Tag: kulttuurituotanto
The Crypto Society and the creative industries. What does the Finnish parliamentary report say about the future of the cultural sector?
The creative industries are going through a period of transition. Old revenue models are crumbling, the platform economy has changed distribution, and artificial intelligence is challenging the traditions of authorship and creative work. As cultural services increasingly move into the digital world, is it worth considering on whose terms this future will be built? The Crypto Society report by the Parliamentary Committee on the Future, published in November 2025, examines the effects of blockchains, digital money and decentralized systems on the economy, infrastructure and the functioning of society. Although the report does not focus on the creative industries, the changes it describes also directly affect the cultural field: ownership, revenue and on whose terms the digital future will be built. When the report is reflected in the perspective of our LUME project (Creatives in Web3), an overall picture emerges of how these major developments are visible on a practical level for creators and producers in the cultural sector. Here are five takeaways from what these publications tell us about the future of the creative industry. 1. Disruption is part of natural renewal The Crypto Society reminds us that disruptive innovations arise from market inefficiencies and can simultaneously create new value and destroy old. In the creative industry, this cycle is already commonplace: streaming collapsed the record trade but created global digital distribution, while social media took power away from the gatekeepers of traditional media but gave it to algorithms controlled by tech giants. The message of the report is clear: the destruction of the old is often a prerequisite for the new. What matters is what the creative industry wants to build in its place. 2. Digital infrastructure is vulnerable and the cultural sector depends on it The report describes situations where a single tech company’s mistake brought banks, airlines and hospitals to a standstill. This illustrates how dependent we are on digital infrastructure. When Spotify changes the pricing logic of audiobooks or TikTok’s algorithm changes, the impact on an artist’s distribution and livelihood is immediate. When Bandcamp was sold to a new owner, the indie music industry became nervous. The parliamentary report highlights how dependent we are on a few major tech companies. The cultural sector lives on systems that it does not own or control. Web3 and decentralized technologies aim to respond to this vulnerability by reducing the power of centralized actors. 3. The transformation of revenue models: from the platform economy to the creator economy The report talks about “the transformation of value creation” and sees blockchain as “the code behind a new networked economy.” This hits right at the heart of the creative industry’s pain points, as the current internet is focused on a monopoly of a few giants, creatives are left in the shadow of middlemen, and money flows to platforms, not content creators. The ethos of Web3 offers a counterforce: The ideal of decentralization: power is decentralized closer to creators and communities. This can be seen, for example, in clearer ownership: the creator is not just a content creator on the platform, but also the owner of their own data and works Smart contracts: code automatically ensures that rules are implemented and automates trust, also speeding up financial transactions DAOs (Decentralized Autonomous Organizations): digital age cooperatives that enable communal decision-making and asset management Tokenization: Enables micro-ownership and new revenue streams where fans can be investors or share in the success. Any asset, whether it's a painting, a song, or an event, can be broken down into micro-ownerships, opening up new revenue streams. For the creative industry, this can mean, in concrete terms, automation of aftermarket royalties, fan engagement and community funding, and greater direct revenue for the creator. For the creative industry, this can mean, in concrete terms, automation of aftermarket royalties, fan engagement and community funding, and greater direct revenue for the creator. 4. Technology is not value-free and a critical voice is important The report reminds us that technological development is driven by the value choices we make as a society. This also applies to the cultural sector. The crypto society highlights in particular the energy consumption of Bitcoin. In the LUME project, we have noticed how students and artists in the creative sector are concerned about the ecological footprint of the blockchain and how this affects their willingness to use new technology. In addition, uncertain revenue streams and fluctuations in the crypto market are risks that cannot be ignored. New technology creates new risks, and managing them requires regulation, infrastructure stability and shared values. Web3 is not a magic wand, and it will not solve old problems on its own, but it offers alternatives. And above all, a good reason to consider what kind of models we want to build for culture and art in the coming decades. 5. Can we benefit from the cycle of “destruction and renewal”? The publication The Crypto Society helps us understand why the cycle of destruction and renewal is accelerating: technologies, geopolitical climate and cultural change are all happening at the same time. In the creative sector, this can also be an opportunity to map out new models, break away from the monopoly of technology companies, build fairer revenue models and strengthen the sovereignty of Finnish culture in the digital world. This requires national regulation, tax clarity, brave experimenters and new web3 literacy for the cultural sector. Producers, managers and artists need expertise so that we can implement the tools that really benefit creators. Finally The Crypto Society report shows that the digital age and change is not just about technology, but about power, ownership and values. That is why the cultural sector has a special role: the ability to imagine, test and question existing models. Web3 and decentralized technologies are not a ready-made solution. They alone will not fix old structures, and they do not fit all needs. But they open up space for alternatives such as fairer distribution methods, new revenue models and community ownership, which traditional platforms never made possible. Change is inevitable, but its direction can be influenced. If we know how to combine the possibilities of technology with the cultural sector's own values and expertise, the Finnish creative sector can move from an adaptor to an active trendsetter in the next phase of a digitalizing society. Marja Konttinen works as an expert at Metropolia in the LUME project, co-funded by the European Union, which focuses on researching new technologies and revenue models in the creative sector. References Eriksson, Taina et al.: Krypton yhteiskunta. Eduskunnan tulevaisuusvaliokunnan julkaisu 3/2025. https://www.eduskunta.fi/FI/valiokunnat/tulevaisuusvaliokunta/julkaisut/Sivut/krypton-yhteiskunta.aspx Halonen, Katri & Hero, Laura-Maija (toim.): Luovat web3-ajassa – Unelmia, haasteita ja ansaintamahdollisuuksia (2023). https://www.theseus.fi/bitstream/handle/10024/804590/2023%20Taito%20116%20Luovat%20web3-ajassa.pdf
Your fans are the new patrons. Here’s how Web3 makes it possible.
