This report aims to explore blockchain technology and its potential in social, economic and artistic contexts, from its origin to the present days. Blockchain can be an important opportunity for those authors and artists with less visibility not only to stand out in a market dominated by industry monopolies but also to take an active part in distribution and monetisation of their work. In the context of disintermediation, blockchain’s allegedly wide potential promises to disrupt creative industries and the media industry in general

Sousa, Vânia

This article aims to explore blockchain technology and its potential in social, economic and artistic contexts, from its origin to the present days. Blockchain can be an important opportunity for those authors and artists with less visibility not only to stand out in a market dominated by industry monopolies but also to take an active part in distribution and monetisation of their work. In the context of disintermediation, blockchain's allegedly wide potential promises to disrupt creative industries and the media industry in general

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Blockchain Technology: Opportunities for Media and Creative Industries

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126
Blockchain Technology: 
Opportunities for Media and Creative Industries
by Vânia sousa
This report aims to explore blockchain technology and its potential in social, economic 
and artistic contexts, from its origin to the present days. Blockchain can be an important 
opportunity for those authors and artists with less visibility not only to stand out in a 
market dominated by industry monopolies but also to take an active part in distribution 
and monetisation of their work. In the context of disintermediation, blockchain’s allegedly 
wide potential promises to disrupt creative industries and the media industry in general.
127
introduction
Blockchain technology is a relevant topic that 
undoubtedly marks modern day economy, 
society and technology. Blockchain positions 
itself as a potential solutfion for solving se-
curity and trust issues in the IoT (Internet of 
Things). It also opens a range of different 
opportunities for functioning and transform-
ing of digital markets and the internet itself.
Moreover, blockchain may soon be used for 
the storage of important social information, 
for instance, the electronic voting systems 
implemented in the city of Moscow based 
on blockchain technology assure electoral 
transparency (Scroxton, 2017).
Nevertheless, this technology is surround-
ed by controversy and difference of opin-
ions between those who advocate that 
blockchain can completely amend the in-
ternet paradigm and the society in general, 
and those that simply condemn it to failure 
(Tapscott and Tapscott, 2016).
Often associated to crypto-currencies - be-
ing even mistaken with bitcoin - blockchain 
technology currently surpasses bitcoin’s 
own relevance due to the possibilities of 
use that it offers in diverse sectors such as 
the financial, health, music, entertainment 
ones among others (Tucker, 2018).
In this sense, the author argues that it is 
paramount to approach the fundamen-
tals of this emerging technology, from its 
origins in cryptography and in the cypher-
punk movement, and envisage its possible 
implementation for the benefit of creative 
and media industries.
In its essence, blockchain consists of an online 
database whose information is stored in a 
successive chain of blocks. In each conducted 
transaction, the information is attached to the 
following block and a new record is generat-
ed. The latter is capable of being confirmed 
by every computer (knots) of the blockchain 
network (Casey and Vigna, 2018:13). Every 
registration is unchangeable, and each knot 
can verify the veracity and transparency of 
transactions. In this way, blockchain net-
work participants trust each other not due 
to moral issues, but through the transpar-
ent and consensual functioning, provided by 
the technological system. Decentralising the 
confidence factor along with the concepts of 
disintermediation, transparency, privacy and 
online security arguably underlie blockchain 
technology (Herian, 2018). One of the most 
promising aspects of blockchain lies in the 
fight against the excessive centralisation 
of services and data by tech giants such as 
Google, Facebook or Amazon, that users 
place confidence in, sometimes disregard-
ing their own privacy and property rights, in 
exchange for a convenient and mainly free 
service (Casey and Vigna, 2018:14).
In the context of blockchain technolo-
gy, the market offers functioning creative 
and media industry products and services. 
This article provides an overview of these 
products that serve as an alternative to 
online services. Therefore, this article aims 
at answering the following questions: 1) 
How can creative industries and the media 
benefit from the blockchain technology? 2) 
Will the blockchain technology be able to 
support the activity of emerging creative 
artists through disintermediation?
