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#distributore
tcnvendingmachine · 1 month
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🚀 Elevate your snacking game with TCN's cutting-edge Drink & Snack Vending Machine! 💫
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cuoredolce67 · 6 months
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Mangia sano vivi meglio... E già
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Middlemen without enshittification
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I'm on tour with my new novel The Bezzle! Catch me next in SALT LAKE CITY (Feb 21, Weller Book Works) and SAN DIEGO (Feb 22, Mysterious Galaxy). After that, it's LA, Seattle, Portland, Phoenix and more!
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Enshittification describes how platforms go bad, which is also how the internet goes bad, because the internet is made of platforms, which is weird, because platforms are intermediaries and we were promised that the internet would disintermediate the world:
https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel
The internet did disintermediate a hell of a lot of intermediaries – that is, "middlemen" – but then it created a bunch more of these middlemen, who coalesced into a handful of gatekeepers, or as the EU calls them "VLOPs" (Very Large Online Platforms, the most EU acronym ever).
Which raises two questions: first, why did so many of us end up flocking to these intermediaries' sites, and how did those sites end up with so much power?
To answer the first question, I want you to consider one of my favorite authors: Crad Kilodney (RIP):
https://archive.org/details/thecradkilodneypapers
When I was growing up, Crad was a fixture on the streets of Toronto. All through the day and late into the evening, winter or summer, Crad would stand on the street with a sign around his neck ("Very famous Canadian author, buy my books, $2" or sometimes just "Margaret Atwood, buy my books, $2"). He wrote these deeply weird, often very funny short stories, which he edited, typeset, printed, bound and sold himself, one at a time, to people who approached him on the street.
I had a lot of conversations with Crad – as an aspiring writer, I was endlessly fascinated by him and his books. He was funny, acerbic – and sneaky. Crad wore a wire: he kept a hidden tape recorder rolling in his coat and he secretly recorded conversations with people like me, and then released a series of home-duplicated tapes of the weirdest and funniest ones:
https://archive.org/details/on-the-street-crad-kilodney-vol-1
I love Crad. He deserves more recognition. There's an on-again/off-again documentary about his life and work that I hope gets made some day:
https://pluralistic.net/2020/09/09/free-sample/#putrid-scum
But – and this is the crucial part – there are writers out there I want to hear from who couldn't do what Crad did. Maybe they can write books, but not edit them. Or edit them, but not typeset them. Or typeset, but not print. Or print, but not spend the rest of their lives standing on a street-corner with a "PUTRID SCUM" sign around their neck.
Which is fine. That's why we have intermediaries. I like booksellers (I was one!). I like publishers. I like distributors. I like their salesforce, who go forth and convince the booksellers of the world to stock books like mine. I have ten million things I want to do before I die, and I'm already 52, and being a sales-rep for a publisher isn't on my bucket list. I am so thankful that someone else wants to do this for me.
That's why we have intermediaries, and why disintermediation always leads to some degree of re-intermediation. There's a lot of explicit and implicit knowledge and specialized skill required to connect buyers and sellers, creators and audiences, and other sides of two-sided markets. Some producers can do some of this stuff for themselves, and a very few – like Crad – can do it all, but most of us need some help, somewhere along the way. In the excellent 2022 book Direct, Kathryn Judge lays out a clear case for all the good that middlemen can do:
https://pluralistic.net/2022/06/12/direct-the-problem-of-middlemen/
So why were we all so anxious for disintermediation back in the late 1990s? Here's a hint: it wasn't because we hated intermediaries – it was because we hated powerful intermediaries.
The point of an intermediary is to serve as a conduit between producers and consumers, buyers and sellers, audiences and creators. When an intermediary gains power over the audience – say, by locking them inside a walled garden – and then uses that lock-in to screw producers and appropriate an ever larger share of the value going between them, that's when intermediaries become a problem.
The problem isn't that someone will handle ticketing for your gig. The problem is that Ticketmaster has locked down all the ticketing, and the venues, and the promotions, and it uses that power to gouge fans and rip off artists:
https://pluralistic.net/2022/11/20/anything-that-cant-go-on-forever-will-eventually-stop/
The problem isn't that there's a well-made website that lets you shop for goods sold by many small merchants and producers. It's that Amazon has cornered this market, takes $0.51 out of every dollar you spend there, and clones and destroys any small merchant who succeeds on the platform:
https://pluralistic.net/2023/04/25/greedflation/#commissar-bezos
The problem isn't that there's a website where you can stream most of the music ever recorded. It's that Spotify colludes with the Big Three labels to rip off artists and sneaks crap you don't want to hear into your stream in order to collect payola:
https://pluralistic.net/2022/09/12/streaming-doesnt-pay/#stunt-publishing
The problem isn't that there's a website where you can buy any audiobook you want. It's that Amazon's Audible locks every book to its platform forever and steals hundreds of millions of dollars from creators:
https://pluralistic.net/2022/07/25/can-you-hear-me-now/#acx-ripoff
The problem, in other words, isn't intermediation – it's power. The thing that distinguishes a useful intermediary from an enshittified bully is power. Intermediaries gain power when our governments stop enforcing competition law. This lets intermediaries buy each other up and corner markets. Once they've formed cozy cartels, they can capture their regulators and commit rampant labor, privacy and consumer violations with impunity. That capture also lets them harness governments to punish smaller players that want to free workers, creators, audiences and customers from walled gardens. It also hands them a whip-hand over their workers, so that any worker who refuses to aid in these nefarious plans can be easily fired:
https://pluralistic.net/2024/01/30/go-nuts-meine-kerle/#ich-bin-ein-bratapfel
A world with intermediaries is a better world. As much as I love Crad Kilodney's books, I wouldn't want to live in a world where the only books on my shelves came from people prepared to stand on a street-corner wearing a "FOUL PUS FROM DEAD DOGS" sign.
