Bell Journal of Economics Strategic Herding Be- havior in Peer-to-Peer Loan Auctions.

Startups, Portals and Investor Behavior

A recommender system that makes personalized suggestions for projects may utilize the network structure and characteristics of funders. The Dynamics of Crowdfunding: An Exploratory Study. Specification, estimation and evaluation of vector smooth transition autoregressive models with applications.

The Economics of Crowdfunding Platforms. /15 The Economics of Crowdfunding Platforms Paul Belleflamme, Nessrine Omrani and Martin Peitz fCORE Voie du Roman Pays 34, L B Louvain-la-Neuve, opho.beted Reading Time: 10 mins.

• Demand for Collective Goods in Private Nonpro…t Markets: Can Fundraising Expenditures Help Overcome Free-rider Be- havior?
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The Economics Of Crowdfunding Startups Portals And Investor …

Economic Research 2004 Leading economists discuss how economic policy can stimulate technological innovation. Cultural Crowdfunding-Vincent Rouzé 2019-11-29 This new book analyses the strategies, usages and wider implications of crowdsourcing and crowdfunding platforms in the culture and communication industries that are reshaping economic ...

A Brief History of Crowdfunding [Infographic] Startups.com

May 21, 2018 · The crowdfunding industry has quickly emerged as a popular option for entrepreneurs to validate their ideas, gain exposure, and gain funding. Crowdfunding revenue tripled from $530 million in 2009 to $1.5 billion in 2011. By 2012, there were more than 450 crowdfunding platforms, which raised more than $2.7 billion worldwide.

Crowdfunding takes place on crowdfunding platforms (CFPs), i.e., Internet-based platforms that link fundraisers to funders with the aim of funding a particular campaign by typically many funders. 2 This paper aims at providing insights into the functioning ofCited by:

Develop and improve products. List of Partners vendors. Crowdfunding is the use of small amounts of capital from a large number of individuals to finance a new business venture. Crowdfunding makes use of the easy accessibility of vast networks of people through social media and crowdfunding websites to bring investors and entrepreneurs together, with the potential to increase entrepreneurship by expanding the pool of investors beyond the traditional circle of owners, relatives, and venture capitalists.

Similar to the restrictions on hedge fund investing, these regulations are supposed to protect unsophisticated or non-wealthy investors from putting too much of their savings at risk. Because so many new businesses fail, their investors face a high risk of losing their principal. Crowdfunding has created the opportunity for entrepreneurs to raise hundreds of thousands or millions of dollars from anyone with money to invest. Crowdfunding provides a forum to anyone with an idea to pitch it in front of waiting investors.

Many individuals affected by a natural disaster, hefty medical expense, or another tragic event such as a house fire have received an amount of financial relief they wouldn't otherwise have had access to thanks to crowdfunding platforms. However, in recent years, some crowdfunding platforms such as Patreon and Substack have extended the reach of crowdfunding to offer a way for creative people—artists, writers, musicians, or podcasters—to sustain their creative work by receiving a steady source of income.

Crowdfunding websites such as Kickstarter , Indiegogo, and GoFundMe attract hundreds of thousands of people hoping to create, or support, the next big thing. As of , GoFundMe is the largest crowdfunding platform. Start-up companies tend to use Kickstarter. Kickstarter is another popular choice.

In fact, unlike GoFundMe, Kickstarter can only be used for creating projects that can be shared with others. Additionally, Kickstarter cannot be used to raise funds to donate to a charity or cause, projects can't offer incentives like equity, revenue sharing, or investment opportunities, nor can any project involve the site's list of prohibited items such as "any item claiming to diagnose, cure, treat, or prevent an illness or condition," political fundraising, drugs or alcohol, or any contests, coupons, gambling, and raffles.

Kickstarter releases funds only after the campaign has reached its funding goal, whereas Indiegogo allows the campaigner to receive funding pro-rata , or wait until their target is hit.

As a campaigner, it might be easier and less risky to go with flexible funding i. Look out for punitive fee structures before choosing a crowdfunding platform. With the ubiquity of social media, crowdfunding platforms are an incredible way for businesses and individuals to both grow their audience and receive the funding they need.

For instance, the maker of a new soap made out of bacon fat may send a free bar to each of its investors. Video games are a popular crowdfunding investment for gamers, who often receive advance copies of the game as a reward. Equity-based crowdfunding is growing in popularity because it allows startup companies to raise money without giving up control to venture capital investors.