The context the basic foundations of block-
chain and bitcoin creation can be traced 
back to the cypherpunk movement1. This 
movement emerged in the end of 1980s, 
and according to the Cypherpunk’s Manifes-
1 - Note that the cypherpunk movement differs from cyberpunk (a subgenre of science fiction).
128
to, its fundamental basis lies in the free-
dom of speech, free access to information, 
protection of online privacy through the 
use of technology and cryptography, as 
well as making open source software avail-
able (Hughes, 1993).
One of the basic principles of blockchain 
technology is to use an intelligent algo-
rithm to solve a dilemma described in 
computer science, which involves the 
transmission of messages in a secure way, 
known as “Byzantine generals’ problem” 
(Martins, 2018:46). In 2008, blockchain 
technology solved the issue of trust in 
decentralized networks through the reso-
lution of an existing double spending fatal 
problem that prevented the practical val-
idation of technology in financial contexts 
(Martins, 2008:39).
The academic article by the author Satoshi 
Nakamoto (an alias of an unknown au-
thor) published at bitcoin.org in 2008 titled: 
Bitcoin: A Peer-to-Peer Electronic Cash Sys-
tem (Nakamoto, 2008), ushered the first 
blockchain killer app: The bitcoin. This arti-
cle demonstrated that blockchain’s viabil-
ity has a support of an autonomous value 
exchange system, arguing that the bitcoin 
is a “decentralized network of payments 
which is supported in a set of technologies 
and algorithms, with the generic designa-
tion of blockchain” (Martins, 2018: 55).
The blockchains may be assumed as pri-
vate or public. The private ones have 
restricted access and/or conditional ac-
cess to the source-code, being owned by 
closed groups or companies. On the other 
hand, the public ones were conceived in 
an open and decentralized way, allowing 
that any knot may be a part of the net-
work and have the equal hierarchic level. 
Therefore, it is a decentralized network of 
computers which “use a common proto-
col assumed by all users that allows them 
to record transactions in the ledger of the 
database” (Preuskschat, 2017: 28). Fur-
thermore, Preuskschat (2017:7) mentions 
that thanks to blockchain, the current in-
formation on the internet will reach a new 
evolutionary step titled “the internet of 
value”. This internet evolution permits to 
grant digital representation to any store 
of value, including creative content, phys-
ical and intangible assets (Casey and Vig-
na, 2018:14), such as titles, records, cer-
tifications, archives, songs, in a digital and 
decentralized way, without having a third 
party acting as an intermediary.
Potential Benefits of Blockchain 
for creative Producers
Apart from the crypto-currency universe, 
blockchain technology has several appli-
cations that may be used to establish the 
ownership of tangible assets like land and 
real estate objects, or to certify the au-
thenticity of luxury, food and pharmaceu-
tical items. In the field of intangible assets 
that is applicable to the creations of cre-
ative industries and media sectors, there-
fore the blockchain technology can consti-
tute an important opportunity for authors 
with less exposure to the market, allowing 
them to protect their intellectual rights and 
receive direct and transparent remuner-
ation without intermediaries. It may also 
allow these authors to directly take part in 
the distribution process of their creations 
by sharing their works and receiving in-
come in the forms of micropayments and 
virtual currency, as well as by accessing 
the track record of how their creations, e.g. 
books, are used.
These transactions are made possible 
through the use of smart contracts (small, 
intelligent contracts between an author 
129
and a consumer) carried out in the block-
chain network (Casey and Vigna, 2018:16). 
The blockchain network allows an attribu-
tion of a reputation system that cannot be 
falsified and generates a good conduct in 
the dealings. Some artists have already 
started using the blockchain technology 
to promote themselves. This is the case of 
singer/songwriter Imogen Heap who cre-
ated her own blockchain - Mycelia2 (Perez, 
2016), and also of singer Bjork who, in 
2017, made her album available for pur-
chase accepting crypto-currencies as a 
method of payment (Chapman, 2017).
