[...] something about devonvsmith[...]…

Great food for thought! You're the best.

Prioritizing your social media presence, if you're say, a dance company with a single employee? I'd say:
1. Focus on your website first, making sure it's easy for users to learn about upcoming productions, buy tickets, and give money. All the Facebook fans in the world won't matter if they can't figure out how or when to buy tix/donate.
2. Then I'd start a fan page on Facebook. You have a great community of dancers, friends, and colleagues who attend every one of your shows (like me!)–you can use a Facebook page to let us all know what's going on with you on a more regular basis, share photos from recent shows/classes, etc. You also spend so much time traveling, it's a great way to connect with people all over the world. You can think of your FB page as part newsletter/part historical archive of all you do/part celebratory cocktail party where all the folks who like your work get together to discuss. It'll also be easier to host FB events (like workshops, classes, etc).
3. I'd consider putting the tiny dance series on vimeo, and cross posting the videos on Facebook. I think these are such awesome examples of the work you do, but as is, they're hard to find online. Vimeo's interface matches the aesthetics of the series better than youtube, and tends to lend it a more 'artistic' feel.
4. I'd wait to start a twitter account, or a blog, or anything more complicated until you feel more comfortable managing a Facebook page.

In terms of pricing, from what I remember average download price of In Rainbows during the PWYW period was about $4, but was actually split–most downloaders paid nothing, a few dedicated fans paid way over market price, so it all evened out in the end. That would imply, you need those “super fans” to subsidize the masses–much like actually individual donors currently function in relation to the average ticket buyer for a theatre/dancer. While the download price was less than half of the average price for a CD, Radiohead got more money from the “free” version than for their previously sold CD. Important to remember also, this only lasted for 3 months, and then they took down the offer, and started selling the physical copy for a set price in stores (and offered $80 box sets also, again for those 'super fans').

We actually spend a great deal of time talking about pricing on Twitter (search for #2amt, or check out the blog at http://www.2amtheatre.com). You can find a great 3 part series on pricing at http://www.2amtheatre.com/?s=lucre.

hope this helps!

Wonderful article, and the manifesto makes me think SO much about all that seems possible with optimized networking. I'll look for a copy of this book.

In the meantime, to one of your commenters, um, comments regarding how small scale organizations with no staff to speak of might prioritize the networking options in order to try and gain the most benefit from (all of these) platforms for networking, while balancing this work with all of the other things on one's to-do list?

And one final, random question, what do you know about the news item from many years ago, when Radiohead made their (at the time) new album available FREE to the public to download? Can you imagine this working in a performance setting, where no tickets are sold, and somehow it still generates income? I suppose it'd help to be Radiohead before one attempted this, but it does make me wonder… Thoughts?

It started as a one-off piece, but became so popular that they made it a series.

Most popular TV shows and films have web-only content that supplements their main content – it builds buzz and anticipation.

I'm curious what kind of web-only content you're talking about. Creative content? Supporting a live production, or as the main event itself?