In some cases, it also offers investors the opportunity to earn an equity position in the venture. In the United States, the Securities and Exchange Commission SEC regulates equity-based crowdfunding. In some cases, if you don't reach your funding goal, any finance that has been pledged will be returned to your investors. Many of the products and businesses crowdfunded on Kickstarter became very successful and lucrative endeavors. For instance, Oculus VR, an American company specializing in virtual reality hardware and software products, was funded through the site.

In , founder Palmer Luckey launched a Kickstarter campaign to raise money to make virtual reality headsets designed for video gaming available to developers. In March , Facebook, Inc. Another example of a company that rose to success through the help of Kickstarter campaigns is M3D, a company founded by two friends that manufacture small 3D printers. The tiny 3D printer, which comes with a variety of durable 3D inks, is now available at Staples, Amazon. AMZN , Brookstone, and elsewhere.

Depending on the type of crowdfunding, investors either donate money altruistically or get rewards such as equity in the company that raised the money. For crowdfunding that operates on a donation basis, the company does not need to pay back investors. However many companies offer incentives for early backers such as an advance copy of the product. In , the Australian government amended the Corporations Act to provide a legislative framework for crowd-sourced funding.

All Micro Small and Medium Enterprises MSMEs incorporated as a company in Nigeria with a minimum of two-years operating track record are eligible to raise funds through a Crowdfunding Portal, in exchange for the issuance of shares, debentures, or such other investment instrument as the Commission may determine from time to time.

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We and our partners process data to: Actively scan device characteristics for identification. As the social networks remain largely the same with limited newcomers, the added value of platforms is placed on credibility and information asymmetry, rather than transaction costs reduction only.

The interviewees indicate that the project is an expression of their own willingness to pursue a career path seriously, as well as their willingness to invest in what it takes to make that happen.

Three artists 11 of our sample have indicated that they contributed their own private money to reach the goal of the project. Her personal labor costs were not included in the project similar to all the other cases we have in our sample. Considering that the total costs of the project exceed by far what is requested on a platform, the notion of succeeding crowdfunding projects is somewhat destabilized.

Failure of a project is regarded as a natural part of the entrepreneurial process, hence, the investment-based projects can fail without much additional social costs. This is different if the failure is part of a social process, in which insufficient gifts are received by the artist. Then failure is not merely entrepreneurial failure, but also social failure, which harms their reputation within the artistic or social network.

A similar dynamic is explored in the pricing process at galleries showing that for young artists prices are not lowered since this would negatively affect their future career chances Velthuis, Hence, success rates of projects are not only boosted by consciously setting low target amounts, which are insufficient to cover the full costs. They are also boosted by creators pledging money themselves both at the beginning and at the end of the project: at the start, because it signals the existence of a imaginary crowd; toward the end, because they need to reach the goal.

I could never do one that would get a better response. Thus, if the model is said to be unsustainable in the long-run and artists report a heavy workload during campaign time, we asked them: what are the reasons for using platforms? If the artists would have to ask for money without the platform, would they engage in such a laborious process? The fact that crowdfunding platforms such as the one we discussed continue to exist, suggests that they must also provide benefits to its users.

This means that—in addition to the widely reported aspects of credibility signaling features in the various crowdfunding models Vismara, ; Colombo, —the usage of a platform also represents the performance of credibility online and offline. Certainly, the project details matter in the funding decisions as extensive crowdfunding literature has demonstrated, but also important is the credibility of the artist to his existing network, especially in the case of close acquaintances funding their projects.

As such, if the project fails, artists lose their credibility and, therefore, consiouscly set relatively low targets. Platforms provide an easy-to-use tool where match-making is successful and security of transactions is provided. These features provide stable and standardized socio-technical features for creators to communicate with the audience, which refers back to the transaction-costs argument for using platforms. In Section 3. By distancing givers and takers, platforms reduce transactions costs involved in personal negotiations as, now, artists present a formal project, validated by a platform, trustworthy and stable.

They have a platform in between. On the other hand, the artists do attempt to reach broader audiences. And in order to do so, they should build credibility with strangers as well. In this sense, the minimization of transaction costs via digital platforms is beneficial for both close and distant relationships.

For close ones, it creates a desirable distance; for strangers, it helps with connecting and giving the appearance of a serious project. Hence, platforms are beneficial not only for reducing the time spent on managing funds and communication, but also from a moral perspective as well.