The problem isn't intermediaries – it's powerful intermediaries. That's why the world's surging antitrust movement is so exciting: by reinstating competition law, we can keep intermediaries small and comparatively weak, so that creators and audiences, drivers and riders, sellers and buyers, and other groups seeking to connect will not find themselves made subservient to middlemen.
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If you'd like an essay-formatted version of this post to read or share, here's a link to it on pluralistic.net, my surveillance-free, ad-free, tracker-free blog:
https://pluralistic.net/2024/02/19/crad-kilodney-was-an-outlier/#intermediation
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raliciel · 8 months
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I lied. This is the actual last post for today
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heckyeahponyscans · 7 months
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HQG1C's blank ponies were such a gamechanger for customizing. Customizing good condition vintage ponies has always been frowned upon, so customizers would use "bait ponies" that were in bad, irreparable condition. But some pony poses were so popular and desirable (like the Big Brother poses), or rare, that even as a bait they could be quite expensive.
The original colors of the ponies were also a limiting factor. Want a white Milky Way pose custom? Well, there aren't any vintage ones so have fun trying to get a smooth coat of white paint, one of the most gloopy colors.
It's sooo nice being able to buy nice clean custom bases en masse.
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skygenders · 5 months
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Every single day I make men feel stupid at my job and every single day they get pissy about it like dude it is not my fault ur job did not teach you the custom process in manufacturing.
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boyhood · 1 year
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I think a solid few of my followers here are familiar with me through my on-hiatus podcast Museum of the Vanishing Dog that I make with @samsketchbook, as well as my practice as a studio artist. 
I’ve started a new project called All Miracles Are Strange: a podcast about grief and pain and about the bodies of female saints. In 2021, I experienced a lot of harrowing grief and also developed pre-vax covid which turned into long covid that gave me brain damage and ate all my joints. The next year, I experienced more losses and started to spend a lot of time thinking about the bodies of the saints: the way they suffered in such exaggerated, almost comical ways, and the way that suffering often extended well past their point of death. I have been trying to think of the ways these stories relate to me, a person dealing with both death and a body that does not work the way it used to and is in constant pain. 
Tonally, this work is different than The Museum of the Vanishing Dog, but true I think, to the ideas I present there. 
I have uploaded the first three episodes to most podcasting platforms.The first episode covers the situation in which I find myself now and an article about nuns by Eve Fairbanks. The second discusses what makes a saint and the self inflicted injuries of Sister Mary Magdalene di’Pazzi. The third discusses St. Veronica and the Mexican artist Teresa Margolles. Each episode is 15 minutes or less. 
I hope you like them. It’s been a weird little project, but one I have been working on pretty exclusively for the past several months. 
Listen here on spotify + Listen here on apple podcasts 
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metaligatr · 10 months
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really wanted to draw some baten kaitos but I had no idea what
thankfully, when all else fails guillo exists
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steveyockey · 8 months
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about to vibrate out of my skin reading about the making of the ari and dante movie
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ginge1962 · 13 days
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Star Trek Annual 1974 - published by World Distributors 1973 reprinting issues 14 through 16 of the original Gold Key series.
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Front and rear covers by Edgar Hodges.
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wha-archive · 1 year
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Publisher Update - English Simulpub announced
K-Manga, a US publishing site for Kodansha's manga, is due to launch in a week and has announced that the English translations of Witch Hat Atelier will be available as the Japanese chapters come out!
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As it's a US site, you'll find you aren't able to access the teaser site without a VPN (I'm in the same boat!) - and I cannot confirm yet if payments will work outside of the US, but this is fantastic news for Witch Hat regardless!
If you're outside the US and wish to ask about whether the region will expand in the future, be sure to be polite when registering interest in wider coverage! In the meantime, be sure to support the official releases you can access - either by buying the volumes or the Japanese chapters on official sites.
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mariacallous · 1 month
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And @ozkaterji is still hoping for a US release!
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rollanan · 5 days
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alright i kinda just wanted to get this off my chest in here but
we know that the 4th season of Bookworm is going to be animated by another more well known and budgeted studio, however i am afraid that the show might lose its charm
i mean like yeah it looks cheap but its like i can feel that it has soul even tho its raw, and its charming that way cos like you know its going to be one of those obscure unknown animes that just happens to be one of the greatest things ever id prefer it to be that way rather than looking super shiny
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heidismagblog · 7 months
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goshyesvintageads · 1 year
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Amway Corp, 1965
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plasmatonic · 1 year
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Ah, this isn't the Digimon figure I ordered...
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