Web3 technology is fundamentally changing how creatives can monetize, connect with fans, and manage their content. Decentralized platforms, tokens, and smart contracts offer new ways to monetize, but they also challenge traditional intermediaries and business models. In this blog, I’ll explore how creatives can leverage the opportunities Web3 offers and new ways fans can participate in supporting and monetizing content. Tokens: new concert tickets and fan clubs From a revenue perspective, the core of an artist's relationship with a fan is a token, which is a digital token. A token could be compared to a Linnanmäki amusement park ticket: you can't get to the rides at an amusement park directly with euros, but by buying a ticket, you can get to the ride of your choice. In simple terms, a token is the digital equivalent of a single ticket, but in web3, the uses of a token are often more diverse, and their value can increase over time. No middlemen: direct connection to fans Traditionally, musicians have been dependent on major record labels and streaming services for the distribution of their music. This has often resulted in a significant portion of revenue going to middlemen: publishers, labels, agents, and other professionals who act as intermediaries between the artist and the audience. With the new internet, decentralized platforms enable direct communication with fans without intermediaries. For example, platforms based on blockchain technology allow artists to publish their music directly to the public, while retaining full ownership of their works. They can use smart contracts to determine how the use of the work is regulated and how, for example, the revenue from sales is allocated to the music creators. Traditionally, the connection with fans has been used as the basis for marketing: various mailing lists have been the basis for marketing, through which those who like the content created by the artist have been informed about new releases, for example. In the Web3 era, the role of the fan has been thought of differently: the fan is more of a partner than an object. "Engage-to-earn" at the heart of the new fan culture The engage-to-earn model is a new approach where both artists and fans benefit from active participation and interaction. In this model, artists can create digital tokens or NFTs (non-fungible tokens) that represent, for example, access to exclusive content, events, or other benefits. Fans can earn these tokens by engaging in various activities, such as sharing the artist’s content, participating in discussions, or completing certain tasks. This creates a two-way relationship where fans receive rewards for their activity, and artists benefit from increased visibility and an engaged audience. For example, in the music industry, Audius.co is a decentralized music streaming platform that aims to provide a fairer model for artists and fans compared to platforms like Spotify. The platform allows artists to release their new music directly to their fans without intermediaries and charges an introductory fee that gives the fan perpetual listening rights to the content. The content comes with access to a fan club that offers direct interaction between artists and fans. For example, electronic music composer and producer Dave Tipper has released his music on the platform and offered fans $AUDIO tokens, which give access to, among other things, fan-only events and through them become part of the subculture created by fans. Mirror.xyz, a platform for writers, allows content creators to publish their works. One of the platform’s successful experimenters was young author John Palmer, who wanted to publish an essay on his Mirror website. He sold tokens called $ESSAY, the proceeds of which were used to finance the writing of the essay. The agreement was that once the funding goal was reached, the essay would be published, and token holders would receive a share of something that could grow in value over time. The crowdfunded finished essay was sold on the online auction platform Zora. The proceeds were funneled back into the $ESSAY contract, increasing the value of each investor’s $ESSAY holding relative to the total value of the contract. Decentralized financial services enable fans to participate as investors in artists’ projects. For example, fans can invest their funds in an artist’s new album or film project and receive a share of future revenues in return. This model utilizes smart contracts that ensure automatic and transparent profit distribution to both the artist and fans and other parties specified in the smart contract. From fan to participant In the Web3 world, fan participation doesn’t necessarily stop at the role of an investor. They can also participate in decisions related to the development of artists’ careers and financial success by joining decentralized autonomous organizations (DAOs). In these communities, fans acquire tokens that give them voting rights and the ability to influence the artist’s activities. The Audius.co platform I mentioned earlier is governed by Audius token holders. These include both artists and fans. Token holders can vote on decisions related to the development of the platform, such as new features or terms of use. This model gives fans the opportunity to directly influence the operation of the platform and the visibility of artists, which can improve the financial opportunities of both fans and artists. One of the DAOs for artists, creative professionals, and fans is the Friends with Benefits (FWB) community. Membership in the community is achieved by acquiring a certain number of FWB tokens, which grant both entry and voting rights in community decision-making. FWB functions as both a social club and a funding crypto community. FWB organizes various events and festivals for its members, combining music, art, and cryptocurrency-related discussions. For example, the festival held in the summer of 2023 was open to members as well as a group of ticket holders (the ticket price was $399). The festival program included a diverse selection of speakers from technology to art. The event included a cinema, free generative art workshops organized by the NFT platform Highlight.xyz, yoga classes, DJ gigs, and a tennis tournament, where many participants dressed in all-white tennis attire. The educational speeches focused mainly on internet culture and in particular on the use of artificial intelligence in creative projects. In addition to the festival itself, the key benefit was a network of people interested in similar things, living as virtual and, at times, physical communities. Through DAOs, fan participation can lead to deeper engagement and financial benefits for both fans and artists. Fans are given the opportunity to influence the direction of artists' careers and financial success, and also to build activities that, in addition to inspiring content, promote networking and support the development of the creative industry. Only need 1,000 fans? In 2008, Wired magazine editor-in-chief Kevin Kelly introduced the idea of "1,000 True Fans," which states that an artist only needs 1,000 dedicated fans to succeed. Since then, Kelly's essay has been extensively updated and translated into many languages. The starting point of the idea is that if fans spend $100 per year on the products of the artist they admire, the artist would achieve an annual income of $100,000. This amount was therefore thought to be transferred more or less directly from fan to artist. However, in reality, complex production chains and professionals from different fields challenge the 1,000 fan theory. More and more artists can share their creations with the world at the touch of a button, enabling them to reach an ever-wider audience. They are drawn to the content, but also to the opportunity to interact with the creators of the creative content on a whole new level. But could the theory be reversed in the era of limitless digital communication, fueled by Web3? Could the reduction of intermediaries generate greater income for artists, or will the intermediaries simply change their roles while still receiving compensation for their professional contribution? Web3 may bring the 1,000 real fans theory closer to reality. Cutting out middlemen and engaging fans can increase an artist’s earnings, but they don’t eliminate the need for brand building, community management, and marketing. While blockchain and tokens bring new opportunities, they don’t automatically make an artist successful – it still requires audience engagement and ongoing interaction. The future will show how well Web3 delivers on its promise for the creative industries: is it a revolution or just another development in the digital economy? SOURCES Borg, J. (2024). Superfans: Why They’re Vital for Artists in the Algorithm Era. Amplify World Resources 18.1.2024. https://amplifyyou.amplify.link/2024/01/music-superfans/ Fenton, W. (2023). What is Web3 for music & how is it changing the industry? Midder. The Future of Music News 24.11.2023. https://middermusic.com/web3-for-music/?utm_source=chatgpt.com Fernandes, M.P. (2023). Crypto Clubs Throwing Summer Parties: Inside The Friends With Benefits DAO Festival. Forbes 10.8.2023. https://www.forbes.com/sites/digital-assets/2023/08/10/crypto-clubs-throwing-summer-parties-inside-the-friends-with-benefits-dao-festival/ fi.music396.com. Fanien sitoutumisstrategioiden mukauttaminen digitaalisiin alustoihin ja kulutustrendien muuttaminen (n.d.).https://fi.music396.com/topic/adapting-fan-engagement-strategies-to-digital-platforms-and-changing-consumption-trends/167277 Gottsegen, W. (2021). How Emily Segal Crowdfunded Her New Novel with Crypto. Deepdive Crypto profiles 24.2.2021. https://decrypt.co/68981/emily-segal-novel-crowdfund Marco J.D. (2022). The Musician's Guide to Web3. Mega Labs Article 6.7.2022. https://www.thelab.report/the-musicians-guide-to-web3/?utm_source=chatgpt.com Nittolo, T. (2024). A Peek Into The Tipper Community. Audius blogit 21.11.2024. https://blog.audius.co/article/a-peek-into-the-tipper-community Palmer, J. (2021). Using an Ethereum NFT to Crowdfund my Writing. Mirror.xyz 26.1.2021. https://j.mirror.xyz/OgVaYso25gEqxn7N4RyPnPbMO9pbNQJZQKEUvV9pxv8 Umana, D. (2024). Jack Harlow, Palaye Royale, and other music artists are using blockchain to connect with fans — and build profitable online communities. Business Insider TECH 16.2.2024. https://www.businessinsider.com/music-platforms-blockchain-artist-create-fan-clubs-communities Katri Halonen (Metropolia University of Applied Sciences) works as a project manager in the LUME – Creatives in the web3 era project, co-funded by the European Union, which focuses on new revenue models in the creative industry.