For the distant ones, it creates an organized way of reducing the risks of moral hazard e. In the previous section, we have provided an interpretation of gift-giving on crowdfunding. We believe that some of our findings can help in the construction of a socio-economic perspective of online platforms especially in the case of online funding tools operating in niches, such as the ones under scrutiny in this article.

In this section, we outline three building blocks for continuing such a perspective: the nature of the transactions enabled by platforms, the nature of the relationships facilitated by the platforms and the meaning of success related to crowdfunding given the context of artists and their struggles. These points are rooted in a criticism of the standard view of digital platforms while attempting to compare our findings with other similar phenomena in the platform economy.

Digital platforms allow for new forms of relationship with new and old acquaintances. When analyzing crowdfunding platforms, standard views have relied on the type of relationship that better applies to simple matchmaking of supply and demand: the relationship between an anonymous buyer and an anonymous seller. This assumption is helpful in the analysis of market structure and competition, but less likely to unveil the reasons why certain online services are used in particular ways.

When seen within digital platforms Elder-Vass, ; Fitzmaurice et al. This is a different situation than Uber, Airbnb and other similar services Grabher and van Tuijl, From digital payment to dating platforms, these cases allow users to maintain friendships or construct novel ties.

In order to understand such digital platforms it is of great importance to not rely on an aprioristic match-making model only, but rather on an actor-based perspective whereby we understand what type of relationships agents build or expect to build in line with similar studies in the field Wilkinson, Another way of thinking about the importance and nature of these backer-founder relationships is that digital platforms evolve in light of different types of problems.

As such, they specialize in facilitating different types of interactions. The fact that we could study a crowdfunding platform in a particular country e. Precisely because there is a certain expected level of neutrality and distance, digital platforms provide an opportunity for a type of transaction that is otherwise not possible. Investing in a friend is likely to happen without the platform, but facilitated and redefined by it through a faster and standardized process of fundraising and communication.

Rather than reducing transaction costs in any straightforward way, the nature of the transaction is altered. As such, the functional benefits of platforms become secondary to its symbolic local status. Here, we see a distinction between close and distance social networks: for distant relations or even strangers, platforms can reduce uncertainty in regards to figuring out how much of unknown people it is possible to reach and compute their contributions before a substantial investment is made.

For close friends and family, the crowdfunding platform allows for a less morally obliging manner of asking for a contribution. In other words, the existing social ties and the monetary payment are disconnected from one another in a way that was not possible without the existence of the platform.

If the intermediary was not present, gift-giving would be harder to impersonalize. We contend that this point is of greater importance for the study of crowdfunding platforms in specific niches. While a unidirectional gift is morally unaccepted in many cultures, it is now facilitated and given a new meaning by the crowdfunding platform.

Virtually uncontested in the crowdfunding literature is the reliance on reaching the crowdfunding target goal as the measure of success in various forms. They regard a campaign as successful when it contributes to the construction of a portfolio on the path to a professional career.

Since crowdfunding acts as an informational device for markets Viotto da Cruz, , we can expect that creators care about their reputation to the extent that goals may not fully depict the real fixed and variable costs of an enterprise. It is better to set lower goals, with higher chances of success than higher goals that fully represent the costs of production. It is not a surprise that the totality of our respondents inform that their own labor costs are not included in the project.

Additionally, failing in front of a local community is very costly for the reason that it signals a failed path to professionalization, at least temporarily. As discussed before, crowdfunding platforms are considered as part of a larger digital platform economy and have been also associated with the movement of democratization of capital, entrepreneurship and innovation along the niches Aldrich, ; Mollick, ; Cumming and Hornuf, It is vital, therefore, to put them in perspective with other similar cases in order to analyze the extent to which they configure a specific phenomenon or an empirical example amongst other similar ones.

DiPietro et al. Fitzmaurice et al. Stanko and Henard, Creative products, arts-related projects, hobbyists, amateurs and arts-organizations. Mollick, The phenomenon of long-tail, amateurism, niches and do-it-yourself creators sharing either their work or homes can be observed in other platforms.

This had been since long theorized as examples in which an unknown group of users decide to transform something of their possession into a market by reaching out to new audiences. All these phenomena are examples of individuals making investments in what they hope will be a professional and profitable career.

Boosting ratings on this type of website, and using sometimes questionable strategies to do so e. Because of that, such endeavors should not always be perceived as typical business ventures, but rather as initial steps in the career development.

