使用chrome瀏覽器,輕鬆學英文。

如有任何問題,歡迎聯絡我們

希平方
攻其不背
App 開放下載中
希平方
攻其不背
App 開放下載中
免費註冊
! 這組帳號已經註冊過了
Email 帳號
密碼請填入 6 位數以上密碼
已經有帳號了?
忘記密碼
! 這組帳號已經註冊過了
您的 Email
請輸入您註冊時填寫的 Email,
我們將會寄送設定新密碼的連結給您。
寄信了!請到信箱打開密碼連結信
密碼信已寄至
沒有收到信嗎? 點這裡重寄一次
如果您尚未收到信,請前往垃圾郵件查看,謝謝!

恭喜您註冊成功!

查看會員功能

註冊未完成

《HOPE English 希平方》服務條款關於個人資料收集與使用之規定

隱私權政策
上次更新日期:2014-12-30

希平方 為一英文學習平台,我們每天固定上傳優質且豐富的影片內容,讓您不但能以有趣的方式學習英文,還能增加內涵,豐富知識。我們非常注重您的隱私,以下說明為當您使用我們平台時,我們如何收集、使用、揭露、轉移及儲存你的資料。請您花一些時間熟讀我們的隱私權做法,我們歡迎您的任何疑問或意見,提供我們將產品、服務、內容、廣告做得更好。

本政策涵蓋的內容包括:希平方 如何處理蒐集或收到的個人資料。
本隱私權保護政策只適用於: 希平方 平台,不適用於非 希平方 平台所有或控制的公司,也不適用於非 希平方 僱用或管理之人。

個人資料的收集與使用
當您註冊 希平方 平台時,我們會詢問您姓名、電子郵件、出生日期、職位、行業及個人興趣等資料。在您註冊完 希平方 帳號並登入我們的服務後,我們就能辨認您的身分,讓您使用更完整的服務,或參加相關宣傳、優惠及贈獎活動。希平方 也可能從商業夥伴或其他公司處取得您的個人資料,並將這些資料與 希平方 所擁有的您的個人資料相結合。

我們所收集的個人資料, 將用於通知您有關 希平方 最新產品公告、軟體更新,以及即將發生的事件,也可用以協助改進我們的服務。

我們也可能使用個人資料為內部用途。例如:稽核、資料分析、研究等,以改進 希平方公司 產品、服務及客戶溝通。

瀏覽資料的收集與使用
希平方 自動接收並記錄您電腦和瀏覽器上的資料,包括 IP 位址、希平方 cookie 中的資料、軟體和硬體屬性以及您瀏覽的網頁紀錄。

隱私權政策修訂
我們會不定時修正與變更《隱私權政策》,不會在未經您明確同意的情況下,縮減本《隱私權政策》賦予您的權利。隱私權政策變更時一律會在本頁發佈;如果屬於重大變更,我們會提供更明顯的通知 (包括某些服務會以電子郵件通知隱私權政策的變更)。我們還會將本《隱私權政策》的舊版加以封存,方便您回顧。

服務條款
歡迎您加入看 ”希平方”
上次更新日期:2013-09-09

歡迎您加入看 ”希平方”
感謝您使用我們的產品和服務(以下簡稱「本服務」),本服務是由 希平方 所提供。
本服務條款訂立的目的,是為了保護會員以及所有使用者(以下稱會員)的權益,並構成會員與本服務提供者之間的契約,在使用者完成註冊手續前,應詳細閱讀本服務條款之全部條文,一旦您按下「註冊」按鈕,即表示您已知悉、並完全同意本服務條款的所有約定。如您是法律上之無行為能力人或限制行為能力人(如未滿二十歲之未成年人),則您在加入會員前,請將本服務條款交由您的法定代理人(如父母、輔助人或監護人)閱讀,並得到其同意,您才可註冊及使用 希平方 所提供之會員服務。當您開始使用 希平方 所提供之會員服務時,則表示您的法定代理人(如父母、輔助人或監護人)已經閱讀、了解並同意本服務條款。 我們可能會修改本條款或適用於本服務之任何額外條款,以(例如)反映法律之變更或本服務之變動。您應定期查閱本條款內容。這些條款如有修訂,我們會在本網頁發佈通知。變更不會回溯適用,並將於公布變更起十四天或更長時間後方始生效。不過,針對本服務新功能的變更,或基於法律理由而為之變更,將立即生效。如果您不同意本服務之修訂條款,則請停止使用該本服務。