Forget the band shirt – new products for digital fandom
Traditional fan merchandise, such as shirts, posters and vinyl records, have been an important source of income for artists for decades. My teenage years were marked by experiences at gigs where I walked out as the proud new owner of a genuine band shirt, which my parents thought was a bit overpriced. Wearing it, I declared my fandom and that I was “there” at an important concert. When we jump to 2025, I may no longer have shirts in my closet. However, I want to support the band. Perhaps more and more people will buy fan merchandise as NFTs instead of shirts. In this blog, I will consider what NFT-based fan merchandise is like. What are NFT fan merchandise? NFT (Non-Fungible Token) is a unique digital product whose data is stored on a blockchain that serves as proof of ownership of the product. For example, a typical fan product, a poster, can be illustrated as follows: A poster is an image printed on paper. An NFT is like a digital original of that poster, but its authenticity and ownership are recorded on the blockchain. The blockchain is an open, decentralized ledger maintained by networks. The information stored on the blockchain tells you that the digital poster in question is an official edition from the collection of the band I admire and that my payment is going to the right party. NFTs can be digital art, music, or video footage, and can be bought, sold, and traded like physical collectibles. Sales often occur directly from artist to fan, without long chains of intermediaries. For example, American rap musician Snoop Dogg has made extensive use of NFT technology as part of his fan merchandise. He has released exclusive songs, digital artwork, and fan-owned products such as virtual merchandise in NFT format. He has also designed over 10,000 digital characters that make up The Doggies avatar collection (CNBCTV18, 2023). This creates a new, decentralized revenue stream for the artist without traditional intermediaries. When digital art meets ownership NFT technology has also transformed the digital art scene. For example, Australian 3D artist Andrew Price, founder of the popular YouTube channel Blender Guru, has used NFTs to sell his digital works directly to his fans. He became particularly famous for his NFT mosaic of 3D-modeled doughnuts (Lampel, 2024). The doughnuts were sold at auction without traditional intermediaries, and the sale brought the artist $18,000. Price’s case demonstrates how NFTs can serve as a means for artists to monetize their digital work and offer fans the opportunity to support their favorite artist by owning a unique digital piece. Compared to traditional commerce, the chain between artist and fan is typically much shorter – sometimes without intermediaries at all. Digital art is easily copied and shared, which has made its commercialization challenging. Crypto art utilizes NFT technology, which allows the origin and ownership of works to be verified. However, there are challenges in this field as well. For example, a person may sell an NFT to which they do not have the rights, or it may be a fake. Furthermore, ownership of an NFT is often only a link to the actual work, making ownership of the product dependent on the maintenance of the blockchain and the external storage service containing the work. (Rivero Moreno, 2024) Exclusivity and limited editions of NFT products NFT technology enables limited editions, which increases the value of products. For example, the number of NFT products aimed at fans has been limited to 500 pieces, allowing fans to compete to obtain them. This limited availability model has traditionally been used in vinyl releases and special editions, for example, but in the NFT world it is possible without physical production. Finnish fashion and virtual fashion designer Wilma Kurumaa, aka Kalista, is an interesting example of NFT fan products. Kalista has created NFT-based clothing. Fans can wear these clothes, for example, in the metaverse with their own avatars (Hero, 2025). This shows how NFT products can expand from mere images and audio recordings to interactive and usable digital products. Many NFT products contain both a physical and a digital component, i.e. are phygital. In this case, the NFT proves authenticity, ownership and ownership history - all of which are available for anyone to view on an open blockchain. The new market for phygital fan products T-shirts, pins and posters have been replaced by digital fan products with content that differs from what is customary. Artists can create fan products that are interactive and immersive experiences. NFT fan products can offer fans, for example, a personal digital artwork that includes the artist's signature, a unique animation or handwritten lyrics to a song. This adds value and uniqueness to NFT fan products, making them desirable collectibles. The content of phygital fan products has diversified with the development of digital technology. For example, Julien’s Auctions has sold phygital NFT products (i.e., NFTs that include a physical object and an NFT that proves ownership and origin) including Victoria Beckham’s evening gowns, Barack Obama’s golf shoes, and Leonard Cohen’s old front door key to his home on the Greek island of Hydra (Julien’s Auctions, 2025). Band shirts have moved on to a diverse, often unique world of fan products, where the NFT acts as a proof of authenticity and is a key part of the value of the fan product. Screenshots of the phygital products being sold at Julien's Auction NFT auction Fan shirt: a piece of the past or a future of fandom? NFT technology is still evolving, and there are many opportunities and risks surrounding it. Scams, challenges in understanding the technology, and market volatility can make it difficult for artists to transition to NFT fan products. However, when implemented well, NFTs can provide a more sustainable and fairer revenue model for artists who want to take advantage of the new opportunities offered by the technology (see Wolff, 2025). I'm still proud of my old band shirts. The stains on the prints are especially important. At the same time, the NFT world offers something I couldn't imagine before. It could mean access behind the scenes, exclusive experiences, or digital memories that can't be copied. Fandom isn't going away - it's just changing with the digital age. Or maybe my shirts are finding a new market where I could sell my old worn t-shirt as a phygital product to the highest bidder? SOURCES CNBCTV18.com (2023). 5 crypto and NFT projects that Snoop Dogg has been involved with. CNBTTV18 uutiset, 2.3.2023. https://www.cnbctv18.com/cryptocurrency/5-crypto-and-nft-projects-that-snoop-dogg-has-been-involved-with-16079141.htm Chalmers, D., Fisch, C. & Matthews, R. , Quinn, William & Recker, J. (2022). "Beyond the bubble: Will NFTs and digital proof of ownership empower creative industry entrepreneurs?," Journal of Business Venturing Insights, Elsevier, vol. 17(C). Hero, Laura-Maija (2025). Kalista ja muotiliiketoiminta web3 ajassa. Metropolia ammattikorkeakoulu, LUME-hankkeen blogi 15.1.2025. https://blogit.metropolia.fi/lume/2025/01/15/kalista-ja-muotiliiketoiminta-web3-ajassa/ Julien’s Auctions (2025). Lampel, J. (2024). What's New with Blender Guru ft. Andrew Price. CGcookie.com podcast 31.10.2024. Rivero Moreno, L. (2024). Art on the chain? On the possibilities of new media art preservation on the Web3. Digital Creativity, 35(3), 221-233. Wolff, M (2024). Web3: Huoli digitalisoitumisesta on ymmärrettävää. Metropolia ammattikorkeakoulu, LUME-hankkeen blogi 17.12.2024. https://blogit.metropolia.fi/lume/2024/12/17/web3-huoli-digitalisoitumisesta-on-ymmarrettavaa/ Katri Halonen (Metropolia AMK) toimii projektipäällikkönä Euroopan unionin osarahoittamassa LUME – Luovat web3-ajassa hankkeessa, jossa keskitytään luovan alan uusiin ansaintamalleihin.
