label

business models

Linked to 4 items

• from: Conversation_with_Caroline_Busta_ (pad)

  business modelsBack to just general support, like how to fund yourself, that is just such a good question. I feel like every year we're like “how is this still working”, and it somehow is. I don't have a long-term plan. At the same time, had I joined a traditional media outlet, it very likely wouldn't still be alive right now. If you look at a lot of arts institutions, they've gone through a major crisis over the past 10 years in terms of reconciling with woke agendas and who funds them. I think many of them are really struggling right now to find the thread again and also find funding. That's a very big question, what the correct funding model is. There probably are some viable pathways, but it will probably be messy. I don't have a really good answer there, other than the older institutions do not seem well calibrated to the conversations that we're continuing to have, and it's been that way now for six years or longer.

• from: Clusterduck (chapter)

  Carolina (00:22:21) - We could spend a whole day untangling these threads together! You were just talking about how you combine your other work with the collective work and how you also bring your individual experiences into Clusterduck as a collective. When preparing this, I also saw in another interview that you gave that you sort of define yourself as business modelsemployed in the creative gig economy by day and meeting online at night. I’m curious if you can expand on that with how you ensure or work towards some kind of sustainability of your collective and how you operate in this way.

• from: Clusterduck (chapter)

  Noel (00:32:43) - I wanted to say something more about what Silvia was saying, about self-exploitation in the cultural industry, because I think it’s a very important topic. That’s one thing I wanted to address, this relationship between the corporate jobs that we have — which have a lot of limitations and issues and problems that I think I don’t need to address that are quite self-evident… But on the other side, the deal is very clear, and sometimes it’s more honest than what you have in the cultural industry because business modelsthe cultural industry thrives on those grey zones of informal work that Silvia was addressing. It's much more apt at colonizing your free time and your passions, while at the same time criticizing exactly those kinds of things, and that's what makes it feel very weird, to say the least, sometimes.

• from: Silvio Lorusso (chapter)

  Silvio 02:06 First of all, thanks so much for having me. It’s nice to try to reflect a bit on many years of involvement in publishing. My name is Silvio Lorusso, I’m a designer by training, an artist, and more and more, an author. My involvement in publishing and experimental publishing has several branches, I started at the INC with an interest in researching business modelsprint-on-demand, which at the time was a new thing — you can imagine how many years ago we are speaking of. This led to a certain interest in the platformization of publishing, such as Amazon, Kindle, and systems of rights management. Then I did my PhD thesis in Venice on experimental publishing, which was focused on the artistic experiments around platformization and enclosure.