Burkhard Schafer

Advances in neurotechnology are developing rapidly, creating challenges for legal systems whose basic categories date back to the 18th and 19th centuries. AI-mediated sensory perception challenges ...

We examine how stakeholders (n = 74) in the United Kingdom, Finland and Norway perceive security authorities’ online surveillance capabilities, and how these perceptions form patterns transcending national borders and organisational boundaries. Using a Q-methodological approach, we found variation within and between nations that is usually obscured in the polarised public debates. Furthermore, our stakeholders presented areas of consensus not usually apparent in public discourses. We argue for using awareness of this nuance and areas of convergence as platforms on which to build more effective public debates to further principles of deliberative democracy.

This paper presents the design, deployment and qualitative study of a large-scale, public, generative art exhibition, through which passers-by could create artworks, and mint a non-fungible-token (NFT). Following the month-long exhibition, during which 229 anonymous participants produced artworks, 69 non-transferable NFTs were minted, we surveyed (33) and interviewed (14) expert and novice participants about their experiences. We explored contemporary challenges of owning digital things, and the extent to which NFTs, and 'Web3' technologies offer meaningful forms of ownership. Our findings describe how the inability to trade this NFT, and its unique circumstances of acquisition, made it meaningful in ways that extended beyond its immediate (limited) utility and offered participants something through which to construct identity. Reflecting on the aspirations, contradictions, and misconceptions of forms of ownership enabled by NFTs, we conclude with proposals for renewed attention in HCI to the nature of digital possessions, and the potential for 'ownership design'.

Data-driven innovation offers incredible opportunities for the creative industries; however, it also raises complex questions and potential risks in terms of privacy, ethical business and employment practices, environmental impacts, and moral and civic responsibilities. There are often tensions between economic and creative pressures and opportunities and the need to engage with legal and ethical approaches which can minimise risk, ensure compliance, and also make a positive contribution to society. Given the rapidly changing nature of the application of technology in the creative industries, this chapter outlines key considerations, provides pointers to further resources, and frames guidance on data ethics to those using and developing with data within the creative industries. We stress that any creative activity – even an individual one – is part of a wider community and that it is the responsibility of those creating, using, analysing, and transforming data to ensure that they consider how data is collected, used, and reused; consent and privacy; data storage and information security; inclusive design; ethical business and employment practices; and the social and environmental impacts of data-led activities. Through a number of key examples, we recommend that a critical, self-assessment approach can ensure regular reflection and adaptation to a developing and changing area and introduce our self-assessment framework while stressing the need for accountability. We report on important themes which are emerging surrounding the approach to data ethics within the creative industries. Finally, we suggest that a reflective data ethics approach should become embedded into creative practice that involves any aspect of data to minimise unintentional harms in the production of new products and services.