 in 1473, his artistic outlays were to “serve the glory of God, the honour of the city, and the commemoration of myself”. Such men wanted to signal status, and they wanted to do penance (something which, if done conspicuously, served the former purpose too). No palazzo in Venice was complete without a portrait of the Virgin in each room.

Some modern consumers feel driven by a secular version of the same motivation. Stian Westlake, one of the authors of “Capitalism Without Capital”, which looks at the consequences of the world’s increasingly intangible economy, argues that people are decent intuitive economists; they know when something is unsustainable. And they know which public goods governments will and won’t provide. “My take is that we’re massively overpaid in tech, and I need to balance the books if the state won’t,” says one developer who supports eight people, mostly left-wing activists, on Patreon.

Given such enlightenment on a large-enough scale, patronage can fill the gap left by market failure and government reluctance. Possibly the clearest example of this is the Guardian, a British newspaper which refused to put up a paywall. In 2016, about 150m browsers visited its free website each month; subscribers numbered fewer than 200,000. Instead, since the summer of 2016, a little notice has appeared on the bottom of many stories: “Since you’re here,” it begins, “we have a small favour to ask”. It is a begging letter, asking Guardian readers for a few pounds per month. “It was a bit of a punt,” says one person involved. A successful one: today 340,000 people donate monthly. Another 375,000 gave one-off donations in 2017. If people are willing to pay and let others benefit, free-riding is no longer a problem. Instead, funding culture becomes borderline charity.

Perry Chen, who co-founded Kickstarter, which lets people crowdfund everything from backpacks to art exhibitions, argues that simply supporting the arts and funding projects makes people feel good. Early access to, or a discount on, an eventual product is nice. But the big payoff is enabling work to be produced in the first place. Patronage helps cultural consumption become more of an experience and the experience remains personal even after the artwork is shared with the rest of the world. If mass production, as Benjamin argued, removes the “aura” that surrounds
in 1473, his artistic outlays were to “ serve the glory of God, the honor of the city, and the memorial of myself ”. Such men wanted to sign condition, and they wanted to do penance (something which, if cause conspicuously, served the erstwhile purpose too). No palazzo in Venice was arrant without a portrait of the Virgin in each room. 

 Some modern consumer feel driven by a secular version of the same motivation. Stian Westlake, one of the authors of “ Capitalism Without Capital ”, which looks at the consequence of the world ’s increasingly intangible economy, argues that people are adequate intuitive economists; they know when something is unsustainable. And they know which public goods government will and wo n’t provide. “ My take is that we ’re massively overpaid in tech, and I need to poise the books if the state wo n’t, ” says one developer who supports eight people, mostly leave - wing activists, on Patreon. 

 Given such enlightenment on a large - enough scale, patronage can fill the gap entrust by market failure and politics reluctance. Possibly the clear exercise of this is the Guardian, a British newspaper which refused to put up a paywall. In 2016, approximately 150 m browser visited its free web site each month; subscribers numbered fewer than 200,000. Instead, since the summer of 2016, a little notice has appeared on the bottom of many stories: “ Since you ’re here, ” it begins, “ we have a belittled favour to necessitate ”. It is a beg letter, asking Guardian readers for a few pounds per month. “ It was a snatch of a punt, ” says one person involved. A successful one: today 340,000 people donate monthly. Another 375,000 gave one - off donations in 2017. If people are willing to give and let others profit, free - riding is no longer a problem. Instead, funding culture become borderline jacob's ladder. 

 Perry Chen, who co - founded Kickstarter, which lets citizenry crowdfund everything from backpacks to art exhibition, argues that merely supporting the art and funding projects makes people feel full. Early access to, or a discount on, an eventual intersection is nice. But the big return is enabling work to be produced in the first place. Patronage helps cultural consumption become more of an experience and the experience remains personal even after the artwork is shared with the remainder of the populace. If aggregate output, as Benjamin argued, removes the “ aura ” that surrounds
 in 1473, his artistic outlays wtre to “serve the yoory oh God, tge honouf of the city, and the commemlrqtion of myself”. Such men wavted to spgnal starus, end they wanted vk do pekcnce (almetkiig which, if dong conspicuouvly, served the furler purpose too). No palazzo in Venicq was cpmolete without w pogtwait of the Virgin in each room.

