Making Our Own Justice (A Riff on "Virtual CrowdSurfing")

The other day Steve Bodio commented on one of my entries, and noted that “...in a just world you'd be paid for this.”
I agreed, even though it wasn't my best writing (the re-write the computer ate was much better), but was dismissive too. I said, and it's true, that I'm just happy to put something into the world that will either resonate with another human being, or elucidate, inform or excite.
I come from what I've begun to describe as a lonely culture – It's sparsely populated, but it is a culture in whole - I'm proud of it and think we're all very interesting. I'm always glad to strike a chord with others who identify. And I'm thrilled if something from my culture sparks or rekindles something in someone else. That's deeply satisfying for me. At the end of the day, I write to fulfill and satisfy myself, and I'd lie if I said I didn't draw part of my satisfaction from being read. The creation is fundamental, and it drives on regardless, but it's satisfying to have a cry in the darkness answered. As a reader I've always felt I was participating in the writers finished art, rather than just receiving it – As a writer, I seek to participate with my readers not simply produce product.
But in a just world, if the participation is good, if the work is good, I should get paid shouldn't I? Of course I should. In a just world.
I'm not sure I believe the world is just. I believe the world is neutral though, and that it is up to us to make our own... whatever, really. Including justice. I believe this is true, on many fronts. As artists, we have to make a lot of things for ourselves, so what's stopping us from making our own justice? Okay, maybe not make entirely, but enable.
We can't necessarily force people to pay for our art - If we limit its availability only to those who pay we may be limiting ourselves right out of existence – But we can enable our audience, our fans and collectors, to pay us if they want to, can't we?

There are already writers with “Donate” or “Support” buttons on their blogs. They produce a lot of content, or a body of work, that is easily accessible and typically for free. No demand is placed on the audience to pay for it, but they are enabled to do so if they think its worth it.
We're also seeing novels, chapbooks and other publications, as well as music in a variety of forms, offered using a “Pay what you feel it is worth” model.
I'm finding this idea more and more attractive – Because I'd like to do this for a living, or at least part of my living. Or at least for beer money. To be able to devote more of the time and energy to writing and the rest of my art, that I end up spending on wage earning (or trying to at least).

So what's it worth to you?
Nothing? Cool. Keep reading. I'm slowly stealing your soul and corrupting your heart the more of my ideas you entertain, so it's all good. Seriously, it is all good.
You'll buy my book once I have one? Bring it around for coffee, I'll sign it.
Not a lot, but sometimes you'd pay for reading me? Awesome, thanks.
You want to be my sugar mama, support me financially and * ahem * otherwise, all for keeping up my writing? Please email at least three clear photos that aren't extreme close ups, and show you clearly in good lighting from different angles, and a list of references.
I'm being flippant here, but that is (minus the creepy uberfan sugar mama AKA Kathy Bates in Misery psycho-fan) the gist of the enabling I'm talking about.

This isn't something I'm going to implement now. Most of you don't know me, and I'm not producing content at a rate that is really befitting suggesting recompense for it. For me, now is not the time to roll this out – Just the time to start thinking about it. Mapping out how I'd like to try putting it to work.
As a writer, it's pretty easy to map.
As a blacksmith, and artist metalsmith? Not so much.
Tangible, physical, art is hard to transition into the virtual realm – Those physical materials cannot be emailed. How can I, how can my fellows, as a materials artist work with what Amanda Palmer dubs “Virtual Crowdsurfing”? That's trickier. I have several ideas, some of which I'm going to keep to myself for awhile. But, among those ideas is one of knowledge and experience sharing.
There are a lot of people who are not, and don't want to be, artists who remain intensely interested in the processes of art. There are those who want to learn about an art other than their own. Still others want to learn how to do a type of art. As artists, we can be educators about our art. Coming from the blacksmithing world, most blacksmiths are also teachers or at least have taught occasionally. I think, as with other forms of art, we aren't limited strictly to that art, in what we can teach. You can teach a great deal with art.
Couldn't a metal artist (or a wood worker, fabric artist, glass worker, etc. etc.) put out “process content”, demonstrations, tutorials, videos of the art being made (which opens up possibilities of cross-media video art), in a public fashion, and stick a donations button on their website/blog? You could take it out of the virtual world as well: A free public demo with a tip-jar set out. If I show up at an event, and forge an iron hat, won't there be someone to drop money in it? I'd like to think so.
I think this cross over into the really-real world is extremely necessary for building a fan base, and one that is rich with the actual human touch. Musicians have this made, because live shows are damn near guaranteed – They will happen, they have to. Writers can do readings, or perform poetry. Other artists have to innovate in how they reach their audience, if they want to try out the “virtual crowdsurfing” thing. Without the fan base, the people to catch you when you dive off, you'll get nowhere. (Yeah, I'm riffing on AFP here. She's right on, see my last entry and go check out her blog.)

This is an area, a realm of possibility, that I am truly excited about and actively exploring. Woe unto my other projects, I've found something else time consuming.

