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Technical data of the digitalproductions.co.uk

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HTTP Header Analysis

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content index search rss/subscribe making an ethical incentive: money for art, liberty for people introducing microcontracts · 1403 days ago by crosbie fitch whilst modern civilisation is familiar with the local, offline marketplace in which people meet face to face, it is not familiar with the global, online marketplace in which people communicate via screen and keyboard – at least not from the perspective of mankind’s long history of commerce. there remain big problems online, concerning the difficulties people face in terms of establishing each other’s identity/reputation, and how they exchange money (or ephemeral substitute), and how they exchange materials and products between each other. laws instituting monopolies and otherwise restraining trade are a minor problem in comparison. some problems offline, aren’t actually problems online – we just think they are, because we try to replicate online the mechanisms we have become used to using offline. for example, one doesn’t even need money as such (silver or gold say), because one can make exchanges without it (a loaf of bread for a cauliflower). however, people are still rather familiar with money (or the idea if not the practice). it is because it was once more convenient to make exchanges via an intermediary commodity that we developed facilities for exchanging via that commodity, i.e. silver, silver coins, dollar coins, dollar notes, dollar amounts, and finally, just amounts, e.g. bitcoin. ultimately, you should realise that you don’t even need the intermediary quantity at all. you simply have a market of things to be exchanged (and some things are silver). the problems of trading online can all be solved one day, but we can get a long way toward that if we solve one particular problem first. i think this problem probably gives rise to this idea of a monied like button. it is the problem of a paucity of mechanisms available for exchanging public works, i.e. products necessarily publicly accessible, such as drinking fountains or literature. one can make it private, and sell it publicly, or one can sell it privately, and make it public. in other words, exchange happens when things cross the boundary of a private domain. money leaves someone’s pocket, or a product leaves someone’s workshop. you cannot sell something you have already given away, nor that which you will not part with. you cannot buy that which you already have, nor that which another will not part with. in the case of public works, the recipient is effectively the public. once one has sold a public work to those who bought it, one cannot sell it to anyone else, because everyone else already has it (or has easy access to it). there are two approaches to the sale of public works. the first is to privatise what should be public in order to sell it back to interested members of the public. the second is to invite interested members of the public to fund the release of a private work to the public. one can erect iron railings around a park and its fountains and charge admittance. one can invite a nearby community to fund the building of the park via subscription . one can enact a privilege that abridges the people’s liberty to make copies in order to charge them for copies of a literary work. the author can also invite their readership to fund the writing of a sequel via subscription (or crowdfunding ). the exchange is between those interested in receiving a fountain or sequel, and those interested in supplying it. the product is consequently received by all those who funded it, but importantly, it is not necessarily denied to those who didn’t fund it. online, because it is not a place, but a communications medium, there are no effective fences, and no effective reproduction monopolies. so, all we have is the mechanism of subscription. there is no means of enclosure in a communications medium. one can keep information private, or one can make it public. of course, some try to do both, by relying upon friction and copyright to charge for copies (music) or access (paywall) even as they deliver their product to the public. ultimately, as attempts to enclose ‘virtual space’ or speech fail, and people recognise such attempts are doomed to failure, we revert to natural reliance upon the physical boundary of one’s private domain (office). so, we have arrived at the private producer, those many interested in receiving their product, and the public as ultimate beneficiary. there are four obvious ways of looking at this transition of product from private to public and remuneration in exchange: the producer gives away their products, in hope of receiving donations as a consequence (possibly also commissions). those interested in the producer’s products donate in the hope this will reward, support and incentivise production. the producer completes a product, and advertises/offers it for sale to those who may be interested (possibly subject to private preview). those interested in a producer’s product offer to purchase it in exchange for its production and delivery to them (possibly subject to private preview). in all these cases, the product is considered a public work, and delivery of the product is considered publication. a gift or donation is unconditional, i.e. is it made without any formal agreement of exchange. a sale or purchase is conditional, i.e. money is paid on condition work is delivered and/or work is delivered on condition money is paid. notwithstanding the potential for altruism, there are tacit exchanges and explicit exchanges, i.e. patronage and subscription. the facilities for tacit exchange or patronage, that is, donation for publication, are well catered for, and not particularly fraught with difficulty. i am not too concerned with them, e.g. see snowdrift.coop for a project intending to develop a rather sophisticated donation facility. the 3rd case in which a producer has already completed a product can be considered a special case of the 4th, that has a production delay of zero. so, we are left with subscribed production. the producer and their subscribers (interested would-be receivers) are interested in exchanging a product for money (whether respective of consequential public benefit or not). so in this exchange we can easily identify four things, the two parties making the exchange, and the two items each party has to exchange: producer – the producer of a public work (an individual or team thereof) product – the public work (a complete work, or a part, or an improvement thereof) subscribers – persons interested in the production of the product commission – the total amount offered to be paid by the subscribers in exchange we can also identify other things that may be involved: production – the producer’s process of producing a product subscription – the subscribers’ process of commissioning a producer/product price – the amount the producer would readily accept in exchange pledge – the amount offered by a subscriber subscription fee – the amount paid by each subscriber (if only one or more amounts are available), which does not exceed the amount pledged. public – the ultimate beneficiaries auditor – the persons involved in any preview of product or sponsorship on behalf of producer/sponsor. having examined the elements of the bargain between producer and subscribers, the next thing is to look to how we facilitate this online. we are not dealing with a town hall of 200 people, a debate and a show of hands concerning a subscription for the building of a bridge (or repairs thereof). an online subscription facility must cater for potentially vast set of geographically and politically disparate people, whose only commonality is a shared interest in the producer and/or their products. there is no practical opportunity to facilitate internal debate between them, or haggling on their behalf with the producer. each potential subscriber must also be considered to have a minuscule budget in terms of time and money. the subscripti