Transparency of transactions related to 
creative work enables a producer to know 
who accessed the work, which prof-
it it generated or even who accessed the 
content services, like small passages of a 
song or parts of a movie, for further use in 
creative products. For instance, the Basic 
Attention Token (BAT)3 platform, which 
connects authors and users through the 
browser Brave, opens a privileged channel 
of exchange between them by skirting the 
traditional survival scheme through adver-
tising. By means of blockchain technology, 
several alternative online service platforms 
have been created. They gradually gained 
more and more users by putting the “pow-
er of cryptography in the hands of the indi-
vidual” (Coelho, 2017).
For instance, the Viberate4 platform is a 
live music ecosystem of crowdsourcing 
and an online market which is based on 
the blockchain technology. Viberate works 
simultaneously as a showcase for artists 
without agents. In addition to that, the Sia 
platform5 also provides a decentralized 
storage of information in blockchain, thus 
freeing users from censorship or control on 
behalf of entities that run data centers.
The LBRY6 protocol has similar goals; it is 
a channel for sharing digital content with 
a focus on video, which serves as an al-
ternative to YouTube, while the latter is 
criticised by both creators and consum-
ers for its practices of curatorship and 
editorial philosophy. Another domain, the 
Creativechain7 platform, helps users sell, 
purchase and exchange assets between 
each other by avoiding any intermediaries. 
Creativechain acts in a transparent, public, 
incorruptible, and censorship-proof way by 
offering a system for intellectual property 
registration and specialised legal support. 
Intelligent contracts are generated for that 
(cryptographically signed, they guarantee an 
easy and economical alternative to tradition-
al cultural and creative provision of service 
contracts). A similar service is offered by the 
Valtitude8 platform, which offers its users 
an opportunity to search the record of in-
ventions, works of art, contracts and NDAs, 
2 - Blockchain Mycelia provides online services of interactive music and can be accessed here: http:/
myceliaformusic.org
3 - Platform Basic Attention Token (BAT) can be accessed here: https:/brave.com
4 - Viberate platform can be accessed here: https:/www.viberate.io/
5 - Sia platform can be accessed here: https:/sia.tech
6 - LBRY platform can be accessed here: https:/ lbry.io/what
7 - White paper on the Creative Chain platform is available here: https:/www.creativechain.org/
whitepaper
8 - Valtitude platform can be accessed here: https:/www.ipchaindatabase.com
130
that have been approved by the World In-
tellectual Property Organization. This aspect 
points to a significant potential of blockchain, 
which is in allowing the registration, look-up 
and validation of records of authorship or 
ownership in an easy, fast, unchangeable, 
safe and - above all - a cost-efficient way. 
In order to capitalise on that advantage in 
the context of copyright registration, such 
platforms as Binded9 and Ascribe10 allow 
authors to record digital images in the block-
chain of bitcoin. After submission and vali-
dation of images, a client not only receives 
a cryptographic register which will function 
as a chronological proof of authorship, but 
is also attributed a digital certificate of au-
thenticity for his/her work.
conclusion
The blockchain technology currently sur-
passes the potential of the crypto-currency 
universe. To fully understand the potential of 
blockchain, one needs to go a few decades 
back, to its emergence in the cypherpunk 
movements and to the use of cryptography. 
blockchain can also become an alternative 
tool for the creative industries and the media, 
thanks to its functioning in a trustworthy, 
transparent, anonymous, fast, and particu-
larly cost-efficient way, which artists and 
authors can benefit from.
The lack of regulation has been one of the 
main limitations to blockchain’s imple-
mentation and its adoption by individual 
creative producers. However, thanks to 
blockchain creative authors can still obtain 
profits generated by their work directly and 
faster, they can also understand where 
and in which situations their products are 
used, by surveying the entire process of 
artistic creation.
It is evident that blockchain technology has 
an unsurpassable potential. Nevertheless, 
in order to be adopted by more people, it 
needs to improve and develop in several 
ways, from finding a solution for high data 
processing and the subsequent energetic 
impact of it, as well as the speed of access 
to information that, in comparison with 
other centralised technologies, is still infe-
rior. Mass adoption of blockchain technol-
ogy might occur in the near future not only 
due to its convenience, but also due to a 
network effect. Alongside the rise of social 
networks, whenever the number of users 
grows, to a great extent, influenced by so-
cial recommendation, the mass adoption 
of blockchain may be fuelled by users’ 
conscious decision to implement better 
standards of individual privacy protection.