Smart contracts for artists: An easy way to earn or a carefully considered risk?
Artist Emmi sat in a café, scrolling through her phone thoughtfully. She had been selling her art for years through traditional means – through galleries and commissioned works. She found herself thinking about the same problem more and more often: how could she make a more sustainable living from art? Then Emmi came across smart contracts. They allowed her to attach a piece of art to a digital contract that would ensure she would automatically receive a share of every resale of the piece. No negotiations, no sending invoices – just a clear, programmed model that took care of her rights. Emmi decided to try it out. She created her first digital series of works and attached a smart contract to it, which guaranteed her a 10% royalty on every resale. Sales were slow at first, but soon one of her works changed hands – and an automatic payment was made to her account without her having to do anything. This encouraged her to go even further in her experiments. However, the more Emmi learned about the subject, the more she realized that smart contracts are not risk-free. Implementing them requires consideration, understanding and preparation for potential pitfalls. Smart contracts open up a new way of earning Smart contracts are programmed agreements that automatically execute agreed-upon terms on the blockchain (Soon, 2024). This means that the artist does not have to negotiate separately how to receive payments or worry about how their works move through the market. The technology does it for them. One of the most significant advantages is the possibility of earning from the increase in the value of the work also in the so-called secondary market. Traditionally in the field of fine arts, when a work of art is sold, its ownership is transferred to the new buyer, and the artist no longer benefits from possible future resales. With the help of smart contracts, the artist can set an automatic royalty in the terms of the contract, which is paid to him for each new sale. In this way, he receives a share of the increase in the value of his work in the long term. (Murat et al. 2024, EU Blockchain Observatory and Forum 2023, EU Blockchain Ecosystem Developments 3, 2024.) A new kind of protection Payment security is also something that Emmi, like many other creative professionals, is used to stressing about. Invoices get stuck, payments get delayed, and you have to ask for them repeatedly. Smart contracts eliminate this worry: when pre-agreed conditions are met, payment occurs automatically without intermediaries or separate approval. Additionally, smart contracts offer a completely new level of protection for digital works. Blockchain technology allows a work of art to be registered in a way that its origin can always be verified. This reduces piracy and makes counterfeiting virtually impossible, as every transaction is permanently recorded and publicly visible. This is especially important for artists who sell digital works and want to ensure that the authenticity and ownership of their work can be easily verified. Overall, smart contracts can offer creatives like Emmi a new way to manage their rights and revenues without being tied to traditional and often rigid contractual models. The possibilities are attractive, but as with any new technology, there are also challenges and risks that need to be understood before full-scale adoption. (Murat et al. 2024, EU Blockchain Observatory and Forum 2023, EU Blockchain Ecosystem Developments 3, 2024) …and a new kind of vulnerability One of the first things Emmi learned was that once a smart contract is stored on the blockchain, it cannot be changed as easily as a traditional contract. Once a contract is made, it is really made. If you wanted to change the terms, for example by increasing the royalty, you would probably need a completely new contract (EU Blockchain Ecosystem Developments 3, 2024). This meant that even a small error in the contract code could be costly. In the traditional world, contracts can be renegotiated, but in a smart contract, the code is the law – and it is implemented exactly as it is written. The error can also be in the code. For example, in 2016, an attacker exploited a vulnerability in the code of the DAO organization’s smart contract to transfer about 3.6 million ether (ETH), which at the time was worth about 50 million US dollars (The DAO, 2024). The role of smart contracts in terms of traditional legal frameworks is uncertain. Smart contracts do not always fit into traditional legal frameworks, and in many countries it is not yet clear how disputes are resolved. This made their use riskier, as the security of the traditional legal system is not always available and it is not even necessarily known which country's legal protection would be used. In blockchains, there are also no guarantees that everyone will act fairly. The changing roles of cultural producers Smart contracts are associated with the idea of reducing the role of intermediaries. Traditionally, art sales have involved multiple actors – galleries, agents and other intermediaries – who take a share of the proceeds. When a smart contract manages payment transactions directly between buyer and seller, the artist can receive a larger share of the sales proceeds without having to negotiate commissions or fees. However, it is unlikely that the intermediary layer will disappear completely. Technological change will bring new job roles – also for cultural producers. They can develop new services that support the interaction between artists and audiences. Artists like Emmi need help in implementing these tools, and cultural producers can be key actors in helping them build sustainable and innovative revenue models. Choosing a blockchain platform and minimizing the risks of smart contracts may become new tasks (see Soon 2024). Traditionally, creatives have outsourced technical and commercial processes to intermediaries in order to focus on their creative work. While Emmi may find it challenging to find a physical gallery for her works, finding digital marketplaces may be easier. However, just as in the physical world, reaching the right audience in the digital