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In this article, we explore the complex phenomena behind why people "hold on" to disused connected devices, focusing especially on differences between "traditional" smartphones and computers, and newer categories of smart home devices, wearables, and single-function Internet of Things (IoT) devices. We investigate why and in what contexts different categories of connected devices become disused by their owners; what owners value about their disused devices; and what they perceive to be the barriers to adopting circular practices, for example, by fixing, recycling, or reusing them. Our contribution is to provide a descriptive account of how functional, sentimental, and other values associated with devices shape owners' perceptions and attitudes toward their "end of life," for an expanded range of connected products. By highlighting how perceptions of concepts including convenience, ownership, and wastefulness mediate how owners approach the "end of life" of a device, we map the barriers for device owners to engage in more circular practices and highlight opportunities to address them through design. Our study replicates previous findings in the domain, as well as extending them, contributing to how the design of modern IoT devices leads to new barriers, opportunities, and considerations for more circular design.

The creative industries – the place where art, business, and technology meet in economic activity – have been hugely affected by the relatively recent digitalisation (and often monetisation) of work, home, relationships, and leisure. Such trends were accelerated by the global COVID-19 pandemic. This edited collection examines how the creative industries can be supported to make best use of opportunities in digital technology and data-driven innovation.

Since digital markets and platforms are now essential for revenue generation and audience engagement, there is a vital need for improved data and digital skills in the creative and cultural sectors. Taking a necessarily global perspective, this book explores the challenges and opportunities of data-driven approaches to creativity in different contexts across the arts, cultural, and heritage sectors. Chapters reach beyond the platforms and approaches provided by the technology sector to delve into the collaborative work that supports innovation around the interdisciplinary and cross-sectoral issues that emerge where data infrastructures and approaches meet creativity.

A novel intervention that uniquely centres the role of data in the theory and practice of creative industries' innovation, this book is valuable reading for those researching and studying the creative economy as well for those who drive investment for the creative industries in a digitalised society.

The Open Access version of this book, available at www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 International license.

This report provides a snapshot of what the Creative Informatics partnership has achieved over the last two years (Nov 2018-June 2021), as we reach the midway point of our funding period (2018-2023). Creative Informatics (https://creativeinformatics.org/) is part of the Creative Industries Clusters Programme; a UK wide initiative designed to drive innovation, growth, and sustainability in the Creative Industries, through a first of-its-kind research and development investment of £80m by the UK government. With a focus on Edinburgh and South East Scotland, Creative Informatics is working to drive growth and sustainability in this region's world class creative industries by supporting creative individuals and organisations to do inspiring things with data. The programme is led by the University of Edinburgh and is delivered in partnership with Edinburgh Napier University, CodeBase and Creative Edinburgh. Please note: the CC license for this file applies to the text of this report only and not to graphic elements which should be regarded as copyright and requiring written permission before any potential onwards publication. ; Please note that we anticipate several updates to the digital version - please always refer to the latest version. A limited run of printed annual reports will be published in summer 2021.

This report provides a snapshot of what the Creative Informatics partnership has achieved over the last two years (Nov 2018-June 2021), as we reach the midway point of our funding period (2018-2023). Creative Informatics (https://creativeinformatics.org/) is part of the Creative Industries Clusters Programme; a UK wide initiative designed to drive innovation, growth, and sustainability in the Creative Industries, through a first of-its-kind research and development investment of £80m by the UK government. With a focus on Edinburgh and South East Scotland, Creative Informatics is working to drive growth and sustainability in this region's world class creative industries by supporting creative individuals and organisations to do inspiring things with data. The programme is led by the University of Edinburgh and is delivered in partnership with Edinburgh Napier University, CodeBase and Creative Edinburgh. Please note: the CC license for this file applies to the text of this report only and not to graphic elements which should be regarded as copyright and requiring written permission before any potential onwards publication. ; Please note that we anticipate several updates to the digital version - please always refer to the latest version. A limited run of printed annual reports will be published in summer 2021.

This report provides a snapshot of what the Creative Informatics partnership has achieved over the last two years (Nov 2018-June 2021), as we reach the midway point of our funding period (2018-2023). Creative Informatics (https://creativeinformatics.org/) is part of the Creative Industries Clusters Programme; a UK wide initiative designed to drive innovation, growth, and sustainability in the Creative Industries, through a first of-its-kind research and development investment of £80m by the UK government. With a focus on Edinburgh and South East Scotland, Creative Informatics is working to drive growth and sustainability in this region's world class creative industries by supporting creative individuals and organisations to do inspiring things with data. The programme is led by the University of Edinburgh and is delivered in partnership with Edinburgh Napier University, CodeBase and Creative Edinburgh. Please note: the CC license for this file applies to the text of this report only and not to graphic elements which should be regarded as copyright and requiring written permission before any potential onwards publication. ; Please note that we anticipate several updates to the digital version - please always refer to the latest version. Version 1.3 is the print-ready version. A limited run of printed annual reports will be published in late summer 2021.

This short essay explains the significance of the FinBook intervention, and invites the reader to participate. We have associated each chapter within this book with a financial robot (FinBot), and created a market whereby book content will be traded with financial securities. As human labour increasingly consists of unstable and uncertain work practices and as algorithms replace people on the virtual trading floors of the worlds markets, we see members of society taking advantage of FinBots to invest and make extra funds. Bots of all kinds are making financial decisions for us, searching online on our behalf to help us invest, to consume products and services. Our contribution to this compilation is to turn the collection of chapters in this book into a dynamic investment portfolio, and thereby play out what might happen to the process of buying and consuming literature in the not-so-distant future. By attaching identities (through QR codes) to each chapter, we create a market in which the chapter can 'perform'. Our FinBots will trade based on features extracted from the authors' words in this book: the political, ethical and cultural values embedded in the work, and the extent to which the FinBots share authors' concerns; and the performance of chapters amongst those human and non-human actors that make up the market, and readership. In short, the FinBook model turns our work and the work of our co-authors into an investment portfolio, mediated by the market and the attention of readers. By creating a digital economy specifically around the content of online texts, our chapter and the FinBook platform aims to challenge the reader to consider how their personal values align them with individual articles, and how these become contested as they perform different value judgements about the financial performance of each chapter and the book as a whole. At the same time, by introducing 'autonomous' trading bots, we also explore the different 'network' affordances that differ between paper based books that's scarcity is developed through analogue form, and digital forms of books whose uniqueness is reached through encryption. We thereby speak to wider questions about the conditions of an aggressive market in which algorithms subject cultural and intellectual items – books – to economic parameters, and the increasing ubiquity of data bots as actors in our social, political, economic and cultural lives. We understand that our marketization of literature may be an uncomfortable juxtaposition against the conventionally-imagined way a book is created, enjoyed and shared: it is intended to be.

How can digitised assets of Galleries, Libraries, Archives and Museums be reused to unlock new value? What are the implications of viewing large-scale cultural heritage data as an economic resource, to build new products and services upon? Drawing upon valuation studies, we reflect on both the theory and practicalities of using mass-digitised heritage content as an economic driver, stressing the need to consider the complexity of commercial-based outcomes within the context of cultural and creative industries. However, we also problematise the act of considering such heritage content as a resource to be exploited for economic growth, in order to inform how we consider, develop, deliver and value mass-digitisation. Our research will be of interest to those wishing to understand a rapidly changing research and innovation landscape, those considering how to engage memory institutions in data-driven activities and those critically evaluating years of mass-digitisation across the heritage sector.