Value creation for IoT:challenges and opportunities within the design and development process

IoT initiatives look promising and straightforward, but they are far more complicated to enact as it stands today. Although developing digitised artefacts offers a rich new set of value creation and growth opportunities to organisations, to grab these opportunities encompass a wide variety of strategic risks. In this context, in academia, little attention has been focused on NPD processes, development risks and value creation in IoT. Thus, this paper offers a discussion on what development risks are found, what is new approach to NPD process, and how value for IoT is created comparing its counterpart in traditional manufacturing economy. To achieve this aim, a literature review was undertaken to examine existing value creation and NPD models, which are continuously evolving but not much improved in their application to developing digitalised artefacts. Through a case study, the risks, opportunities and activities for IoT development are further elaborated and critically discussed. Finally, along with a discussion of the strategic development challenges and opportunities, a continuous process of a new NPD model for IoT products and services is proposed

Decentralised creative economies and transactional creative communities:New value discovery in the performing arts

While the past decade has seen cuts to public funding to the arts, it has also seen the development of online technologies which have the potential to reach increasingly diverse and global audiences. As a result, individuals and organisations across the creative industries and performing arts have experimented and embraced more diverse, innovative, and direct approaches to engage and monetise tangible support from their audiences and communities. Prior work has identified the evolution of crowdfunding in the arts as a form of 'crowd patronage' - where platforms such as Patreon and Kickstarter function as new intermediaries that can radically reconfigure how and why creative work is funded. The 'pivot to digital' - which brought audiences and creative workers together in new online spaces throughout the pandemic - further reinforced the potential for direct communication and financial support from audiences of creative work. This chapter will reflect on how contemporary data-driven, monetary technologies have begun to decentralise how creative work is valued, supported, and paid for, with a particular focus on the performing arts.</p

Beebots-a-lula, Where's My Honey?: Design Fictions and Beekeeping

The honey bee is a powerful cultural motif that remains an important symbol for the future. Their role as pollinators, alongside a myriad of other species, is critical to the continued diets of humankind. This Future Scenario explores a possible near future where human intervention poses new risks to their survival. Drawing on folklore and contemporary beekeeping practices, Mr Shore's Downfall tells a tale of discovery and loss as a young beekeeper is introduced to the world of honey bees. Three imagined artefacts are revealed through the story and discussed with consideration of their cultural context, desirability and relation to socio-economic factors. Themes from Mr Shore's Downfall are examined, and the potential of writing practice for design fiction practitioners is considered

New value transactions:Understanding and designing for Distributed Autonomous Organisations

New digital technologies such as Blockchain and smart contracting are rapidly changing the face of value exchange, and present exciting new opportunities for designers. This one-day workshop will explore the implications of emerging and future technologies using the lens of Distributed Autonomous Organisations (DAOs). DAOs introduce the principle that products and services may soon be owned and managed collectively and not by one person or authority, thus challenging traditional concepts of user communities, ownership and power. The HCI community has recently explored issues related to finance, money and collaborative practice; however, the implications of these emerging but rapidly ascending distributed organisations has not been examined. This one-day participatory workshop will combine presentations, case studies and group work sessions to understand, develop and critique these new forms of distributed power and ownership, and to practically explore how to design interactive products and services which enable, challenge or disrupt these emerging models

Making Sense of Blockchain Applications:A Typology for HCI

Blockchain is an emerging infrastructural technology that is proposed to fundamentally transform the ways in which people transact, trust, collaborate, organize and identify themselves. In this paper, we construct a typology of emerging blockchain applications, consider the domains in which they are applied, and identify distinguishing features of this new technology. We argue that there is a unique role for the HCI community in linking the design and application of blockchain technology towards lived experience and the articulation of human values. In particular, we note how the accounting of transactions, a trust in immutable code and algorithms, and the leveraging of distributed crowds and publics around vast interoperable databases all relate to longstanding issues of importance for the field. We conclude by highlighting core conceptual and methodological challenges for HCI researchers beginning to work with blockchain and distributed ledger technologies

Making at the Margins: Making in an Under-resourced e-Waste Recycling Centre

HCI1and CSCW literature has extensively studied a wide variety of maker cultures. In this paper, we focus on understanding what making is like for people and communities who do not have access to advanced technological infrastructures. We report on six-month-long ethnographic fieldwork at a non-profit, resource-constrained, e-waste recycling centre that engages members from a low socioeconomic status (SES) community in making activities. Our findings show that making in such a setting is shaped by local economic and social factors in a resource-constrained environment and highlight how this community engages in a wide range of making activities. In describing these making activities, we emphasize how making was conducted to purposely enable ongoing and future making by others; promoted the wellbeing and skill development of centre members; and was socially-engaged to address concerns in the local community. We conclude by discussing how such type of making contributes a new understanding of maker culture, one that is appreciative of resource-constraints, integrates different sources of value, and is embedded in local place