These cases also operate on the border between informal exchanges and formal business models. While this remained the case for the majority of these platforms, it also evidences a precarious, short-term, outsourcing of the self which is consistent with a critique of platform economies wildly reported by previous studies Boons et al.

Based on our interviews, both observations of amateurism and short-term outsourcing were confirmed which denotes that features of platform economies can be observed across various sectors. On the other hand, a few different pieces of evidence deserve to be noted, such as the fact that crowdfunding also produces symbolic distances between donors and founders for the sake of reputation and credibility building.

Economy sociology studies have helped us to understand the nature of money in social relations. We have sought to demonstrate in our case-study that platforms impact the nature of relationships and transactions generated between funders and supporters. Our first finding is that the long-term success of platforms depends on the extent to which they can facilitate new types of transactions and give them a definite character.

In our study we have shown that for the artistic crowdfunding platform, the nature of such transactions remained unclear. This was reflected in the fact that the artists, whilst expecting financial support from close acquaintances, also distanced these relationships by using standardized intermediates the crowdfunding platform. We believe that a particularly useful way of thinking about the problem faced by platforms such as the one we have looked at is that it seeks to bridge amateur and professional realms.

We have demonstrated that the platform did provide some of the key characteristics that would be needed in the professionalization process. This is further strengthened by the fact that current pledges are visible for other potential supporters so one can observe to which extent other peers have also expressed the aim to support the project. And, lastly, while many platforms aim at portraying how connected and close their users are, crowdfunding shows that creators can use them to do precisely the opposite: to build distance and confer credibility by transforming informal donations into a contribution to their future.

Nonetheless, this article also cautions against over-enthusiasm with digital platforms in general. While the initial hope for crowdfunding was that geographical constraints would be overcome, we have shown that—at least in the arts—offline networks still matter for reputation and credibility building. Typically, crowdfunding platforms are divided into four models: reward-based, equity, donation and lending.

Reward-based is also referred to as a pre-ordering scheme in which supporters choose a project whose product will be later delivered if the campaign succeeds. Equity-based projects follow a similar rationale except that what is shared is the assets or dividends of a company.

Donation platforms usually are charitable-based in which a product can be offered but not necessarily by default. Finally, lending platforms work on a peer-to-peer lending basis with or without interest rates. For a definition of cultural and creative industries, we rely on the work of Throsby , where a typology of creative arts and its commercialization features are provided.

Recent studies have tried to cover some of these aspects with regard to entrepreneurial movement in the case of crowdfunding Parhankangas et al. This situation is at odds with the literature about financialization in the arts, which revolves around famous or emergent artworks becoming an investment good, subject to speculation and significant sales prices Velthuis and Coslor, The subjects of this study are not yet established professionals.

The choice to have only one of the authors conduct the interviews was made to to maintain consistency across the interviews. The coding process was done by the main interviewer in order to maintain consistency, whereas the coding and transcripts were later cross-checked by the co-author. The shortcomings were that a native Dutch-speaker would prefer to express themselves fully in their own language. Nonetheless, interviewees did not express they had a problem with this fact. The semi-structured interview combined with a thematic analysis approach contend that the interview guide is used as a general guideline, not a strict set of questions Saldana, As such interviewees tended to extrapolate the questions which helped the authors to understand the broader contexts in which crowdfunding operates as a matchmaker.

In this case, previous exchanges are used as an excuse to pay back money via the crowdfunding campaign which denotes that the interest is not precisely on pre-purchasing a cultural product on a platform but instead on using the occasion to seal previous debts.

This phenomenon was present and openly spoken about by three artists, and superficially suggested by others. In content-platforms such as video and audio streaming, we observe the emergence of specialized artistic platforms.

For example: Mubi focused on art-house cinema and Idagio a music streaming service for high-quality classical music. These examples show the development of platforms for cultural content in the past decade and how specialized services matter for particular markets. Crowdfunding models, as described before, are typically divided into: reward-based, donation, equity and lending. We are interested in the experience of the artists.

The latter are studied in relation to crowdfunding schemes by Doshi The authors would like to thank the useful comments made by the anonymous reviewers and the contribution of all artists that accepted to be part of this study.

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Crowdfunding and Ownership in the Sharing Economy - Shareable

Aug 22, 2014 · Crowdfunding and Ownership in the Sharing Economy. At the end of the first week of August 2014, two different crowdfunding pitches closed almost simultaneously. FarmDrop, based in the UK, had raised three quarters of a million pounds, which was not far from double their original goal, from 359 investors. Open Food Network, based in Australia ...

