"Finally, there's 'flattr', which is a nice name. A micropayment service that lets you simply add a button to your stuff to let people make micropayments to you, for your stuff. From back in the mid '60s Ted Nelson had a vision for micropayments, and why it mattered. We are now moving there. This is the beginning of simply catastrophic change for industrial media. Why? Well when I decide that my tiny annual subscription to The Age [Melbourne newspaper] is not worth my $55 (I don't think it is worth that right now actually), and I instead send that money, even as 55 x $1 to 55 other creators I value, the revenue model for industrial media collapses, and a new one arises. The only change I have to make is to recognise that what I spend on purchasing media is merely a habit, and not providing that much value, so rather than just save that money, why not redirect it to those who are making value for me?"
(Adrian Miles, 20 April 2011, vlog 4.0)
"the husband and wife-run Halas & Batchelor, sometimes called the British Disney – which for more than 50 years produced adverts, public information pieces, feature films, TV cartoons and serious award-winning animation respected the world over.
Today, 15 years after the studio's last release, the British Film Institute will announce that it has been given the Halas & Batchelor archive, including film prints, stills, scripts, correspondence and original cells. It is the largest ever single donation of British animation and was welcomed as 'an extraordinarily rich gift' by the BFI director, Amanda Nevill. 'We look forward to working on ensuring these films and artefacts are enjoyed by the widest possible group of people in years to come,' she said. ...
Curator Jez Stewart hopes that the BFI will be now be able to open up Halas & Batchelor to new generations of animation fans and practitioners. Aardman Animation's Nick Park said he had fond memories of watching the company's animated educational films at school. 'They have always been part of my life,' he said. 'John Halas was the judge on the first animated competition I ever entered – I didn't win, but admired him and looked up to him as a great figure in British animation.'"
(Mark Brown, 3 December 2010, The Guardian)