Essa dissertação problematiza os discursos relacionados à ideia da colaboração dentro das práticas de Crowdfunding nos sites Catarse e Benfeitoria. A partir da perspectiva ético-estética, acompanhada de teorias relacionadas à Sociedade de Consumo e à Sociedade de Controle, realizo a análise através de três eixos de discussão: a colaboração entre o coletivo e os indivíduos; a colaboração entre indivíduos empreendedores; a colaboração como prática de liberdade e experiência política. A partir dessas reflexões, concluo que devem ser relativizadas e desnaturalizadas as ideias que dicotomizam coletivo e sujeito e que propõem a liberdade e a experiência política como produtos acessados por indivíduos que devem possuir características de empreendedores, pois este modelo de financiamento exige muitas vezes que se reproduza mecanismos de subjetivação hegemônicos, mas não deixa de possuir potência como dispositivo de oxigenação e de criação de novos territórios de resistência. / This dissertation discusses the discourses related to the idea of collaboration within the practices of the Crowdfunding websites Catarse and Benfeitoria. From the ethical-aesthetic perspective, accompanied by theories related to the Consumer Society and the Society of Control, analyze through three axes of discussion: the collaboration between the collective and the individuals; collaboration among enterprising individuals; collaboration as a practice of freedom and political experience. Based on these considerations, I conclude that must be relativized and denaturalized ideas that dichotomize collective subject and which propose freedom and political experience as products accessed by enterprising individuals because this funding model often requires the production of hegemonic subjectivity mechanisms, but it still has power as oxygenation device and can create new areas of resistance.

This essay studies the rhetorical situation of the crowdfunding site Patreon.com, with a particular focus on the construction of ethos. Taking off from the conception of ethos as a discursive dwelling place, the study analyzes five Patreon pages and the self-promotional practices associated with each page. It concludes that there are different ways of negotiating the implicit and explicit expectations that go along with setting up and maintaining a presence on a crowdfunding site – not least with regards to the relationship between ethos and ethics.

Essa dissertação problematiza os discursos relacionados à ideia da colaboração dentro das práticas de Crowdfunding nos sites Catarse e Benfeitoria. A partir da perspectiva ético-estética, acompanhada de teorias relacionadas à Sociedade de Consumo e à Sociedade de Controle, realizo a análise através de três eixos de discussão: a colaboração entre o coletivo e os indivíduos; a colaboração entre indivíduos empreendedores; a colaboração como prática de liberdade e experiência política. A partir dessas reflexões, concluo que devem ser relativizadas e desnaturalizadas as ideias que dicotomizam coletivo e sujeito e que propõem a liberdade e a experiência política como produtos acessados por indivíduos que devem possuir características de empreendedores, pois este modelo de financiamento exige muitas vezes que se reproduza mecanismos de subjetivação hegemônicos, mas não deixa de possuir potência como dispositivo de oxigenação e de criação de novos territórios de resistência. / This dissertation discusses the discourses related to the idea of collaboration within the practices of the Crowdfunding websites Catarse and Benfeitoria. From the ethical-aesthetic perspective, accompanied by theories related to the Consumer Society and the Society of Control, analyze through three axes of discussion: the collaboration between the collective and the individuals; collaboration among enterprising individuals; collaboration as a practice of freedom and political experience. Based on these considerations, I conclude that must be relativized and denaturalized ideas that dichotomize collective subject and which propose freedom and political experience as products accessed by enterprising individuals because this funding model often requires the production of hegemonic subjectivity mechanisms, but it still has power as oxygenation device and can create new areas of resistance.

Financial journals have just begun to examine the implications of unsecured fixed-rate loans between lenders and borrowers administered over the internet. This study observes 31,550 loans issued between June 2007 and April 2013 with a 36-month term, that are fully paid or charged off, based on a data set from the largest P2P lending website. Initial findings within peer-to-peer (P2P) lending markets have identified that social disclosures may influence these markets. The result of this analysis unambiguously confirms social disclosures influence lenders and the factors significant for funding a loan are inconsistent with the factors significant to repayment of the loan. Prescriptive filters based on social disclosures can improve the likelihood of selecting a creditworthy borrower and increase the models explanatory power. The study finds that distinct forms of social disclosure and specific content within social disclosures predict the amount of funding received and probability of loan repayment.

