No abstract

This article draws on the sociology of expectations to examine the construction of expectations of ‘ethical AI’ and considers the implications of these expectations for communication governance. We first analyse a range of public documents to identify the key actors, mechanisms and issues which structure societal expectations around artificial intelligence (AI) and an emerging discourse on ethics. We then explore expectations of AI and ethics through a survey of members of the public. Finally, we discuss the implications of our findings for the role of AI in communication governance. We find that, despite societal expectations that we can design ethical AI, and public expectations that developers and governments should share responsibility for the outcomes of AI use, there is a significant divergence between these expectations and the ways in which AI technologies are currently used and governed in large scale communication systems. We conclude that discourses of ‘ethical AI’ are generically performative, but to become more effective we need to acknowledge the limitations of contemporary AI and the requirement for extensive human labour to meet the challenges of communication governance. An effective ethics of AI requires domain appropriate AI tools, updated professional practices, dignified places of work and robust regulatory and accountability frameworks.

No abstract

No abstract

2This article draws on the concept of spatialisation to better understand the development of a digital games industry on the periphery of mainland Europe, on the island of Ireland.Positioning digital games within the cultural and creative industries, we explore how global networks of production in this industry get territorialized, negotiated and shaped by local factors. Drawing upon an industry-wide survey in Ireland we found that employment has grown by 400% in the last decade but that this rate of employment growth and its concentration in large urban areas masks significant ruptures and shifts which more detailed spatial, occupational and social analysis reveals: in particular, how the state, multinational game companies, and physical and human capital interact to shape an industry which is strong in middleware, localisation and support but weak in content development. An understanding of global digital games production networks and of occupational patterns in this industry is, we believe, crucial for national and European cultural policies for the digital games industry and for the cultural and creative industries more generally.

The promotional and academic discourse surrounding new media suggests that they offer more fun and more pleasure than existing or traditional media. However, academic work within media and cultural studies has failed to interrogate these claims empirically. This article critically assesses the conceptualization of pleasure as it is deployed in media audience research and attempts to update these conceptualizations by drawing upon game design theory and key concepts from new media theory. The article goes on to evaluate these concepts through an empirical examination of the varied experience of digital games, DVDs and digital television in a variety of households in Dublin, Ireland. Central to the findings is that while pleasure and displeasure are largely undertheorized, these terms, when deployed empirically, afford a useful entry point into evaluating media experiences. The article identifies key differences between the experience of online and offline new media and calls for more research into the pleasures of play and control in relation to both new and more established media use.

Academic research on service innovation has highlighted the distinct characteristics of services innovation, the knowledge complexes involved, and how services can be autonomous sites of innovation. It also highlights that successful services innovations are often not technology based but can depend on new organizational or managerial practices or marketing and distribution strategies. This paper makes an empirical and a conceptual contribution to this literature by focusing on one sub-sector of the services sector: digital media applications and services. Conceptually, this paper is interdisciplinary and draws upon a range of work on innovation and production in media and communication studies, innovation studies, evolutionary economics, and sociology. Empirically, this paper draws on ten years of qualitative case study research focused on innovation in the digital media sector in Ireland and, to a lesser extent, Europe. More specifically, we draw upon research on the internet, mobile, and games sectors. A key finding emerging from this research is that, despite the widespread popular and academic focus on technology and codified knowledge, a much broader knowledge base (particularly tacit, creative and non-technological knowledge) underpins successful innovative practices in digital media firms. This paper examines the combination of creative ideas and skills, social learning processes of content creators, management, market and business knowledge that underpin the development new digital media applications and services. It argues that a better understanding of the character of knowledge inputs and the innovative practices in digital media companies may contribute to a better understanding of innovation in the knowledge economy.

Chapter 3 Digital Games as Cultural Industry Journalists have written many books on the digital games industry. Some of these books focus on one company, for example, (Sheff 1993; Asakura 2000; Takahashi 2002) while, as we saw in the last chapter, others provide a very broad historical account (Herz 1997; Poole 2000; Wolf 2001; Kent 2002). Although useful, these texts do not provide us with an understanding of the structure of the industry, the relationships between the main players and the relationship between the games industry and other industries. In addition, very little attention is given games for emergent platforms like mobile phones, the internet and digital television. This chapter begins by situating digital games both conceptually and statistically within the wider economic and media environment. It considers how digital games might fit into what is commonly known within media studies as the cultural industries and analyses the growing economic significance of the global games industry as compared with other cultural industries in major markets. It then moves on to examine the structure of the digital games industry and its key sub-sectors. Finally, the chapter examines two important trends in the industry, namely vertical integration and licensing. This chapter adopts a theoretical perspective known as political economy, which was introduced in the introduction. Political economy differs quite fundamentally from orthodox economic theory. While there are different theoretical traditions within political economy, in general it is characterised by its holistic approach (which sees