Mongo nas artes

Ontem, ao final da tarde, liguei o computador e acedi à minha caixa de correio. Então, descobri com curiosidade um e-mail com o título "Mongo nas artes".

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Agradeço ao Miguel Pires, que não conheço pessoalmente, o encaminhamento para mais um sintoma de Mongo em "The Indiepocalypse":

"For the first time in two decades, an indie artist is topping the Billboard charts. For the last three weeks, Macklemore and Ryan Lewis's "Thrift Shop" has remained at the #1 position on the Billboard Hot 100, beating the likes of Taylor Swift and Bruno Mars."

Mongo é esta subversão do estabelecido, é este tsunami que leva os incumbentes numa torrente de mudança e dá liberdade de criação como nunca houve:

"For hundreds of years, publishers across every industry — book publishers, record labels, film studios, videogame publishers — solved problems for artists in four major ways:

1.     Funding. The cost of creating a new work, paying the artist's expenses during the creation process, often with an advance.

1.     Production. Design, manufacturing, and printing of the finished product.

1.     Marketing. Going on tour, making a video, promotion in various media outlets.

1.     Distribution. Getting the product into people's hands.

And how does this play out now?
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Digital distribution subverted the monopolies held by physical distribution, bypassing distribution deals with record stores entirely, allowing artists to sell directly to fans. Social media and online music services changed the way people discover music, making the payola systems of MTV and radio airplay feel quaint. Production costs dropped dramatically as computers became more powerful and audio editing software got dirt cheap, along with new services for printing on demand. And, finally, Kickstarter and other crowdfunding platforms offset the financial risk to artists.
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Most importantly, each new platform let artists find, communicate, and sell directly to their fans.
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Music is hardly alone here. Videogames, film, comics, books, product design, hardware, software, board games, whatever. Hackers and makers across every form of art are finding their fan bases, interacting with them, and selling to them.
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We're at the beginning of an indiepocalypse — a global shift in how culture is made, from a traditional publisher model to independently produced and distributed works.
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Artists that were royally screwed over in the past now have an alternative."

Pena que em Portugal as associações representativas dos autores ainda esteja a defender o paradigma anterior.