There are many contexts where an "everybody else is doing it" attitude is relevant. We evaluate the impact of this attitude in a multi-threshold public goods game. We use a lab experiment to study the role of providing information about contribution behavior to targeted subsets of individuals, and its effect on coordination. Treatments include one in which no information is provided and three others that vary in whom we provide information to: a random sample of subjects; those whose contributions are below the average of their group, and those whose contributions are above the average of their group. We find that the random provision of information is no different than not providing information at all. More importantly, average contributions improve with targeted treatments. Coordination waste is also lower with targeted treatments. The insights from this research are relevant more broadly to contexts including piracy, open innovation, and crowdfunding.

El cine en Latinoamérica enfrenta problemas con respecto al financiamiento y a la difusión de proyectos desde el sistema tradicional. Sin embargo, hoy, la influencia del internet, la pantalla global, la web social y la participación colectiva han cambiado los hábitos de consumo dando herramientas para poder terminar el proceso de una película. La audiencia no solo consume, también produce. Los nuevos realizadores han aprovechado este cambio para replantear el modelo de negocio y la cadena de producción a la hora de contar historias. Nacen nuevos conceptos que ayudan a esta modificación de la cadena productiva, como el crowdfunding, que modifica la forma de financiar proyectos, experiencias como la wikipeli demuestran que se puede generar una nueva forma de producción y realización, eliminando intermediario en la etapa de distribución, y por último, la transmedia y el storydoing que no solo modifican la narración sino que generan la creación de una marca que reviste al producto. Se tratará demostrar el rol de plataformas digitales vinculadas a la web social como un sistema alternativo en la cadena de producción audiovisual mediante una metodología de análisis descriptivo-cualitativo de casos de éxito, entrevistas y plataformas. / The film industry in Latin America has to deal with financial and distribution problems for projects in the traditional film system. Nevertheless, nowadays the influence of the internet, the global screen, social media, and group participation have changed consumer behavior, giving rise to new tools for the film production and viewing cycle. Audiences do not only consume, but also produce. New filmmakers have taken advantage of this change to rethink the business model, and the production chain for telling their stories. New concepts that help to transform the production chain include crowdfunding, which modifies the financing of projects, products such as the “wikipeli”, which use new methods of production and creation, without distribution intermediaries, and transmedia and storytelling, which modify narration and create a product brand. We seek to show the role of social media tools as alternative audiovisual production mechanisms through a descriptive qualitative analysis of examples of success, interviews and platforms.

Online crowdfunding, an emerging business model, has been thriving for the last decade. It enables small firms and individuals to conduct financial transactions that would previously been impossible. Along with unprecedented opportunities, two fundamental issues still hinder crowdfunding ability to fulfill its potentials: the information asymmetry and the understanding of the impact of crowdfunding. Both are actually exacerbated by the "virtual" nature of these marketplaces. The success of this new market therefore critically depends on both improving existing mechanisms or designing new ones to mitigate the issue of unobservable fundraiser quality, which can lead to adverse selection and market collapse; and better understanding the impact of crowdfunding, and particularly its offline impact, which will allow the effective allocation of scarce resources. My dissertation includes three essays around these topics, using data from debt-, reward- and donation-based crowdfunding contexts, respectively. My first two essays focus on two popular but understudied components in crowdfunding campaigns, texts and videos, and aim at predicting fundraiser quality by quantifying texts and videos. In particular, the first essay focuses on developing scalable approaches to extracting linguistic features from texts provided by borrowers when they request funds; and on using those features to explain and predict the repayment probability of the problematic loans. The second essay focuses on videos in reward crowdfunding, and preliminary results show excellent predictive performance and strong associations between multi-dimensional video information and crowdfunding campaign success and quality. The last essay investigates the impact of educational crowdfunding on school performance, using data from a crowdfunding platform for educational purposes. The results show that educational crowdfunding plays a role far beyond simply a financial source. Overall, my dissertation identifies the non-financial impact of crowdfunding as well as potential opportunities for efficiency improvement in the crowdfunding market, which have thus far not been documented in the literature.

