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1. The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets. Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheir musicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
Insurgencyanditstactics are as oldas warfare itself.internal use only.Jointdoctrine definesan
insurgencyasan organizedmovementaimedatthe overthrow of aconstitutedgovernmentthroughthe
use of subversionandarmedconflict.[2] Statedanotherway,aninsurgencyisanorganized,protracted
politico-militarystruggle designedtoweakenthe control andlegitimacyof anestablishedgovernment,
occupyingpower,orotherpolitical authoritywhile increasinginsurgentcontrol.Counterinsurgencyis
military,paramilitary,political,economic,psychological,andcivicactionstakenbyagovernmentto
defeatinsurgency.[2] Thesedefinitionsare agood startingpoint,buttheydonot properlyhighlighta
keyparadox:thoughinsurgencyandCOIN are two sidesof a phenomenonthathasbeencalled
revolutionarywarorinternal war,theyare distinctlydifferenttypesof operations.Inaddition,
insurgencyandCOIN are includedwithinabroadcategoryof conflictknownasirregularwarfare.
1.Real securitydialogue atthe bilateral andregional level meanslisteningandlastpersonal
relationships.
2.Securitycooperationshouldfocusonsecurityandstability,notpolitical orsocial reform.Suchefforts
shouldrecognize the legitimacyof differentvaluesandbe the subjectof aseparate dialogue.
3.Buildtrust byclearlyseeking friendorally’ssecurity.
4.Focus on buildinglocal internal use onlyself-defense anddeterrence capabilities,notpresence or
dependence.
5.Helpfriendsandalliesbuildforcesintheirownway;donot “mirrorimage.”
6.Recognize the realitythatothernationsdefine threatsandinternal use onlyalliesdifferentlyfromthe
US.
7.Arms salesinternal use onlymustclearlybenefitthe buyer,notjustthe seller.

2. 8.Ensure sustainability,capabilitytooperate ownforcesinownway.
9.Responsive,timesensitive aid,deployment,sales,andtransfers.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads. Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time, funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepractices orinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new, considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.

3. An example of thiscan be foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycases unable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalso opensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able to access
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlyto onlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.

4. Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the

5. publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergives themacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishing chain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasily with
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir

6. ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardization of the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoods forthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts; there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodels suchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.

7. An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistribution tounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites; thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew business models(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.

8. Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe found inthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the

9. publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheir workintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartists advertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increasedprofitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunk excessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,many bandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir

10. ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.
The major attractionfor online distributionisitsdirectnature.Tomake a commerciallysuccessful work,
artistsusuallymustentertheirindustry’spublishingchain.Publishershelpartistsadvertise,fundand
distribute theirworktoretail outlets.Insome industries,particularlyvideogames,artistsfind
themselvesboundtopublishers,andinmanycasesunable tomake the contenttheywant;the
publishermightnotthinkitwill profitwell.Thiscanquicklyleadtothe standardizationof the content
and to the stiflingof new,considerablyriskyideas.
By optingforonline distribution,anartistcan gettheirworkintothe publicsphere of interesteasilywith
potentiallyminimumbusinessoverheads.Thisoftenleadstocheapergoodsforthe consumerand
increased profitsforthe artists,aswell asincreasedartisticfreedom.
Online distributionalsoopensthe doortonew businessmodels(e.g.,the OpenMusicModel).For
instance,anartistcouldrelease one trackfrom an albumor one chapterfroma bookat a time instead
of waitingforthemall tobe completed.Thiseithergivesthemacash boostto helpcontinue orwarns
that theirworkisnot financiallyviablebeforetheyhave sunkexcessive moneyandtime intoit.
Videogameshave increasedflexibilityinthisarea,demonstratedbymicropaymentmodelssuchasthe
one inGunbound.A clearresultof these new modelsistheiraccessibilitytosmallerartistsorartist
teamswhodo not have the time,funds,orexpertisetomake a new productinone go.
An example of thiscanbe foundinthe musicindustry.Indie artistsare forthe firsttime able toaccess
the same distributionchannelsasmajorrecordlabels,withnone of the restrictivepracticesorinflated
manufacturingcosts;there isa growingcollectionof 'internetlabels'thatofferdistributiontounsigned
or independentartistsdirectlytoonlinemusicstores,andinsome casesmarketingandpromotion
services.Further,manybandsare able tobypassthiscompletely,andoffertheirmusicforsale viatheir
ownindependently-controlledwebsites;thisgivesevenfurtheradvantage tothe artist,as itcompletely
cuts out a distributor—andtheircutof the profits.