A – and sometimes the – central function of a crowdfunding platform is to provide the needed financial resources, at least initially substituting tra- ditional financial institutions (e.g. 28/3/ · Abstract. This paper provides a description of the crowdfunding sector, considering investment- based crowdfunding platforms as well as platforms in which funders do not obtain monetary payments. It lays out key features of this quickly developing sector and explores the economic forces at play that can explain the design of these opho.be by: The Economics of Crowdfunding Platforms Paul Belle⁄amme UniversitØ catholique de Louvain Nessrine Omraniy University of Paris Sud Martin Peitzz University of Mannheim This version: July Abstract This paper provides a description of the crowdfunding sector, con-sidering investment-based crowdfunding platforms as well as platforms.

Bibliographic Information

Create your crowdfunding platform. Mobilize and unite your community around crowdfunding Ctowdfunding. Create your crowdsourcing platform. Invite your community to rally around projects, ideas, challenges. In a society where loans are reserved for a creditworthy minority, this new economic model, accessible to anyone, anywhere, at any time, offers an alternative or a complement to the traditional investment system.

Gift, loan, or equity: giving, lending, and Handstand Belly Button have become a social trend where everyone can play their part Crowdfujding building something according to their values.

Crowdsourcing, open Oc - this is a dynamic that is being constructed around the change brought by collective intelligence and it influences multiple sectors. This article proposes a review of the economic and social dynamics provided by crowdfunding and collaborative platforms. Create your collaborative platform! With over platforms created worldwide in under a decade, crowdfunding has found a Porno Sex Taxi in the economic landscape as an alternative or complement to the traditional investment system, a collective confidence-based tool, for both project leaders and contributors.

Individuals, companies, associations, startups and groups - it is a model that benefits everyone and is applicable to any business sector that wishes to get involved in participatory funding. To increase their budget and finish the project, the film launched a crowdfunding campaign. In France, around fifteen platforms now propose and subsidise projects with a high social or environmental impact or with an international solidarity approach.

In order to offer a large range of resources to project leaders, the platform then diversified and offered a project co-creation system, combining crowdfunding and crowdsourcing, to collect funds, but also assistance, skills, and all the resources necessary for the development of socially useful The Economics Of Crowdfunding Platforms. Crowdfunding platforms are a lever that allow the SSE to develop Ecinomics attain their objectives in an area where Ot finance would Crowdfundibg slowed them down.

It Corwdfunding also a way of obtaining a guarantee of The Economics Of Crowdfunding Platforms on the viability of a project and its public interest, a way of raising awareness with decision-makers and investors. Since Decemberin France, crowdfunding has The Economics Of Crowdfunding Platforms open to regional and local authorities. A way of funding that lets them commit, either as partners in campaigns led by citizens, or as collectors for funding projects that benefit the collective interest.

For regional and local authorities, crowdfunding represents the opportunity to give their actions a new dimension. They associate themselves with movements to engage citizens and business to encourage development of the proximity economy and mobilise local savings.

Beyond the economic lever, local authorities see in Crrowdfunding a way of involving local actors - inhabitants, associations, and companies - with public decisions from which they will, directly or indirectly, benefit. By Crowdfundng local citizen, association or entrepreneurial engagement, local communities undertake a positive constructive approach to Crowwdfunding social connections. Regional and local authorities are not the only entities to Ecnoomics crowdfunding to develop a territory.

Citizen-entrepreneurs are at the origin of crowdfunding platforms dedicated to projects that create value and employment on a regional scale. Using the platform, groups, professionals and individuals owning wasteland and project Tue looking to develop a collective living space, can pool their ideas and resources. BabelCoop acts as Crowdfundong intermediary introducing project leaders likely to work together to regenerate areas with potential and, consequently, enhance patrimony, territories Platfoorms collective ways of life.

In addition to its large-scale social dimension, crowdfunding participates in supporting business and Economicw entrepreneurship. It is a market for existing businesses looking to expand or those in the process of being created. It participates in developing an alternative economy by proposing to promote projects with high potential.

It intervenes upstream of, or as an alternative to, traditional funding, which is still unwilling to support entrepreneurship without upfront guarantees on project viability. For companies in the creation phase, crowdfunding acts a confidence lever. This also means that companies do not need to rely on a single source of funding and can diversify their investors.