This diploma thesis aims to discover, how crowdfunding influences traditional distributional structures. There are many possibilities, how to approach the problem. I have decided to compare the role of the intermediary in different forms of financing. This means, that by "distributional structures", I understand forms of financing. I compare five forms of financing, that altogether define all important kinds of financial transactions between two subjects: The bilateral model, Crowdfunding, Venture Capital, Market and Banks. As a tool for comparing all the forms, I created "Intermediate chain", that describes the way from one demanding subject, who realises his needs, through finding offering subject, to making and fulfiling a contract. I use the intermediate chain, that analyses this way, to describe all the forms of financing. The outcome of this process is a very detailed description. I describe all the models to verify, how crowdfunding takes over the function of other models. The theoretical frame of the analysis is disintermediation. Only by putting the analysis into this theoretical frame, the whole thesis becomes reasonable: The point is not to describe all the models, how people trade with each other. By the question about the influence of crowdfunding on traditional distributional structures, I...

En journalists arbete är tydligt. Det ska vara objektivt och beskriva fenomen som de är. Det ska beskrivas så sakligt och sanningsenligt som möjligt utan värderingar. Vad händer med trovärdigheten om en journalists lön finansieras direkt av den publik som de skriver för? Crowdfunding som betalningsmodell utgår från att ett projekt eller en idé finansierar av någon som aktivt väljer att sponsra detta. Många skribenter väljer idag att kalla sig oberoende journalister och arbetar som journalister där de endast finansieras via olika crowdfundingplattformar såsom Kickstarter, Swish, Patreon eller FundedByMe. Med tillräckligt många följare som betalar tillräckligt mycket pengar får de möjlighet att bedriva journalistik som är oberoende från mediehus. Syftet med studien är att bidra med kunskap om vad internetanvändare har för inställning till crowdfundad journalistik i Sverige. För att bidra med olika perspektiv på internetanvändares inställning till crowdfundad journalistik har studien tittat på demografiska variabler såsom kön, partipolitiska sympatier, inkomst, utbildningsnivåer samt ålder. Studien undersöker också hur internetanvändares kommentarer skiljer sig åt på artiklar skrivna av journalistik som är crowdfundad jämfört med journalistik från ett etablerat mediehus på Facebook. Studien har använt sig av netnografisk observation och en webbenkät för att samla in data. Resultatet visar att den generella trovärdigheten för crowdfundad journalistik oberoende av demografiska aspekter hos de respondenter som deltagit i studien var låg. Studien har kommit fram till att de som följer journalistik som är crowdfundad har högre förtroende för denna typ av journalistik än de som inte gör det. Resultatet har också visat att det skiljer sig i hur läsare uttrycker sig i kommentarsfält på Facebook mellan crowdfundad journalistik och ett etablerat mediehus. Kommentarerna är mer positiva och genomtänkta på den Facebooksidan som drivs av den crowdfundade journalistiken som observerats än på den Facebooksida som drivs av ett etablerat mediehus. / The work of a journalist is clear. It should be unbiased and describe a phenomenon as it is, objectively without values. What happens with the credibility if a journalist is funded by its audience? Crowdfunding as a model for payment emanates from an idea or a project being funded by someone who actively chooses to do so. Alot of writers today chooses to work as independent journalists where their sole funding comes through a crowdfunding platform such as Kickstarter, Swish, Patreon or FundedByMe. With enough followers that pays enough money the writers may continue to write journalistic pieces independent from established media houses. The purpose of this essay is to contribute with knowledge about what attitudes toward journalism that is crowdfunded internet users have. In order to contribute with different perspectives on internet users attitudes towards crowdfunded journalism the study looked at demographic variables such as, gender, what political party individuals prefer, income, education and age. The study also investigates how internet users comments differentiate them self in articles written by journalism that is funded by crowdfunding in comparison with articles written by established media houses on Facebook. The study used netnographic observation as a method and a web survey to collect data. The result of this study concludes that the general credibility of journalism that is funded by crowdfunding is low. The study found that individuals that follow crowdfunded journalism have a higher degree of trust in them then the ones that dont. The result also showed differences in how readers express themselves in commentary fields on Facebook between crowdfunded journalism and the established media houses. Comments are more positive and thought through on the Facebookspage that's is run by crowdfunded journalism that was observed rather than the one that is run by a established media house.

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