Crowdfunding and Amanda Palmer #iaspm2017

Beatriz A. Medeiros and Natalia Dias: Universidade Federal Fluminense

Crowdfunding is not for everybody: Performance in the Art of Asking

Amanda Palmer: previously signed to Roadrunner, and now an independent crowdfunded artist.

ABSTRACT: This paper had as main goal to understand the importance of performance inside a process of crowdfunding, from the video produced by the independent musician Amanda Palmer, for the platform Kickstarter, to promote the project for launching her album, Theater is Evil. One of Kickstarter’s main requirements are audiovisual productions that assist in the dissemination of artists and their projects. Such videos seem to be the leading engagement products to attract “backers”. However, the hypothesis is that this is not the ultimate persuasion of this model. Resorting to Reception Studies as methodological basis and using internet ethnographic as inspiration, comments relating the video of Palmer’s project, present at the Youtube and Kickstarter platforms, were analyzed. Thus, it was possible to observe that not only the audiovisual performance is important to move “backers”, but also there’s a need of previous knowledge of the artist by these financers.

[Beatriz presents this jointly-authored paper on behalf of both authors].

The research subject is Amanda Palmer, a US-based independent artist who started her career in a piano/drums punk duo (signed to Roadrunner until 2011) and is now a solo independent artist. Her first album ‘Theatre is Evil” was crowdfunded via Kickstarter and later Patreon; Beatriz shows us a screenshot of the funding page, which shows pledges of $1,192,793 against a target of $100,000.

Music and Crowdfunded Websites: Digital Patronage and Artist-Fan Interactivity #crassh3c (Justin Williams)

Maria Schneider

Justin Williams / Ross Wilson (Bristol University): Music and Crowdfunded Websites: Digital Patronage and Artist-Fan Interactivity
This chapter investigates the economics of virtual bands—funding strategies and business frameworks that reflect virtual music business cultures in the Web 2.0 landscape. Most pertinent is the recent trend of fan-funded projects, also known as “crowdfunding” or “micro-patronage,” of which sites like Kickstarter, Pledgemusic, Sellaband and Rockethub provide a successful model. After an overview of terminology and online funding methods, the chapter focuses on three case studies that demonstrate the different ways groups and artists use crowdfunding for their projects: jazz orchestra composer Maria Schneider (on ArtistShare), canonical hip-hop group Public Enemy (on Sellaband) and singer-songwriter Amanda F. Palmer (on Kickstarter). The case studies raise important questions surrounding genre and ideology, new conditions of the digital music industry, artist-fan interactivity and the role of the internet in facilitating spaces for musical creativity and communication.