第三人網站的連結 本服務或協力廠商可能會提供連結至其他網站或網路資源的連結。您可能會因此連結至其他業者經營的網站,但不表示希平方與該等業者有任何關係。其他業者經營的網站均由各該業者自行負責,不屬希平方控制及負責範圍之內。

兒童及青少年之保護 兒童及青少年上網已經成為無可避免之趨勢,使用網際網路獲取知識更可以培養子女的成熟度與競爭能力。然而網路上的確存有不適宜兒童及青少年接受的訊息,例如色情與暴力的訊息,兒童及青少年有可能因此受到心靈與肉體上的傷害。因此,為確保兒童及青少年使用網路的安全,並避免隱私權受到侵犯,家長(或監護人)應先檢閱各該網站是否有保護個人資料的「隱私權政策」,再決定是否同意提出相關的個人資料;並應持續叮嚀兒童及青少年不可洩漏自己或家人的任何資料(包括姓名、地址、電話、電子郵件信箱、照片、信用卡號等)給任何人。

為了維護 希平方 網站安全,我們需要您的協助:

您承諾絕不為任何非法目的或以任何非法方式使用本服務,並承諾遵守中華民國相關法規及一切使用網際網路之國際慣例。您若係中華民國以外之使用者,並同意遵守所屬國家或地域之法令。您同意並保證不得利用本服務從事侵害他人權益或違法之行為,包括但不限於:
A. 侵害他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利;
B. 違反依法律或契約所應負之保密義務;
C. 冒用他人名義使用本服務;
D. 上載、張貼、傳輸或散佈任何含有電腦病毒或任何對電腦軟、硬體產生中斷、破壞或限制功能之程式碼之資料;
E. 干擾或中斷本服務或伺服器或連結本服務之網路,或不遵守連結至本服務之相關需求、程序、政策或規則等,包括但不限於:使用任何設備、軟體或刻意規避看 希平方 - 看 YouTube 學英文 之排除自動搜尋之標頭 (robot exclusion headers);

服務中斷或暫停
本公司將以合理之方式及技術,維護會員服務之正常運作,但有時仍會有無法預期的因素導致服務中斷或故障等現象,可能將造成您使用上的不便、資料喪失、錯誤、遭人篡改或其他經濟上損失等情形。建議您於使用本服務時宜自行採取防護措施。 希平方 對於您因使用(或無法使用)本服務而造成的損害,除故意或重大過失外,不負任何賠償責任。

版權宣告
上次更新日期:2013-09-16

希平方 內所有資料之著作權、所有權與智慧財產權,包括翻譯內容、程式與軟體均為 希平方 所有,須經希平方同意合法才得以使用。
希平方歡迎你分享網站連結、單字、片語、佳句,使用時須標明出處,並遵守下列原則:

  • 禁止用於獲取個人或團體利益,或從事未經 希平方 事前授權的商業行為
  • 禁止用於政黨或政治宣傳,或暗示有支持某位候選人
  • 禁止用於非希平方認可的產品或政策建議
  • 禁止公佈或傳送任何誹謗、侮辱、具威脅性、攻擊性、不雅、猥褻、不實、色情、暴力、違反公共秩序或善良風俗或其他不法之文字、圖片或任何形式的檔案
  • 禁止侵害或毀損希平方或他人名譽、隱私權、營業秘密、商標權、著作權、專利權、其他智慧財產權及其他權利、違反法律或契約所應付支保密義務
  • 嚴禁謊稱希平方辦公室、職員、代理人或發言人的言論背書,或作為募款的用途

網站連結
歡迎您分享 希平方 網站連結,與您的朋友一起學習英文。

抱歉傳送失敗!

不明原因問題造成傳送失敗,請儘速與我們聯繫!

「Jack Conte:數位時代,創作者的收入從哪來?」- How Artists Can (Finally) Get Paid in the Digital Age


框選或點兩下字幕可以直接查字典喔!