9 - Binded platform can be accessed here: https:/binded.com
10 - Ascribe platform’s terms of service are available from this address: https:/www.ascribe.io/terms
131
References
Scroxton, Alex; Going mobile in Moscow: city digitisation 
the Russian way. [online]. (2017), [ Accessed 17 
jun.2018]. Available at: https:/www.computerweekly.
com/news/450416621/Going-mobile-in-Moscow-
city-digitisation-the-Russian-way
Casey, Michael; Vigna, Paul; (2018). In blockchain we 
trust, MIT Technology Review (vol. 121 nº 3). Cambridge
Celho, Markswell; 7 aplicações e casos de uso 
do Blockchain.[ online]. (2017), [Accessed. 14 
jun.2018].  Available at: https:/www.linkedin.com/
pulse/7-aplica%C3%A7%C3%B5es-e-casos-de-uso-
blockchains-markswell-coelho
Chapman, Ben; Bjork wants people to buy her new 
album with bitcoin. [online]. (2017), [Accessed. 14 
abr.2018].  Available at: https:/www.independent.co.uk/
news/business/news/bjork-bitcoin-buy-new-album-
utopia-digital-cryptocurrency-iceland-music-litecoin-
dash-audiocoin-a8043691.html
Herian, Robert; How Blockchain Could Make Trusts More 
Transparent. [online]. (2006), [Accessed. 14.jun.2018]. 
Available at: https:/www.coindesk.com/blockchain-
trusts-more-transparent
Hughes, Eric; A Cypherpunk’s Manifesto. [Em linha]. 
(1993), [Accessed]. 18 apr.2018]. Available at: https:/
www.activism.net/cypherpunk/manifesto.html
Martins, Pedro; (2018). Introdução à Blockchain, FCA. 
Lisboa
Nakamoto, Satoshi; Bitcoin: A Peer-to-Peer 
Electronic Cash System. [online]. (2008), [Accessed 
26 apr.2018]. Available at: https://bitcoin.org/bitcoin.
pdf
Peck, Morgen; (2018). Let’s destroy Bitcoin, MIT 
Technology Review (vol. 121 nº3). Cambridge 
Perez, Yessy; Imogen Heap: Decentralising the music 
industry with blockchain [online]. (2016), [Accessed. 19 apr. 
2018]. Available at: http:/myceliaformusic.org/2016/05/14/
imogen-heap-decentralising-the-music-industry-with-
blockchain
Preuskschat, Álex; (2017). Blockchain: La Revolution 
Industrial de Internet, Gestión 2000. Barcelona
Tapscott, Don; Tapscott, Alex; Commentary: Five 
myths about the Blockchain revolution. [online]. 
(2016), [Accessed. 14 jun. 2018].  Available at: https:/
www.reuters.com/article/us-blockchains-technology-
commentary-idUSKCN0Y22GC
Tucker, Ian; Blockchain: so much bigger than bitcoin… 
[ online]. (2018), [Consult. 14 jun. 2018]. Available at: 
https:/www.theguardian.com/technology/2018/jan/28/
blockchain-so-much-bigger-than-bitcoin


English

Blockchain technology: Opportunities for media and creative industries

E-LIS

126Blockchain Technology: Opportunities for Media and Creative Industriesby Vânia sousaThis report aims to explore blockchain technology and its potential in social, economic and artistic contexts, from its origin to the present days. Blockchain can be an important opportunity for those authors and artists with less visibility not only to stand out in a market dominated by industry monopolies but also to take an active part in distribution and monetisation of their work. In the context of disintermediation, blockchain’s allegedly wide potential promises to disrupt creative industries and the media industry in general.127introductionBlockchain technology is a relevant topic that undoubtedly marks modern day economy, society and technology. Blockchain positions itself as a potential solutfion for solving se-curity and trust issues in the IoT (Internet of Things). It also opens a range of different opportunities for functioning and transform-ing of digital markets and the internet itself.Moreover, blockchain may soon be used for the storage of important social information, for instance, the electronic voting systems implemented in the city of Moscow based on blockchain technology assure electoral transparency (Scroxton, 2017).Nevertheless, this technology is surround-ed by controversy and difference of opin-ions between those who advocate that blockchain can completely amend the in-ternet paradigm and the society in general, and those that simply condemn it to failure (Tapscott and Tapscott, 2016).Often associated to crypto-currencies - be-ing even mistaken with bitcoin - blockchain technology currently surpasses bitcoin’s own relevance due to the possibilities of use that it offers in diverse sectors such as the financial, health, music, entertainment ones among others (Tucker, 2018).In this sense, the author argues that it is paramount to approach the fundamen-tals of this emerging technology, from its origins in cryptography and in the cypher-punk movement, and envisage its possible