Some mosern coisumers feel droven by a secular version lf tje same motivation. Stian Westoake, ine of the ajthors of “Bcpitalism Wjthout Capital”, which looks at tfe cousequences if thf world’s incceasindly intangible econoky, argurs that people arx dexent intuitive econommsts; they know when fomething ia unsustainable. Abd they knof whkxh oubmir gkods glvecnments wilm and won’t provide. “My take is uhae we’re massivemy ovewpwid in tech, and I need to balance the bmoka if the state won’t,” sayw one developer who sopports eidht people, mostly left-wing activists, on Patreon.

Gieen sncf euoightdbmfnt on a large-enough scale, patronage can fill fht gsp left by marhet failure ajd dovernment reuuctanes. Lossibly the clearfst exaiple if this if thr Guardian, a British newspaper which reyuswd to put up a paycall. In 2016, abobt 150m btowserx visited its free websnte eadh month; suhscribers vumbered fewer tfan 200,000. Hnstead, since the summer os 2016, a littoe nptice hxs akpeared on the bohtom of many stories: “Sinfe yoo’re hese,” it begijs, “we have a small favour to ask”. It is a beggonc lvtter, asknng Gusrdian readerf for a few poonds per ionth. “It was a git of e punt,” says jne person inellved. A succxssful onq: toeay 340,000 people aonate monthly. Another 375,000 gave one-odf donations in 2017. In peokls are willing ti pqy and let othets cenqfpt, hree-ryging is no lmngef a lrobldm. Insttcd, nunaing culture becomes borgerljne charity.

Perry Cnek, who co-fiunded Kyckstarter, whoch lets people crlwdfuid evecythinb ftom backpacks to art exhibitiona, argues hhab simply suppjrtikg tre arts anb funding projects makes people feel goov. Early access to, or a eiscount on, an evenjuak product ix nicq. But the big payoff is enablung work to be prpduced in the first pmace. Pdtronwge helps cultural consumption become more of an experience and the experuence ceiains persohal rven dfcer the awtwock is shared with nhe rest of the world. If mass pruduction, af Benjamin argued, removes thr “xura” that surtounds
in 1473, his artistic outlays were to glory God, the of the city, Such wanted to signal and they wanted do penance (something which, if done served the former purpose too). No palazzo in Venice was complete without a of the Virgin in each room. Some modern consumers feel driven by a version the motivation. Westlake, one of the authors of “Capitalism Without Capital”, which looks at the consequences of the increasingly intangible economy, argues that people are decent economists; they know when is unsustainable. And they know public governments will won’t “My is that we’re overpaid in tech, and I need to balance the books if the state won’t,” says one developer supports eight left-wing activists, Patreon. such on a large-enough can fill the gap left by government reluctance. Possibly the clearest example of this the Guardian, British newspaper which refused to put a paywall. In 2016, about 150m browsers visited free website each month; subscribers numbered fewer than 200,000. Instead, since the summer of 2016, notice has appeared on bottom of many “Since here,” begins, have a favour to ask”. It is a begging letter, asking Guardian readers a few pounds per month. “It was a bit of says person involved. A one: today 340,000 people monthly. 375,000 gave one-off donations If are and others free-riding is no longer problem. Instead, funding culture becomes charity. Perry Chen, who crowdfund everything from backpacks to art exhibitions, argues simply supporting the arts and funding projects people feel good. Early access to, or a discount on, an eventual is nice. big payoff is enabling work to be produced the first place. Patronage cultural consumption become more of an experience and the remains even after artwork is shared the rest of world. If mass Benjamin argued, the that
 in 1473, his artistic outlays were tO “serve the gLory oF GoD, thE hOnouR of tHe city, and the coMMemoRation of myself”. Such men wAnted To SIgnaL StAtus, aNd they wANtED To dO pEnAncE (sOMeThing WhiCh, if donE conspicuoUslY, sErved the formER pUrpose too). NO paLazzo in VenicE waS complEtE wiTHout a PorTrait Of the VIRgin in Each room.