environment is a key challenge. Perhaps the smart contract managers of the future will know marketplaces so well that they can help creative content creators find the right environment for their work. They can also draft smart contracts in such a way that their terms optimize the artist’s earning potential. Is it worth trying? Smart contracts offer many benefits to creatives, especially in terms of automated payments and resale revenue. However, their use still comes with many challenges, especially legal ambiguities and security risks. Therefore, before moving to smart contracts, it is important to ensure that the content of the contracts is properly programmed and that users understand the potential limitations of the technology. Smart contracts are not a solution to all problems, but they can offer creatives new and interesting revenue models, especially in the digital environment. They are best suited to situations where revenue is based on secondary markets, automatic payments or the management of digital works. Technology can be a powerful tool, but only when used consciously. For creatives, smart contracts can offer new revenue opportunities – but using them requires understanding, care and a bit of healthy skepticism. Perhaps the advice for Emmi and others like her could be: be cautious. It would be best to use only verified and proven contract templates and start small. Feel free to test low-risk use cases on reliable platforms and ensure the quality of the contract. Technology doesn't have to be scary – when understood and used correctly, it can be a powerful tool for building the future of art and creative work. SOURCES EU Blockchain Ecosystem Developments 3 (2024). EU Blockchain Observatory and Forum raportti.https://blockchain-observatory.ec.europa.eu/publications/eu-blockchain-ecosystem-developments-3_en Smart Contracts Report (2023). EU Blockchain Observatory and Forum. European Comission. https://blockchain-observatory.ec.europa.eu/news/smart-contracts-report-2023-03-13_en Soon, M. (2024). Älysopimusalustat ja niiden eroavaisuudet. Norhcrypto blogi 10.7.2024. https://www.northcrypto.com/learn/blog/alysopimusalustat-ja-niiden-eroavaisuudet The DAO (2024). Wikipedia. https://en.wikipedia.org/wiki/The_DAO?utm_source=chatgpt.com Tunc, M., Cavusoglu, H. & Zheng, Z. (2024) Resale Royalty in Non-Fungible Token Marketplaces: Blessing or Burden for Creators and Platforms?. Information Systems Research. https://doi.org/10.1287/isre.2023.0035 Blogin on kirjoittanut Euroopan unionin osarahoittaman LUME - Luovat web3-ajassa -hankkeen projektipäällikkö Katri Halonen Metropolia Ammattikorkeakoulusta.
Web3 tuo tullessaan osallistavan sosiaalisen median ja ansainnan mahdollisuuksia
Facebook on pitänyt viimeiset 10 vuotta ykköspaikka maailman käytetyimpänä sosiaalisena mediana. Sillä on maailmanlaajuisesti yli 3 miljardia käyttäjää, eli noin kolmannes maapallon ihmisistä (Kumar, 2024). Suomessakin Facebook on viikkokäyttäjien määrällä mitattuna suosituin sosiaalisen median kanava 3,25 miljoonan käyttäjän voimin (Innowise, 2024). Kymmenen vuoden aikana uusia kanavia on tullut ja poistunut Facebookin pysyessä kestosuosikkina. Sosiaalisen media kanavilla nousussa on TikTok, jolla on käyttäjiä noin kolmannes Facebookin lukemista (Innowise, 2024; Backlinko, 2024). TikTok kantaa mukanaan potentiaalisia muutoksen tuulia, sillä se kerää Facebookiin verrattuna selvästi nuorempaa käyttäjäkuntaa. Tässä blogissa pohdin etenkin eri sosiaalisen median alustojen ikäajakaumaa, joka on keskeinen tekijä muun muassa markkinointiviestinnän kohdentamisessa. Toinen kiinnostuksen kohde ovat algoritmit, jotka ovat monipuolistaneet sosiaalisen median toimintaa ja ansainnan mekaniikkoja. Nämä yhdessä avaavat kiinnostavia näkymiä myös luovan alan toimijoille. TikTokin algoritmi on mahdollistanut tuntemattomien tekijöiden sisältöjen leviämisen, ja se ohjaa ajattelua kohti web3-teknologioiden avaamia uusia sisällön tuottajan ja sisällön jatkokäyttäjän yhteistyön toimintamalleja. Web3 tarjoaa uudenlaisia tapoja hyödyntää luovaa sisältöä, jossa sekä tekijät että sisältöä käyttävä voivat hyötyä taloudellisesti. Esimerkiksi lohkoketjuteknologia mahdollistaa sen, että jokaisesta sisällön käytöstä voidaan ohjata korvaus suoraan alkuperäiselle tekijälle ja myös sisällön jatkokäyttäjälle. Tämä tekee jakamiskulttuurista paitsi arvokasta myös läpinäkyvää ja entistä oikeudenmukaisempaa. Ansaitse jakamalla: Web3 tekee kaikista sisällöntuottajia Facebookin ansaintamallissa rahaa ansaitaan esimerkiksi julkaistujen videoiden yhteyteen sijoitettujen mainosten katselukerroista tai yritysyhteistyön myötä tehtävän mainostamisen (Branded Contet Tool, 2023) avulla. Ansainta on vahvasti sidoksissa katselukertoihin ja kelpoisuuskriteerien täyttymiseen (esimerkiksi 10 000 seuraajaa). Samalla se on tuottanut vaikuttajien ammattikunnan, jolle on pikkuhiljaa rakentunut tärkeä rooli sosiaalisen median hallinnassa. Nuoren ikäryhmän sosiaaliseen mediaan mukaan tuomisen ohella TikTokin muutosvoima nojaa uusiin perusteisiin jakaa tuloja sisällön tuottajien kanssa. Alustan lähtökohta on avata sosiaalisen median menestyvien sisältöjen tuotanto kaikille tasavertaisemman oloisen algoritmin avulla, jonka piirissä kuka vain voi ansaita ja saada maailmanlaajuista näkyvyyttä. TikTok mahdollistaa tuntemattomien tekijöiden sisällön nousun pinnalle ilman uusia seuraajamääriä. Tärkeintä on, että sisältö puhuttelee ja se on liitettävissä viestinnän valtavirtaan. TikTokin käyttäjien For Your Page (FYP, 2024) näyttää sisältöä sitoutumisen mukaan, eli algoritmi suosii julkaisujen seuraajamäärän sijasta videoita, jotka saavat paljon tykkäyksiä, jakoja, kommentteja ja katseluaikaa. Näin lähtökohtaisesti mikä tahansa video voi saavuttaa miljoonayleisön, kunhan se vain vetoaa katsojiin. Pienemmän paikalliset taitelijat ja luovan alan tekijät voivat siis saada sisällöllään näkyvyyttä ilman globaalia seuraajakuntaa. Ei-tunnettujen sisällöntuottajien videoissa on usein läsnä aidon tuntuisia sisältöjä ja voimaannuttavia tai inspiroivia tarinoita sekä tee-se-itse tutoriaaleja esimerkiksi meikkaukseen liittyen. Usein niistä löytyy hauskoja sattumuksia tai spontaaneja ihmisten tai eläinten reaktioita. Myös erilaisiin tanssiliikkeisiin ja lip sync -haasteisiin liittyvät sisällön ovat saattaneet saada nopeasti miljoonia katsojia, mikä muokkaa tekijän roolia kohti kumppanuutta alkuperäisen kappaleen tekijän kanssa. Uuden sisällön alkuperäisen tekijän ja uudelleen käyttäjän välinen kumppanuus pohjautuu jakamiskulttuuriin, jossa sisältöjä ei vain katsella tai tykätä, vaan niitä jaetaan ja remiksataan edelleen. Tämä kulttuuri heijastuu suoraan web3-ajatteluun, jossa yhteisöjen ja käyttäjien osallistaminen sisällön kehittämiseen ja levittämiseen on keskiössä. Esimerkiksi DAO:t (ks. Mustikainen & Konttinen, 2023) voivat toimia yhteisöinä, jotka paitsi jakavat sisältöjä myös päättävät niiden kehittämisestä ja tuotosta yhdessä. Tämä tasapainottaa valtaa alustojen ja käyttäjien välillä, ja nuoret ovat usein innokkaita omaksumaan tällaisia osallistavia malleja. Musiikkia, trendejä ja viraaleja hittejä – miksi TikTok koukuttaa? TikTok asettaa äänen tärkeään rooliin alustallaan, joka houkuttelee luonnollisesti musiikkipainotteista sisältöä. Kun kappale tai äänileike saa nostetta, siitä voi nopeasti kasvaa viraali-ilmiö, joka voi nostaa tekijän laajaan tietoisuuteen. Tämä eroaa muista sosiaalisen median alustoista, joilla kuvat (Instagram) tai teksti (Twitter) hallitsevat. Esimerkiksi TikTokin viraalit kappalepätkät ovat johtaneet merkittävään suoratoistomäärien kasvuun ja joskus jopa merkittäviin levytyssopimuksiin nouseville artisteille. Tämä sitoutumiseen perustuva malli tarkoittaa, että TikTok voi tarjota suoria taloudellisia mahdollisuuksia, joita muilla alustoilla on vaikea jäljitellä. (ks. Coulter 2022.) TikTokin algoritmi suosii musiikkiin perustuvan sisällön versiointia. Käyttäjät tuottavat sisältöä esimerkiksi tunnetun tai tunnetuksi nousevan kappaleen ympärille. Esimerkiksi päälle laulaminen ja tanssiliikkeiden esittely ovat useiden trendin ytimessä, mikä tarjoaa kenelle tahansa mahdollisuuden liittyä hetkeksi sosiaalisen median päävirtaan. Luoville tekijöille, jotka haluavat maksimoida näkyvyytensä ja ansaintamahdollisuutensa, TikTok tarjoaa ainutlaatuisen tilaisuuden hyödyntää käyttäjien tuottamaa sisältöä. Sisällön tekijälle tarjolla on myös ketteriä yhteistyön ja sen kautta rakentuvan markkinoinnin keinoja, jotka erottuvat perinteisistä sosiaalisen median malleista. TikTok web3 ideologian airueena – mitä vuosi 2025 tuo tullessaan? Vuonna 2024 TikTok on ollut julkisen keskustelun keskiössä niin Suomessa kuin maailmallakin. Ylen kansanedustajille tekemässä kyselyssä jopa 84 vastaajaa 126:sta oli sitä mieltä, että TikTokin käyttö tulisi kieltää Suomessa (Hara, 2024). Huolenaiheita ovat erityisesti tietoturvariskit, valeuutisten leviäminen ja sovelluksen koukuttavuus, jotka ovat herättäneet kysymyksiä paitsi yksityisyydestä myös alustan yhteiskunnallisista vaikutuksista. Suhde Kiinaan tuottaa paljon epäilyksiä. TikTok on kiistänyt syytökset Kiina-yhteyksistään ja tietoturvaongelmista, mutta sovellus on joutunut kovan sääntelyn kohteeksi muualla, kuten Intiassa ja Yhdysvalloissa. Näiden maiden toimet saattavat toimia mallina myös Suomessa, mikäli paine sovelluksen rajoittamiseksi kasvaa. Vaikka TikTokin asema on kyseenalaistettu, on varsin todennäköistä, että lyhytvideomuotoinen sisältö on tullut jäädäkseen. TikTok siivittää osaltaan web3:n kehittymistä ajattelutavan muutoksella. Uudessa ajattelussa nuoret eivät enää ole pelkkiä kuluttajia, vaan myös sisällön osaomistajia ja sen hyödyntäjiä osana omaa sosiaalisen median toimintaansa. Tällainen muutos voisi älysopimusten siivittämänä tarjota heille uusia taloudellisia mahdollisuuksia. Sosiaalisen median murros on käynnissä, ja sen vaikutukset ulottuvat niin yksilöihin kuin yhteiskuntaankin. TikTokin nousu haastaa perinteiset toimijat, mutta se myös herättää kysymyksiä vastuullisuudesta, tietoturvasta ja nuorten hyvinvoinnista. Toisaalta sen tarjoamat uudet mahdollisuudet erityisesti luovan alan toimijoille ja pienille sisällöntuottajille ovat merkittäviä. Tämä kehitys alleviivaa tarvetta ymmärtää sosiaalisen median alustojen toimintaa, vaikutuksia ja tulevaisuuden suuntaa. Lopulta kysymys ei ole vain siitä, mikä alusta hallitsee markkinoita, vaan siitä, miten käytämme näitä työkaluja rakentavasti ja vastuullisesti yhteisen hyvän edistämiseksi. Tulevaisuuden web3 muovautuu juuri nyt – ja me kaikki olemme sen muovaajia. LÄHTEET Backlinko (2024). Social Media Usage & Growth. Backlinko 6.9.2024. https://backlinko.com/social-media-users Branded Content Tool (2023). Branded Content Policy. TikTok 11/2023. https://www.tiktok.com/legal/page/global/bc-policy/en Coulter. A. (2022). Marketing Agile Artists: How Music. Labels Can Leverage TikTok’s Virality. MEIEA Journal Vol. 22, No. 1. https://doi.org/10.25101/22.5 FYP. For your Page (2024). What is FYP. TikTok, luettu 18.11.2024. https://www.tiktok.com/channel/what-is-fyp?lang=fi-FI Hara, J. (2024). Iso osa kansanedustajista kieltäisi Tiktokin – katso, miten oma edustajasi vastasi. Yleisradio uutiset. https://yle.fi/a/74-20086759 Haidt, J. (2024). Ahdistunut sukupolvi. Kuinka älypuhelimen perustuva lapsuus on aiheuttanut mielenterveyden häiriöiden epidemian. Suomentanut Pietiläinen K. Terra Cognita. Innowise (2024). Sosiaalisen median tilastot ja käyttö Suomessa: somekatsaus 02/24. Innowise 07.2.2024. https://www.innowise.fi/fi/sosiaalisen-median-kaytto-suomessa-somekatsaus-022024/ Kumar, N. (2024) Facebook User Statistics (2024) -- Worldwide data. Demandsage.com statistics, 14.10.2024. https://www.demandsage.com/facebook-statistics/ McCormick, K (2024). The 6 Biggest, Baddest Social Media Platforms of 2024 (+How to Wield Their Power). Business 2 Community 19.3.2024. https://www.business2community.com/social-media-articles/the-6-biggest-baddest-social-media-platforms-02452016 Mustikainen, H. & Konttinen, M. (2023). Ovatko perinteiset organisaatiot tulleet tiensä päähän? Sitra artikkeli 25.5.2023. https://www.sitra.fi/artikkelit/ovatko-perinteiset-organisaatiot-tulleet-tiensa-paahan/ Sosiaalisen median tilastot 2024. (22.10.2024). Markkinointi Maestro blogi, luettu 18.11.2024. https://www.markkinointimaestro.fi/sosiaalisen-median-tilastot Katri Halonen (Metropolia AMK) toimii projektipäällikkönä Euroopan unionin osarahoittamassa LUME - Luovat web3-ajassa hankkeessa, jossa keskitytään luovan alan uusiin ansaintamalleihin.