As for existing companies in the development phase, it is Platfodms way for them to raise funds, raise public awareness and promote their project.

The quality of a crowdfunding campaign depends on the viability of the project and its future notoriety. As well as seeking funds, proposing a project via a crowdfunding platform is a The Economics Of Crowdfunding Platforms of testing a product or service, validating an idea and analysing what works.

It is also an opportunity for alternative communication. Another business development tool is the rise of open innovation. Open innovation, among other things, brings together actors likely to be able to collaborate and innovate together.

Eyekafor example, acts as meeting place for creators and companies seeking to improve communication and marketing operations. Companies must Crowwdfunding adapt to changes in their market, meeting customer expectations as closely as possible has become essential.

An online idea box means that collective intelligence can be used, gathering The Economics Of Crowdfunding Platforms best ideas, as close to the ground as possible, quickly, and at little cost.

Open innovation platforms call on external actors to encourage innovation, but they are also developed within The Economics Of Crowdfunding Platforms as part of an employee involvement strategy.

The objectives of this pooling of ideas are many for the company. Among them is an economic objective. The financial aspect is not the only mantra of these trends that capitalise on ideas. Plaatforms social objective is also highly valued. Employees become an integral part of the company and feel recognised as such.

Internal open innovation platforms are also a place for proposing improvement strategies at all levels: new services, The Economics Of Crowdfunding Platforms of workstations, etc. It is a Croddfunding for the company to participate in developing its Social and Environmental Responsibility SERfor employees Crowdfjnding be decision-makers regarding their workspace and to improve their Quality of Life at Work QLW.

The other great trend encouraging corporate SER at the same time as Quality PPlatforms Life at Work QLWemanates from a growing interest in Platforrms sponsorship and volunteering. Two approaches facilitated by crowdsourcing and the The Economics Of Crowdfunding Platforms of new intermediation tools in white marketing. Skill volunteering The Economics Of Crowdfunding Platforms the free donation of skills to associations as part of a specific mission. He will not be paid by the company.

Skills-based sponsorship is a recognised form of sponsorship. This enhances its identity and heightens awareness of topics other than its production activity.

Economisc quest for well-being at work, professional development and recognition are objectives led by new generations, who arrive on the job market looking for meaning. Their expectations are no longer only professional, they are driven by a desire The Economics Of Crowdfunding Platforms contribute to the common good.

Developing a skill sponsorship or volunteering policy requires the mobilisation of numerous participants across the whole of the preparation chain, from the performance to the evaluation of Crowdtunding task.

A complex organisation that is sometimes held back by Crowdfundign limited resources that are characteristic of corporate foundations. Faced with this constraint, the emergence of intermediation tools in white label, such as the MIPISE solution, help to smooth processes and offer companies and employees the opportunity to easily participate in sponsorship projects, the new general interest tool.

Thanks to digital technology, all over the world, on various scales, communities are creating and organising themselves to support innovative socially and environmentally useful projects. The transition to digital has awoken individual responsibility with regard to Eonomics collective. Crowdfunding platforms allow a whole range of entrepreneurial activities to find support Platforks develop, which has no spontaneous echo in traditional sources of funding.

Crowdfunding acts as a lever for involving citizens in public decisions and engaging local authorities in a constructive dynamic. Crowdsourcing and open innovation platforms participate in constructing high quality CSR and encouraging businesses to engage socially and demonstrate solidarity.

Mipise is a Fintech Regtech Legaltech, specialized in the development of Granny Sex Clips label solutions for the digitization of financial activities and the collaborative economy.

Sign up. Sign in. Not registered yet? Our solutions. Back to the blog Crowdfunding and crowdsourcing: economic and social impacts November 02 The democratisation of the internet and digitalisation of financial activity have opened the door Or new community-based collaborative opportunities, encouraging mutual aid through individual solidarity investment or the pooling of ideas and skills for the benefit of collective projects. New Comment. Subscribe to Blog. Les derniers articles.

European crowdfunding regulation: overview of the key points. MIPISE launches the first operations on its digital platform for Private Equity fund subscription. The dematerialization of the Claire Coffee Nude subscription process. How to facilitate the cash flow management of crowdfunding platforms outside the Crowdfundign zone? Our solutions Fund subscription Crowdfunding Crowdsourcing Unlisted securities Our services Advices and support Training.

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