implementation for the benefit of creative and media industries.In its essence, blockchain consists of an online database whose information is stored in a successive chain of blocks. In each conducted transaction, the information is attached to the following block and a new record is generat-ed. The latter is capable of being confirmed by every computer (knots) of the blockchain network (Casey and Vigna, 2018:13). Every registration is unchangeable, and each knot can verify the veracity and transparency of transactions. In this way, blockchain net-work participants trust each other not due to moral issues, but through the transpar-ent and consensual functioning, provided by the technological system. Decentralising the confidence factor along with the concepts of disintermediation, transparency, privacy and online security arguably underlie blockchain technology (Herian, 2018). One of the most promising aspects of blockchain lies in the fight against the excessive centralisation of services and data by tech giants such as Google, Facebook or Amazon, that users place confidence in, sometimes disregard-ing their own privacy and property rights, in exchange for a convenient and mainly free service (Casey and Vigna, 2018:14).In the context of blockchain technolo-gy, the market offers functioning creative and media industry products and services. This article provides an overview of these products that serve as an alternative to online services. Therefore, this article aims at answering the following questions: 1) How can creative industries and the media benefit from the blockchain technology? 2) Will the blockchain technology be able to support the activity of emerging creative artists through disintermediation?The context the basic foundations of block-chain and bitcoin creation can be traced back to the cypherpunk movement1. This movement emerged in the end of 1980s, and according to the Cypherpunk’s Manifes-1 - Note that the cypherpunk movement differs from cyberpunk (a subgenre of science fiction).128to, its fundamental basis lies in the free-dom of speech, free access to information, protection of online privacy through the use of technology and cryptography, as well as making open source software avail-able (Hughes, 1993).One of the basic principles of blockchain technology is to use an intelligent algo-rithm to solve a dilemma described in computer science, which involves the transmission of messages in a secure way, known as “Byzantine generals’ problem” (Martins, 2018:46). In 2008, blockchain technology solved the issue of trust in decentralized networks through the reso-lution of an existing double spending fatal problem that prevented the practical val-idation of technology in financial contexts (Martins, 2008:39).The academic article by the author Satoshi Nakamoto (an alias of an unknown au-thor) published at bitcoin.org in 2008 titled: Bitcoin: A Peer-to-Peer Electronic Cash Sys-tem (Nakamoto, 2008), ushered the first blockchain killer app: The bitcoin. This arti-cle demonstrated that blockchain’s viabil-ity has a support of an autonomous value exchange system, arguing that the bitcoin is a “decentralized network of payments which is supported in a set of technologies and algorithms, with the generic designa-tion of blockchain” (Martins, 2018: 55).The blockchains may be assumed as pri-vate or public. The private ones have restricted access and/or conditional ac-cess to the source-code, being owned by closed groups or companies. On the other hand, the public ones were conceived in an open and decentralized way, allowing that any knot may be a part of the net-work and have the equal hierarchic level. Therefore, it is a decentralized network of computers which “use a common proto-col assumed by all users that allows them to record transactions in the ledger of the database” (Preuskschat, 2017: 28). Fur-thermore, Preuskschat (2017:7) mentions that thanks to blockchain, the current in-formation on the internet will reach a new evolutionary step titled “the internet of value”. This internet evolution permits to grant digital representation to any store of value, including creative content, phys-ical and intangible assets (Casey and Vig-na, 2018:14), such as titles, records, cer-tifications, archives, songs, in a digital and decentralized way, without having a third party acting as an intermediary.Potential Benefits of Blockchain for creative ProducersApart from the crypto-currency universe, blockchain technology has several appli-cations that may be used to establish the ownership of