Hi everyone. So, I'm going to take us back to 2007. I'd just spent about six months working on album that I'd poured my heart and my soul into, and it was getting about three plays per day on Myspace at the time, and I was getting more and more depressed when I started noticing these other people who were playing guitar and singing and putting videos on this new site called YouTube, and they were getting 300,000 views. So I decided I'm going to start making some Youtube videos. And one day they featured a video of my band on the homepage, which was amazing—we got a bunch of new fans. We also got a bunch of people who, I guess, just didn't really like the music or something—

It's OK because people started coming to our shows, and we started touring, and we came out with a record. And when I checked our bank account balance after our first monthly iTunes payout, we had 22,000 bucks in it, which was amazing because at the time I was living at my dad's house, trying to make a living as a musician by uploading videos to the internet which literally zero people respected in 2009—even the people who were uploading videos to the internet.

And so for the next four years, I uploaded more and more videos to the Internet, and they got better and better, and we made enough money through brand deals and commercials and iTunes sales to buy a house. And we built a recording studio. But there was one big problem: making money as a creative person in 2013 was super weird. First of all, the business models were changing all the time. So our 58,000 dollars of annual iTunes download income was about to be replaced by about 6,000 dollars of streaming income. Steams paid less than downloads. And then as more and more creators started popping up online, there was just more competition for these five-figure brand deals that had kept the band afloat for years. And to top it all off, our videos themselves—the creative stuff that we made that our fans loved and appreciated—that were actually contributing value to the world, those videos were generating almost zero dollars of income for us. This is an actual snapshot of my YouTube dashboard from a 28-day period that shows one million views and 166 dollars of ad earnings for those views.

The whole machine in 2013 that took art online and outputted money was totally nonfunctional. It doesn't matter if you're a newspaper, or an institution, or an independent creator. A monthly web comic with 20,000 monthly readers—20,000 monthly readers—gets paid a couple hundred bucks in ad revenue. This is 20,000 people. Like, in what world is this not enough? I don't understand. What systems have we built where this is insufficient for a person to make a living?

So, I actually have a theory about this. I think it's been a weird 100 years.

About 100 years ago, humans figured out how to record sound onto a wax cylinder. That was the beginning of the phonograph. Right around the same time, we figured out how to record light onto a piece of photographic paper, celluloid—the beginning of film and television. For the first time, you could store art on a thing, which was amazing. Art used to be completely ephemeral, so if you missed the symphony, you just didn't get to hear the orchestra. But now, for the first time, you could store the orchestra's performance on a physical object, and like, listen to it later, which was amazing. It was so amazing in fact, that for the next 100 years, between 1900 and 2000, humans built just billions and billions of dollars of infrastructure to essentially help artists do two things. First, put their art on a thing, and second, get that thing around the world to the people who wanted the art. So, so much industry is devoted to these two problems. Oh my gosh, there are trucking companies, and brick-and-mortar and marketing firms, and CD jewel case manufacturers, all devoted to these two problems.

And then we all know what happened. 10 years ago, the internet matures and we get Spotify and Facebook and YouTube and iTunes and Google search, and a hundred years of infrastructure and supply chains and distribution systems and monetization schemes are completely bypassed—in a decade. After 100 years of designing these things, it's no wonder that it's just totally broken for creative people right now. It's no wonder that the monetization part of the chain doesn't work given this new context.

But what gets me super excited to be a creator right now, to be alive today and be a creative person right now, is realizing that we're only 10 years into figuring out this new machine—to figuring out the next 100 years of infrastructure for our creators. And you can tell we're only 10 years in. There's a lot of trial and error, some really good ideas forming, a lot of experimentation. We're figuring out what works and what doesn't. Like Twitch streamers. Who's heard of Twitch? Twitch streamers are making three to five thousand bucks a month streaming gaming content. The big ones are making over 100,000 dollars a year. There's a site called YouNow, it's an app. It allows musicians and vloggers to get paid in digital goods from fans.

So, I'm also working on the problem. Four years ago I started a company called Patreon with a friend of mine. We're 80 people now working on this problem. It's basically a membership platform that makes it really easy for creators to get paid—every month from their fans to earn a living. For a creator, it's like having a salary for being a creative person. And this is one of our creators. They're called "Kinda Funny." They have about 220,000 subscribers on YouTube. And when they upload a video, it gets somewhere around 15,000 views to 100,000 views. I want you to check yourselves right now. I think when we hear numbers like that, when we hear "15,000 views," and we see content like this, we just snap categorize it as being not as legitimate as a morning show that you'd hear on the radio or a talk show that you'd see on NBC or something. But when "Kinda Funny" launched on Patreon, within a few weeks, they were making 31,000 dollars per month for this show. It took off so fast that they decided to expand their programming and add new shows, and now they launched a second Patreon page—they're making an additional 21,000 dollars per month. And they're scaling what's essentially becoming a media company, financing the whole thing through membership.