Update:
Some models/ideas of “virtual crowd surfing” as a writer that I think support my own:

Nathan Tyree is hard at work on a novel project titled “Tom Waits and Charles Bukowski Fistfight in Hell”, and has auctioned a fairly prominent role as a character in his novel via eBay. The move, apparently, has generated him some measure of buzz in addition to the immediate monetary advantage. Also apparently a burned thumb. http://waitsandbukowski.wordpress.com/

Jeremy C. Shipp is selling subscriptions to his short story writing as Bizarro Bytes, http://jeremycshipp.com/bizarrobytes.htm.
He offers multiple levels of subscription, for those wanting to offer further support, and has some interesting incentives for those who do.

Stephen Elliot, for his memoir The Adderall Diaries, used advance copies originally destined for media outlets to create a “lending library” for fans, http://therumpus.net/2009/09/about-that-lending-library-notes-on-book-publishing-in-a-socially-networked-world/
The only requirement was that the copy had to be forwarded to the next person on the list once read. His thoughts on the idea are pretty interesting. The idea has a lot of merit. Just another example of working the crowd in new and innovative ways. He's also supporting the book with a tour and getting out there, another essential element.

Amanda Palmer

I really don't remember how I discovered The Dresden Dolls, but I suspect it was through a friends Facebook status asking for a coin-operated boy. However it was, that's how I heard of Amanda Palmer, the Doll's lead singer (among other talents). Quickly the Doll's albums, and Amanda's solo effort, Who Killed Amanda Palmer, became some of my favorite music, and continue to get a lot of play. Particularly when I'm writing or being otherwise creative.
But it's only recently that I've started following Amanda Fucking Palmer's blog.
I'm not much of a fan boy. If I like someone's work, I'll promote it to my friends who share my tastes, and maybe mention it here, but not much more. I'm a quiet fan. I follow the artists artistic output, invest my money in the output I want to own or participate in, and encourage fellows to do the same, but that's the extent of it. I'm not a gushing, twitter following, fan-art making fan. It just doesn't work for me. If I follow an artist on Twitter, odds are I'll get pissed at narcissistic irreverence and nonsense and stop liking them. Same for a lot of blogs. For me to enjoy engaging with an artist I like in that fashion, something has to be different. I like artists who blog smartly.
I particularly like artists who talk about art, and the processes behind it, and within it. Whatever their art may be. Even better, artists who talk about the future of their art. Best, an artist who can talk about these things in a manner that's as inspiring as their art.
This is why I'm actually reading AFP's blog, and have linked it at right. She's fucking brilliant.
She's thoughtful, and puts a lot of her energy into her words, making the blog both enlightening and inspiring. It's something a lot of artists just can't do – Their blogs end up narcissistic or dry, or narcissisticly dry. AFP is engaging, funny, energetic, and smart. She also regularly displays a firm grasp on current, and emergent, trends and offers insights that more people should really be paying attention to.
Some of her recent blogging in particular has been excellent in terms of trends and things people should pay attention to. Her ideas and comments about how she, as an artist, is making money and the necessity of doing the work, and how others are succeeding, or can succeed, are great.
More artists need to embrace the entrepreneurial opportunities afforded by the current state of technology and communication. More artists need to stop being shy about cultivating a fan base, being involved with that fan base, and making money from that fan base. Making money is not dishonest, it doesn't dirty up the work. Everyone has a right to try to make a living from what they're passionate about. Go read, seriously. AFP is talking from the POV of a performance based artist/act like a musician, but if I find it valuable as a scribbler and metalsmith, other artists should as well. If you're a musician, video artist, writer, pounder of metal, any sort of artist who wants to make a life an an artist, her ideas are worth a look.
I find her commentary very much in keeping with my recent ideas on writing/publishing, markets and marketing there-for, and making use of available technology and the memes they enable to achieve success in genres and as artists.
On top of that, she's awesome and I enjoy her work, and the things she has to say.

(As a note: I'm thinking about putting up something for each of my recommended reads, who I haven't mentioned before at least, but don't know if I'll get to it. My recommended reading, and the blogs I follow (see profile) are all recommended, or they wouldn't be there. You should check them out.)

A Bright Idea from The Atlantic

Not a new idea, but a bright one none the less. In Unleash the Dogs of Peace editor Gibney makes the excellent suggestion of using private military companies (PMCs) instead of UN Peace Keepers in difficult regions. There is great merit to this idea for varying reasons, only one of which is the UN's seeming inability to actually keep, never mind create, peace.
Gibney isn't the first to suggest this. Obviously, PMC's themselves have always suggested this. Still a good idea. Maybe a better idea now than it was when Executive Outcomes was suggesting it for Rwanda (prior to the great machete party) - Today's contenders seem to offer more stability, and despite the media's efforts less mercenary stigma.

From the Atlantic piece:

"There is a different, more robust approach to making peace in nasty places: deploy private military companies like Executive Outcomes, whose small, highly trained force defeated insurgencies in Sierra Leone and Angola during the 1990s. Executive Outcomes is now out of business. But as researchers like Peter Singer have documented, the private-military-company marketplace now fields scores of firms (including the U.S. giants Xe—formerly Blackwater—and DynCorp) that take in billions in revenue. Put them on retainer, and they’ll go where they’re paid to go—unlike every one of the 19 countries that had pledged troops on a standby basis for UN peacekeeping and then refused, in 1994, to send them to Rwanda."