NFT as an additional source of income for music creators
The music industry is talking about blockchain technology as one of the growth directions in the industry. Could it also offer opportunities for music creators to earn additional income? This blog will consider what the process of entering the NFT market is like from the perspective of a musician building their career. The background is a practical experiment reported in Aili Tervonen's (2022) thesis. Blockchain technology is seen as a solution to the mechanisms that have long plagued the music industry, where currently only about 12% of the industry's turnover is generated for music creators (Bazinet et al., 2018). The remaining part is processed by the so-called intermediary layer, which makes the content available to fans. The value chain includes, for example, those who provide publishing, recording, agency and management services. Some industry players see blockchain as a way to take control of creative work back to its creator. There has been talk, among other things, of “IP rights decentralization” (Jalonen, 2022), which refers to the decentralization of the management of intellectual property rights. Decentralized rights management could resolve the perceived imbalance between wide distribution and fair compensation. For others, blockchain appears as a challenger that forces a reassessment of the already established business models of the music industry, in which the management and exploitation of copyright have been key. Recently, there has been an active discussion about blockchain-based non-fungible tokens (NFTs), which are at the heart of new content ownership. NFTs have also been considered as a source of income generation for young musicians operating outside of multinational corporations (Langston, 2022). From recording sales to increasingly diverse content A music NFT is typically a song, album, lyrics, or music video stored on the blockchain. It can also be, for example, a composition created by a generative computer program that algorithmically visualizes the work using random patterns, colors, sounds, and/or shapes (Langston, 2022). A music NFT can also be a concert ticket or an album cover. NFTs also help to build a new kind of culture in the music industry. NFTs can be, for example, collector's cards aimed at fans, pictures of the artist, versions of different stages of the creation of a song, or almost anything related to the artist that has value to fans. According to Sitra's definition, an NFT is a digital file management certificate. The transfer history of the digital file management is recorded using blockchain technology. Some of these digital management certificates (NFTs) sold on NFT marketplaces do not contain any rights recognized in legislation. According to Sitra, this is because the legal status of NFTs is still unclear. (Sitra 2023.) A young music creator quickly encounters a number of seemingly challenging choices that have a strong to binding impact on the future and profitability of the product or service in question. A key choice is the type of content exported as an NFT: A 1/1 NFT is a single, unique product. It is completely exclusive. The analogy is often used with paintings in our physical environment, of which there is only one original. With an open edition, an NFT can be made in unlimited quantities, for example to commemorate participation in an event organized in the metaverse. However, that edition is usually only made for a certain period of time, after which it is no longer available. With a limited edition, a certain number of individual NFTs are made. Many collections consist of editions of 10,000 pieces, for example. There are advantages and disadvantages to different release models. A single 1/1 NFT is a unique collector's item. The Mona Lisa is often used as an example: there is only one genuine copy, which has a high price. Open editions can be used to celebrate a specific moment, for example, and are collector's items available only to participants. A limited edition serves, for example, as a pre-sale of tickets. Blockchain brings added value to music NFT trading In the music industry, the added value of blockchain lies in its various means of exchange and the uniqueness of the NFT token. Only one person can own a single NFT, and all purchase and sale transactions related to that token are recorded in a “ledger” maintained by the blockchain. For example, the path of each NFT is openly visible to everyone, and the NFT acts as a proof of authenticity. For example, a fan buying an NFT concert ticket can check the authenticity of the NFT on the blockchain before making a purchase decision. If they sell the ticket on, the new buyer can also see the chain of ticket owners and can check the authenticity against the ticket history recorded on the blockchain. The restrictions and rights related to the use of NFTs are managed by smart contracts that follow the individual NFT in question with every transaction. For example, during the creation phase, it is decided what share the creators will take as royalties if the NFT is resold. This way, the original creator will receive passive income and benefit from, for example, the increase in the value of the NFT. In the music industry, the increase can be really large, because for some artists the future can bring widespread global success. For this reason, Tervonen (2022) wonders whether in the future one of the motives for a budding artist to buy NFTs could be investment instead of fandom. Creatives often find pricing difficult. One solution to this challenge on the blockchain is to use auctions. This allows NFTs, such as a VIP add-on service built around a concert, to be sold in limited editions at the best price at the time. By utilizing the pre-sale mechanism, fans can invest in an artist of their choice, for example by financing the production of an album in advance. As a reward, they can receive their own NFT for a limited edition of the new album. In India, a FanTiger service aimed at the music industry has been launched, which gives independent artists a route to open their future projects to their fans for crowdfunding. Fans can support the launch of new music by pre-purchasing an NFT album from a selection that currently includes quite a few Indian music genres. At the same time, fans can be critically important marketing messengers when taking new content to the social platforms and communities of their networks (Nahar, 2022). NFTs and cryptocurrencies are also of interest to criminals The NFT market has rapidly become a new