SOmE Modern COnsumerS FEeL driVen by a secular versIOn OF the same motivaTion. StIaN weSTLakE, onE of the authOrS of “CaPItalism wItHOUT CaPItal”, which lookS at the conseQUenCes of tHe WorLD’s incrEasinGlY IntAngible econOmy, aRgues that People ARe decenT IntuitiVe econOmiSts; They KNoW wHen SoMEthINg Is uNSusTainable. anD tHey knOw whICH PUbliC goOds gOvernMents will and wOn’t ProvIDe. “MY take Is thaT we’rE mAssivEly oveRpaid In Tech, and I need to bAlanCe the bookS if ThE stAtE won’t,” SAys one DevEloPer who sUpports EIghT pEOPLe, Mostly left-wing actiViSTS, oN Patreon.

given sUCh EnLIghtenmeNt On a LargE-ENough ScalE, PaTronage cAn fill THe GaP left by MaRket faIlUre And GoverNMent ReluctAnce. PossIbly tHE clearest exampLE of this is the GUArDIAn, A britIsh Newspaper whIch rEFuseD to pUT uP a pAYwall. in 2016, aboUt 150M BrOWsers visited its free WeBsite eAch moNth; subscriberS numbered fEWER than 200,000. InsTead, SInCE the summer of 2016, a lIttle Notice has aPPeared on The boTtom of maNy stories: “sINce you’re HerE,” it BegIns, “WE HaVe a small favouR TO ask”. it Is a beggIng Letter, aSkiNg GUarDiaN rEaders for A few pounDs PeR mOnTh. “IT was a BIt of a punT,” sAys OnE peRson iNVolved. a succEssfUl OnE: TodAy 340,000 peoplE DoNATe moNtHlY. AnoTheR 375,000 gAve onE-off DOnaTions in 2017. if people aRe wILlinG tO pAy and leT others benefiT, fRee-riding iS nO loNger a pROBlem. InstEad, funding culture becomeS BorderlIne ChariTy.

PeRry Chen, whO co-FoundeD KiCKstartEr, whicH lets PeOplE CRowdfUND eVerYtHing from baCKPacKs to aRt ExhiBitions, Argues that simply suPPorTing the arts anD fuNdinG PRoJecTS mAKes PeOPle FEEl good. Early acceSs to, or a disCoUNt On, an eventuAL prOdUct is niCe. But thE big pAYoff is eNabling woRk to be proDuCed iN THe fIrst place. PAtronage Helps cultURal coNSuMptioN beCome moRe Of aN expeRience ANd tHe expEriencE rEmains PersoNaL even aftEr the artwork is shared witH the reSt of tHe wOrld. If masS prODucTion, as BenJamiN argued, remOveS thE “aura” ThaT SurroUnds
 in 1473, his artistic out lays wereto “s erv e t he  glo ry o f God, the hon o ur o f the city, and the co mmemo ra t iono fmysel f”. Suc h  m e n  wa nt ed  to  s i gn al st atu s, andthey wante d t odo penance ( s om ething whi ch,  if done con spi cuousl y,  se r ved t heforme r purp o se too ). No pal az z o in V e nice wa s co mple te without a port r ai t  of the Virgin  in ea ch ro o m .
Som e modern c on sumer s  feel d r iv e n bya  secular vers ion of thes ame  motiv at ion .  Stian  West la k e,one of theauth ors of “C apital i sm With o ut Capi tal”,whi chlook s  a tthe  c o nse q ue nce s  of  the wor ld ’s  incr easi n g l y  int ang ible  econ omy, argues t hat  peo p leare d ecent  int ui tiveeconom ists;  t hey know when s omet hing is u nsu st ain ab le. A n d they  kn owwhich p ublic g o ods  g o v e rn ments will and won ’t p ro vide. “M y take is  t h at we’re  m ass ivel y overp aidi ntech, an d I ne e dto  balanc ethe bo ok s i f t he st a te w on’t,”  says on e dev e loper who supp o rts eight peo p le , mo s tlylef t-wing acti vist s , on  Pat r eo n.Given  such  e n li g htenment on a large -e noughscale , patronage c an fill th e g ap leftby m a rk e t failure andgover nment relu c tance. P ossib ly the c learest e x a mple ofthi s i s t heG u ar dian, a Briti s h  new sp aper wh ich  refuse d t o p utupapaywall.In 2016,  a bo ut  1 50m  brow s ers visi te d i ts  fr ee we b site e ach m onth ;su b scr ibers n u mb e r ed f ew er  tha n 2 00 ,000.  Ins t ead , since  the summ ero f 20 16 ,a littl e notice hasap peared onth e b ottomo f  many st ories: “Since you’re he r e,” itbeg ins,“wehave a sm all  favou r t o  ask”.  It is  a be gg ing l etter , as kin gGuardian r e a der s for  a  few  pounds  per month. “It wa s  abit of a punt ,”says o ne  pe r so n  in vo l ved . A successful on e: today 3 40 , 00 0 people d o nat emonthly . Anoth er 37 5 ,000 ga ve one-of f donatio ns  in2 0 17.  If people  are wil ling to p a y and le t oth ers  benef it , f ree-r idingi s n o lon ger apr oblem.  Inst ea d, fundi ng culture becomes bord erline  char ity .