URL analysis for digitalproductions.co.uk

http://www.digitalproductions.co.uk/index.php?rss=1&section=projects
"http://www.digitalproductions.co.uk
http://www.digitalproductions.co.uk//#search
http://www.digitalproductions.co.uk//mailto:[email protected]
http://www.digitalproductions.co.uk/index.php?s=information&c=contact
http://www.digitalproductions.co.uk//#subscribe
http://www.digitalproductions.co.uk//#contents
http://www.digitalproductions.co.uk//#content
http://www.digitalproductions.co.uk/index.php?s=information&c=contact
http://www.digitalproductions.co.uk//#fn610148903a8b7bd49
http://www.digitalproductions.co.uk/index.php?rss=1&section=natural-ip
outofoblivion.org.uk
digitalproductions.co.uk
francisdavey.co.uk
constitution.digitalproductions.co.uk
tdaa.digitalproductions.co.uk

Whois Information

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Error for "digitalproductions.co.uk".

the WHOIS query quota for 2600:3c03:0000:0000:f03c:91ff:feae:779d has been exceeded
and will be replenished in 114 seconds

WHOIS lookup made at 11:30:33 19-Jul-2017

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  REFERRER http://www.nominet.org.uk

  REGISTRAR Nominet UK

SERVERS

  SERVER co.uk.whois-servers.net

  ARGS digitalproductions.co.uk

  PORT 43

  TYPE domain

DISCLAIMER
This WHOIS information is provided for free by Nominet UK the central registry
for .uk domain names. This information and the .uk WHOIS are:
Copyright Nominet UK 1996 - 2017.
You may not access the .uk WHOIS or use any data from it except as permitted
by the terms of use available in full at http://www.nominet.uk/whoisterms,
which includes restrictions on: (A) use of the data for advertising, or its
repackaging, recompilation, redistribution or reuse (B) obscuring, removing
or hiding any or all of this notice and (C) exceeding query rate or volume
limits. The data is provided on an 'as-is' basis and may lag behind the
register. Access may be withdrawn or restricted at any time.

  REGISTERED no

DOMAIN

  NAME digitalproductions.co.uk

NSERVER

  NS10.DNSMADEEASY.COM 208.94.148.4

  NS12.DNSMADEEASY.COM 208.80.126.4

  NS11.DNSMADEEASY.COM 208.80.124.4

  NS13.DNSMADEEASY.COM 208.80.125.4

Mistakes

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