tangible assets like land and real estate objects, or to certify the au-thenticity of luxury, food and pharmaceu-tical items. In the field of intangible assets that is applicable to the creations of cre-ative industries and media sectors, there-fore the blockchain technology can consti-tute an important opportunity for authors with less exposure to the market, allowing them to protect their intellectual rights and receive direct and transparent remuner-ation without intermediaries. It may also allow these authors to directly take part in the distribution process of their creations by sharing their works and receiving in-come in the forms of micropayments and virtual currency, as well as by accessing the track record of how their creations, e.g. books, are used.These transactions are made possible through the use of smart contracts (small, intelligent contracts between an author 129and a consumer) carried out in the block-chain network (Casey and Vigna, 2018:16). The blockchain network allows an attribu-tion of a reputation system that cannot be falsified and generates a good conduct in the dealings. Some artists have already started using the blockchain technology to promote themselves. This is the case of singer/songwriter Imogen Heap who cre-ated her own blockchain - Mycelia2 (Perez, 2016), and also of singer Bjork who, in 2017, made her album available for pur-chase accepting crypto-currencies as a method of payment (Chapman, 2017).Transparency of transactions related to creative work enables a producer to know who accessed the work, which prof-it it generated or even who accessed the content services, like small passages of a song or parts of a movie, for further use in creative products. For instance, the Basic Attention Token (BAT)3 platform, which connects authors and users through the browser Brave, opens a privileged channel of exchange between them by skirting the traditional survival scheme through adver-tising. By means of blockchain technology, several alternative online service platforms have been created. They gradually gained more and more users by putting the “pow-er of cryptography in the hands of the indi-vidual” (Coelho, 2017).For instance, the Viberate4 platform is a live music ecosystem of crowdsourcing and an online market which is based on the blockchain technology. Viberate works simultaneously as a showcase for artists without agents. In addition to that, the Sia platform5 also provides a decentralized storage of information in blockchain, thus freeing users from censorship or control on behalf of entities that run data centers.The LBRY6 protocol has similar goals; it is a channel for sharing digital content with a focus on video, which serves as an al-ternative to YouTube, while the latter is criticised by both creators and consum-ers for its practices of curatorship and editorial philosophy. Another domain, the Creativechain7 platform, helps users sell, purchase and exchange assets between each other by avoiding any intermediaries. Creativechain acts in a transparent, public, incorruptible, and censorship-proof way by offering a system for intellectual property registration and specialised legal support. Intelligent contracts are generated for that (cryptographically signed, they guarantee an easy and economical alternative to tradition-al cultural and creative provision of service contracts). A similar service is offered by the Valtitude8 platform, which offers its users an opportunity to search the record of in-ventions, works of art, contracts and NDAs, 2 - Blockchain Mycelia provides online services of interactive music and can be accessed here: http:/myceliaformusic.org3 - Platform Basic Attention Token (BAT) can be accessed here: https:/brave.com4 - Viberate platform can be accessed here: https:/www.viberate.io/5 - Sia platform can be accessed here: https:/sia.tech6 - LBRY platform can be accessed here: https:/ lbry.io/what7 - White paper on the Creative Chain platform is available here: https:/www.creativechain.org/whitepaper8 - Valtitude platform can be accessed here: https:/www.ipchaindatabase.com130that have been approved by the World In-tellectual Property Organization. This aspect points to a significant potential of blockchain, which is in allowing the registration, look-up and validation of records of authorship or ownership in an easy, fast, unchangeable, safe and - above all - a cost-efficient way. In order to capitalise on that advantage in the context of copyright registration, such platforms as Binded9 and Ascribe10 allow authors to record