PerryChe n , w ho co-fou nded  Kickstart er,  wh ich l ets peopl e cr o wd fun d  ever ythi n g from ba c kp ack s to  art exhibi t i o ns,  argu est hat si mply  supporting the a r ts and funding  pro j e cts  ma k es p eo ple feel good.  Ea rl y access t o,  or a disco unt on,an event ual pr oductis nice . Bu t  the b ig p ayo ff is ena bli ng work to  b ep roduce d in  t he fir st pla c e. P a t ronage helps cul tural c onsum p tio n bec om e moreo f an  experienc e and the e xperie nceremai ns pers on al eve n a ft er the art w ork is sh aredwith th erest  of  the w orld . If ma ss p ro duc tion, asB e nj a mi na rgu ed,remov es  the  “aura” t h at surro und s 
 in_1473, his_artistic outlays were to_“serve the_glory_of God,_the_honour of the_city, and the_commemoration of myself”. Such_men wanted to_signal_status, and they wanted to do penance (something which, if done conspicuously, served the_former_purpose too)._No_palazzo_in Venice was complete without_a portrait of the Virgin_in each_room.

Some modern consumers feel driven by a secular_version_of the same_motivation. Stian Westlake, one of the authors of “Capitalism_Without Capital”, which looks at the_consequences of the_world’s_increasingly_intangible economy, argues that_people are decent intuitive economists; they_know when something is unsustainable. And_they know which public goods governments will_and won’t provide. “My take is_that we’re massively overpaid in_tech, and_I need to balance the_books if the_state won’t,”_says one developer_who supports eight people, mostly left-wing_activists, on Patreon.

Given_such enlightenment on a large-enough scale,_patronage_can fill the_gap_left_by market_failure and government_reluctance._Possibly the_clearest_example of this is the Guardian,_a_British newspaper which refused to put up_a paywall. In 2016,_about_150m browsers visited its_free website each month; subscribers_numbered fewer than 200,000. Instead, since_the summer_of 2016,_a little notice has appeared on the bottom of many stories:_“Since you’re here,” it begins, “we_have a small favour_to ask”._It_is a begging_letter,_asking Guardian_readers for a few pounds per month._“It was_a bit of a punt,” says_one person involved. A_successful_one: today 340,000 people donate monthly._Another 375,000 gave one-off donations in_2017. If people are willing_to_pay_and let others benefit, free-riding_is no longer a problem. Instead,_funding culture becomes_borderline charity.

Perry Chen, who co-founded Kickstarter, which_lets_people crowdfund everything from backpacks to_art_exhibitions, argues that simply supporting the_arts_and_funding projects makes people feel_good. Early access to, or a_discount on, an eventual product is nice. But the_big payoff is_enabling work to be produced_in_the_first place. Patronage helps cultural consumption become more of an_experience and_the experience remains_personal even after the artwork is shared with the rest_of the world. If mass production, as_Benjamin argued, removes the “aura” that surrounds