Market Forces

Imagine a world where corporate interests outstrip government. Where executives are celebrities. Where the division between the poor and the rich, the haves and have-nots, is enforced by law, and walls, and an economic standard soaked in blood. A world where executives compete with one another - for promotions, to win contracts, to settle disputes - via murderous road rage in specially designed and armored "battle-wagons". This is the world of Richard K. Morgan's "Market Forces", a character driven science fiction thriller set in the near, and all too believable, future of late 2040's London.
Market Forces protagonist (hero would be the wrong word) Chris Faulkner is an up and coming executive, or "driver" as he is one of the select few who can both afford to drive and are among the ranks of road-rage competing corporate agents. Faulkner, at the book's opening, has just been drafted into the ranks of Shorn Associates, Conflict Investment division. Riding on his work at a previous firm's Emerging Markets division, and the highly controversial yet celebrated kill on the road that won him that position, Faulkner meets immediate challenge. His coworkers and the partners at Shorn are far more bloodthirsty than Faulkner believes necessary, demanding that every roadway dual end in a positive kill. Faulkner is able to deliver extreme violence, as in his celebrated kill in which he ran over his competitor five times, but comes to Shorn with a preference for less bloodthirsty business approaches. This puts him at odds with other Shorn executives; Rivalries which only become worse when he proves successful in the division.
Conflict Investment is no nice thing – It is investment in, and guidance of, small wars for maximum profit. Shorn Associates is as bloodthirsty and greedy here as anywhere, and it pays. Conflict Investment is a money-maker, and success in the field means great gains, recognition and advancement for Faulkner. Being less bloodthirsty still does not give Faulkner clean hands, and as the pressure mounts, he becomes more and more blood-soaked. And he likes it – Every victory, every risk won out, is validation for the way he does business, and the ideals he brings to the game.
At the same time, it is his idealism that runs him aground. Faulkner is no mindless greed driven power player. He's come from the very bottom to get to where he is, and has built the beginnings of a good life. His wife, Carla, is a loving and kind force in his life, always encouraging the best of him. She holds him to be the better man, and not succumb to the sheer greed and immorality of his work.
As Faulkner rises to the top in the most cut-throat area of a cut-throat world, his professional drive and personal conscience conflict more and more. As he struggles with these disparate halves of himself and his life he is forced (or forces himself) into a decision between two paths, one of harmony in his family, and one of unbridled success.

Market Forces channels American Psycho with a Road Warrior ethic and a Dogs of War sensibility. The world created by Richard Morgan for his corporate samurai is one of merciless competition, bloody corporate affairs, unabashed profiteering, riding on a current of warfare and class oppression. In short, Morgan writes a world that, while exaggerated, doesn't seem too impossible or even too far off. In examining this potential future what the reader must ask themselves is if that is a good thing, and what role they want to play. These are the questions that are at the heart of the novel, driving its biting political dialog and fast paced action alike. The choices faced by Faulkner and those surrounding him are more than political, or monetary: Their very lives are at stake on the physical, moral and even human scale.
Market Forces is not an uplifting read. Faulkner is a great anti-hero, and is surrounded by similarly flawed individuals and their mistakes. Very few of these characters are merely two-dimensional, as Morgan is unafraid to delve into the vulgar depths of personality. These are very human people, and will force the reader into uncomfortable territory. At times it is like being in the room while your friend and his wife have a screaming argument. All you can do is watch as people you want to care about debase themselves and one another, screaming themselves into the deafening silence of mutually assured destruction.
Yet while not an uplifting read, it is a fundamentally good read. Morgan's characters resonate with that level of richness throughout, flowing effortlessly with the tautly woven story. Market Force is a book that draws you in, each page pulling you deeper into the quagmire of morality, violence and lust that consumes its characters. It will leave you breathless, and with the sensation that you may be accomplice to something awful, yet wanting more. A unique and masterful work of speculative fiction, Market Forces is a must read.

The Great American Bubble Machine - Something You Need to Read

Matt Taibbi is a name I've heard around, but never paid a great deal of attention to. I probably should have been.
He recently penned an article for Rolling Stone called The Great American Bubble Machine, detailing the "behavior" of investment bank Goldman-Sachs that has created (or at the least helped to) the largest financial bubbles in American history, starting with the Trusts bubble that, upon bursting, lead to the Great Depression, and on through the Tech Stocks bubble, the Housing Market, and Oil Futures.
It is a brief history of manipulation and general scum-fuckery. Nothing in it should be surprising to anyone who has been paying attention, at least the history. But, this is an incredibly complex area, and I know for a fact that most people aren't paying attention (I barely do).
Taibbi's article is worth reading, to know whats gone on, and also for a critical look at what is coming.
The next major bubble is being passed along as something truly good for everyone, and it may be the biggest swindle yet.

This is long, unhappy and probably boring - Read it anyway.
The Great American Swindle by Matt Taibbi