OK, here's another example. This is Derek Bodner, a sports journalist who used to write for Philadelphia Magazine until a few months ago when the magazine cut out all sports coverage. Now he writes articles and publishes them on his own website—he's still covering sports, but for himself. And he's making 4,800 bucks a month from 1,700 patrons, financing it through membership.

This is Crash Course—free educational content for the world. This show is actually on the PBS digital network—29,000 dollars per month. This is a duo sailing around the world, getting paid every month for documenting their travels from 1,400 patrons. This is a podcast, "Chapo Trap House", making—actually, since I screenshotted this, they're making an additional 2,000 dollars per month, so they're now making 56,000 dollars per month for their podcast.

And Patreon's not the only one working on the problem. Even Google's starting to work on this. A couple years ago, they launched Fan Funding; more recently, they launched Super Chat as a way for creators to monetize live streaming. Newspapers are starting to experiment with membership. New York Times has a membership program; The Guardian has over 200,000 paying subscribers to its membership program. There's this bubbling soup of ideas and experiments and progress right now, and it's pointing in the direction of getting creators paid. And it's working. It's not, like, perfect yet, but it's really working.

So, Patreon has over 50,000 creators on the platform making salaries—getting paid every month for putting art online, for being a creative person. The next hundred years of infrastructure is on the way and it's going to be different this time because of this—because of the direct connection between the person who makes the thing and the person who likes the thing.

About seven or eight years ago, I went to a cocktail party. This is when the band had hit our first machine, so things were really cranking. We had just made about 400,000 dollars in one year through iTunes sales and brand deals and stuff like that. And this guy comes up to me and says, "Hey, Jack, what do you do?" I said, "I'm a musician." And he just sobered up immediately, and he stuck out his hand, put a hand on my shoulder, and in a real earnest, very nice voice he was like, "I hope you make it someday."

And...I have so many moments like that logged in my memory. I just cringe thinking of that. It's so embarrassing to just not feel valued as a creative person. But as a species, we are leaving that cocktail party behind. We're leaving that culture, we're out of there. We're going to get so good at paying creators, within 10 years, kids graduating high school and college are going to think of being a creator as just being an option—I could be a doctor, I could be a lawyer, I could be a podcaster, I could have a web comic. It's just going to be something you can do. We're figuring it out. It's going to be a viable and sustainable and respected profession. Creators are going to come out the other end of this weird 100 years, this century-long journey, with an awesome new machine. And they're going to be paid, and they're going to be valued. Thanks, everybody.

I think it went pretty well. I want artists who saw that to not give up—to know that we're getting there. It's not there yet, but in a couple years, there will be so many systems and tools for them to just make a living online, and if they've got a podcast that's starting to take off, but they're not able to make money on it yet, that's happening and they're going to be paid. It's happening.

播放本句

登入使用學習功能

使用Email登入

HOPE English 播放器使用小提示

  • 功能簡介

    單句重覆、上一句、下一句:顧名思義,以句子為單位重覆播放,單句重覆鍵顯示橘色時為重覆播放狀態;顯示灰色時為正常播放狀態。按上一句鍵、下一句鍵時就會自動重覆播放該句。
    收錄佳句:點擊可增減想收藏的句子。

    中、英文字幕開關:中、英文字幕按鍵為綠色為開啟,灰色為關閉。鼓勵大家搞懂每一句的內容以後,關上字幕聽聽看,會發現自己好像在聽中文說故事一樣,會很有成就感喔!
    收錄單字:用滑鼠框選英文單字可以收藏不會的單字。
  • 分享
    如果您覺得本篇短片很有趣或很喜歡,在短片結束時有分享連結,可以分享給朋友一同欣賞,一起看YouTube學英文!

    或是您有收錄很優秀的句子時,也可以分享佳句給大家,一同看佳句學英文!