Titlebook: Distributed Creativity; How Blockchain Techn Marcus O‘Dair Book 2019 The Editor(s) (if applicable) and The Author(s), under exclusive licen

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Blockchain: The Internet of Value,). Alternatively, some see blockchains as part of web 3.0, a decentralised, read-write-execute web that is fundamentally different from web 1.0 (the read-only web, used to search for information) and web 2.0 (the read-write web of user-generated content). Blockchains have also been portrayed as part

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Opportunities for the Creative Economy, improve the process of attribution, allowing creators to receive credit for their work. This ownership information could also be stored in distributed, rather than centralised, databases, helping to provide a single source of truth for payments and licensing. Finally, a large number of parties coul

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Risks of Adoption,isks, as well as the benefits, to the creative economy (and beyond) in adopting blockchain technology. In . terms, both a complete lack of appropriate regulation, on the one hand, and over-regulation, on the other, represent risks. In . terms, the removal of trusted third parties may not be as desir

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Conclusion and Recommendations, creators. Start-ups in the space understand this, as do some creators and a growing number of incumbents. Now policy-makers need to understand the potential—and the potential risks of inaction. At present, we are in danger of blockchain start-ups gravitating to countries other than the UK—resulting

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Antagonism

https://doi.org/10.1007/978-3-322-86216-7ndence, decolonisation and nation-building in . (Sucre, Bolivia), the first historical monumental place of Bolivia in a UNESCO World Heritage City. Understanding the museum as a site of negotiation, the aim is to underline the cultural governance and politics of representation around diverse narratives and identities in Latin America.

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