The most innovative answer to [the crisis of the copyright model] has been the rise of crowdfunding, as a way of pre-financing the first copy by creating a community around emerging projects. Kickstarter.com has established itself as the dominant model and countless derivatives are imitating it.
Unfortunately, Kickstarter is, in essence, simply a new form of market. Rather than buying the product after it has been produced, one can now buy it before it is produced and, if one donates more than a certain amount, inscribe oneself to a very limited degree into the product itself (e.g. by being mentioned a co-financier in the credits of a film project). Besides that, very little chances.
But does that need to be? Crowdfunding is a promising field because it can address many of the dynamics that underlie the crisis of the cultural economy and its transformation from a commodity- to a commons-based environment. So, it's high-time to think about and experiment with this approach in a more comprehensive way and explore more radical approaches to alternative cultural economies. How can these new means be used to fund the commons, rather than to kickstart yet another round of “cool” new products?
FS: You started your crowdfunding platform in 2010, just when Kickstarter was establishing itself as the dominant model in this field. Why do something different?