area of activity in the music industry. Regulation is still quite incomplete, and there are many question marks surrounding NFT trading. Issues that need to be resolved include the security of smart contracts, legally valid ownership, and the regulation and taxation of virtual currencies (Lindgren et al., 2023). Blockchain technology can also be misused. Last year, the NFT marketplace Cent suspended most of its trading due to abuse. The platform sold certificates of ownership for content that was not the property of the person who uploaded the NFT to the platform. Market manipulation also occurs. For example, creators of works have bought their own works to make the demand for them appear greater than it actually is (Närhi 2022). In the NFT environment, money moves through virtual currency wallets. The buyer sees the virtual wallet address on the blockchain, but the buyer remains anonymous. This makes it difficult, for example, to detect money launderers. Before diving in, look into these things Tervonen's (2022, see also Table 1) work carefully reports the steps that a musician needs to take to adopt the NFT world. It also describes the kind of expertise that each step requires. StepRequired skillsCreate a virtual currency account and acquire currencyVirtual currency advice: how to open a wallet, how to buy virtual currencies, how to connect a wallet to an NFT marketplace, how virtual currency value is created, what virtual currency alternatives exist and what risks are associated with the currency you are considering acquiring.Creating an NFT workSupport service for brainstorming NFT works to create an idea of what could be sold. Criteria for choosing a platform for selling an NFT work, technical requirements of the platform, the most important choices made on the platform regarding NFT usage rights, and the technical process of publishing.Selling an NFT workSupport services for marketplace practices, marketing planning utilizing existing channels to direct fans to the NFT platform, also support for fans to make NFT purchases (they need to learn how to use virtual currencies and understand how NFT marketplaces work). Table 1. Based on Tervonen, 2022, p.51 From a musician's perspective, NFTs may offer interesting new ways to interact economically with fans. The transition of physical fans to a virtual environment currently requires a considerable amount of expertise from fans. They must have sufficient understanding of virtual currencies, the functioning of DAOs, NFT products, and various marketplaces offering music NFTs. It is of paramount importance to identify whether each artist's fans can be reached through this. NFTs are currently still a series of development projects and directions. However, it already seems quite clear that at least some of them have found their place alongside Web2 environments. When the news talks about NFTs and music, it usually involves big money: 3LAU made $11.7 million in a 3-day auction for their new album (Brown. 2021) and Whitney Houston’s previously unreleased demo recording made when she was 17 sold for $1 million (Legaspi, 2021). In reality, audiences of millions are limited to global stars. It is likely that it will be at least as difficult for a new music creator and performer to find an audience through music NFTs as it is in a traditional physical environment. About the writer Musiikkipedagogi YAMK -tutkinnosta valmistunut Aili Tervonen on toiminut musiikkialalla aiemmin freelancer-pianistina ja opettajana, mutta päätynyt sittemmin työskentelemään opetus- ja kulttuuriministeriöön. Valtiolla työskentely on saanut Tervosen pohtimaan musiikkialan asemaa yhteiskunnassamme. Musiikkialan tulisi pystyä parantamaan muusikoiden työmarkkina-asemaa, kehittämään alaa eteenpäin sekä moninaistaa alan ansaintalogiikoita. Tämän vuoksi Tervonen päätyi tutkimaan YAMK-tutkinnossaan NFT-teoksia ja virtuaalivaluuttoja. Lue lisää: https://www.theseus.fi/bitstream/handle/10024/751689/tervonen_aili.pdf?sequence=2 Lähteet Bazinet, J.B., Singlehurst, T.A., May, M., Suva, J., Ezawa, K., Yap, A. (2018). Putting the Band Back Together. Remastering the World of Music. Citi GPS: Global Perspectives & Solutions. Brown, A. (2021). Largest NFT Sale Ever Came From A Business School Dropout Turned Star DJ. Forbes 3.3.2021. Jalonen, J. (2022). Musiikkialan kasvustrategia. Tilannekuva-raportti, 04/2022. Music Finland Ry. Johansson, P., Eerola, M., Innanen, A. & Viitala, J. (2019). Lohkoketju: Tiekartta päättäjille. Alma Talent. Langston, T. (2022). The Music NFT Bible: A Guide to the Future of Sound. NFT now guides 22.9.2022. Legaspi, A. (2021). Whitney Houston Unreleased Demo Sells for $1 Million at NFT Auction. Full-length track was recorded when singer was 17. Rollingstone 15.12.2021. Lindgren, J., Lindholm, O., Lehtonen, K., Mustikainen, H. & Niikkonen, P. (2023). 6+1 suositusta Suomelle. Miten sääntelyllä voidaan parantaa web 3.0 -liiketoiminnan edellytyksiä? Sitran selvityksiä 229. Muikku, J. (2021). Pelastaako NFT musiikkibisneksen? Musiikkikustantajat MPA Finland blogi 18.3.2021. Nahar, P. (2022). FanTiger crosses 50k transactions, enters list of top five NFT projects globally. ETMarkets.com 28.11.2022. Tervonen, A. (2022). Muuttuva musiikkimaailma: NFT-teknologiasta uusia ansaintamalleja muusikoille? Musiikkipedagogi YAMK opinnäytetyö. Metropolia Ammattikorkeakoulu.
Tämän blogin kirjoituksia ja toimitustyötä on tuettu vuoden 2023 loppuun asti Euroopan unionin sosiaalirahaston Luovat metaversumissa esiselvityksen osarahoituksen avulla ja vuoden 2024 alusta Euroopan unionin sosiaalirahaston osarahoittaman LUME – luovat web3-ajassa -hankkeen avulla.
Tässä blogissa käydään ammattilaiskeskustelua web3 kehittymisen myötä avautuvista uusista toiminta- ja ansaintamahdollisuuksista sekä ajankohtaisista ilmiöistä. Blogissa julkaistaan asiantuntijatekstejä, haastatteluja ja kantaa ottavia tekstejä, videoita, podcasteja tai niiden yhdistelmiä. Kirjoittajat ovat Metropolian ja sen yhteistyöorganisaatioiden asiantuntijoita. Haluatko julkaista Luovat web3 ajassa -blogissa? Ota yhteys päätoimittajaan sähköpostitse.
– Katri Halonen (päätoimittaja), yliopettaja, Metropolia Ammattikorkeakoulu, katri.halonen@metropolia.fi, p. 050 362 6407
– Leena Björkqvist, lehtori, Metropolia Ammattikorkeakoulu
– Jyrki Simovaara, lehtori, Humanistinen ammattikorkeakoulu
– Mayreth Wolff, lehtori Humanistinen ammattikorkeakoulu
Sähköpostiosoitteet: etunimi.sukunimi@metropolia.fi
Toimituskunta toimittaa Luovat web3 ajassa -blogin sisällöt ennen julkaisua.
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