toward an author-less society. We don’t think of culture as being created, we think of it as being ubiquitous. It just exists, and it diminishes the importance of the source material. As great as the latest animated GIF meme might be, it wouldn’t exist without that primary recorded action. This is something we often forget. We need to reattach art to its author. Without it we feel entitled to everything — piracy increases and our respect for the creative process diminishes. We need to remember that art comes from people. It’s not an algorithm, it’s not magically generated in the cloud. It originates from people like us. 

What are the essential elements of contribution tiers?

Yancey Strickler: Rewards are very important. On Kickstarter they loosely breakdown into four types: 

1) Presell the thing. Someone raises money to make a record; you get a copy when it’s done.

2) Limited Editions. First 100 copies of the deluxe vinyl are individually numbered and personally signed.

3) Sharing the story. Here’s a token that demonstrates your involvement in the project and my appreciation for it. Think Polaroids from the studio, old guitar strings, etc.

4) Creative experiences. Bring someone into the process itself. “This track needs handclaps — come in the studio and provide them.”

Read more at www.hypebot.com

 

рекламное агентство краснодарпродвижение web сайтов