digital images in the block-chain of bitcoin. After submission and vali-dation of images, a client not only receives a cryptographic register which will function as a chronological proof of authorship, but is also attributed a digital certificate of au-thenticity for his/her work.conclusionThe blockchain technology currently sur-passes the potential of the crypto-currency universe. To fully understand the potential of blockchain, one needs to go a few decades back, to its emergence in the cypherpunk movements and to the use of cryptography. blockchain can also become an alternative tool for the creative industries and the media, thanks to its functioning in a trustworthy, transparent, anonymous, fast, and particu-larly cost-efficient way, which artists and authors can benefit from.The lack of regulation has been one of the main limitations to blockchain’s imple-mentation and its adoption by individual creative producers. However, thanks to blockchain creative authors can still obtain profits generated by their work directly and faster, they can also understand where and in which situations their products are used, by surveying the entire process of artistic creation.It is evident that blockchain technology has an unsurpassable potential. Nevertheless, in order to be adopted by more people, it needs to improve and develop in several ways, from finding a solution for high data processing and the subsequent energetic impact of it, as well as the speed of access to information that, in comparison with other centralised technologies, is still infe-rior. Mass adoption of blockchain technol-ogy might occur in the near future not only due to its convenience, but also due to a network effect. Alongside the rise of social networks, whenever the number of users grows, to a great extent, influenced by so-cial recommendation, the mass adoption of blockchain may be fuelled by users’ conscious decision to implement better standards of individual privacy protection.9 - Binded platform can be accessed here: https:/binded.com10 - Ascribe platform’s terms of service are available from this address: https:/www.ascribe.io/terms131ReferencesScroxton, Alex; Going mobile in Moscow: city digitisation the Russian way. [online]. (2017), [ Accessed 17 jun.2018]. Available at: https:/www.computerweekly.com/news/450416621/Going-mobile-in-Moscow-city-digitisation-the-Russian-wayCasey, Michael; Vigna, Paul; (2018). In blockchain we trust, MIT Technology Review (vol. 121 nº 3). CambridgeCelho, Markswell; 7 aplicações e casos de uso do Blockchain.[ online]. (2017), [Accessed. 14 jun.2018].  Available at: https:/www.linkedin.com/pulse/7-aplica%C3%A7%C3%B5es-e-casos-de-uso-blockchains-markswell-coelhoChapman, Ben; Bjork wants people to buy her new album with bitcoin. [online]. (2017), [Accessed. 14 abr.2018].  Available at: https:/www.independent.co.uk/news/business/news/bjork-bitcoin-buy-new-album-utopia-digital-cryptocurrency-iceland-music-litecoin-dash-audiocoin-a8043691.htmlHerian, Robert; How Blockchain Could Make Trusts More Transparent. [online]. (2006), [Accessed. 14.jun.2018]. Available at: https:/www.coindesk.com/blockchain-trusts-more-transparentHughes, Eric; A Cypherpunk’s Manifesto. [Em linha]. (1993), [Accessed]. 18 apr.2018]. Available at: https:/www.activism.net/cypherpunk/manifesto.htmlMartins, Pedro; (2018). Introdução à Blockchain, FCA. LisboaNakamoto, Satoshi; Bitcoin: A Peer-to-Peer Electronic Cash System. [online]. (2008), [Accessed 26 apr.2018]. Available at: https://bitcoin.org/bitcoin.pdfPeck, Morgen; (2018). Let’s destroy Bitcoin, MIT Technology Review (vol. 121 nº3). Cambridge Perez, Yessy; Imogen Heap: Decentralising the music industry with blockchain [online]. (2016), [Accessed. 19 apr. 2018]. Available at: http:/myceliaformusic.org/2016/05/14/imogen-heap-decentralising-the-music-industry-with-blockchainPreuskschat, Álex; (2017). Blockchain: La Revolution Industrial de Internet, Gestión 2000. BarcelonaTapscott, Don; Tapscott, Alex; Commentary: Five myths about the Blockchain revolution. [online]. (2016), [Accessed. 14 jun. 2018].  Available at: https:/www.reuters.com/article/us-blockchains-technology-commentary-idUSKCN0Y22GCTucker, Ian; Blockchain: so much bigger than bitcoin… [ online]. (2018), [Consult. 14 jun. 2018]. Available at: https:/www.theguardian.com/technology/2018/jan/28/blockchain-so-much-bigger-than-bitcoin

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Blockchain technology: Opportunities for media and creative industries

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