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Online distribution provides artists more freedom and profit potential compared to traditional publishing models. It allows artists to self-publish and distribute their work directly to consumers, bypassing publishers. This reduces costs while increasing artistic freedom and profits. New online business models like episodic release or micropayments give artists more flexibility and accessibility for smaller creations or projects.

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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.
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.
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.
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
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
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.
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.
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
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
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.

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Notify docx copy

  • 1.
    The major attractionforonline 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,timesensitiveaid,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 ofthiscan 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 doortonewbusinessmodels(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 standardizationofthe 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,asitcompletely 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 ofthiscanbe 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 doortonewbusinessmodels(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 standardizationofthe 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,asitcompletely 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.