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successofUber,whichhasdisruptedmany taxi industriesworldwide.Themarket is
now being redeļ¬ned, largely as a result of technological factors. Uber has also
given rise to many similar ride-sharing services, such as Lyft. These services
connect drivers and customers through an online platform andmobile application,
which is very different from traditional taxi services (Cramer andKrueger 2016).
Inconclusion,wewould like todiscuss somepossible risksofdigital technology
use. Artiļ¬cial intelligence, among others, brings great risks to our way of living
once it is fully developed, as there is a fear of being replaced by intelligent
machines (FreyandOsborne2017).Manyargue that continuous innovationand the
integration of technologies couldmean that wewill one day be replaced by intel-
ligentmachines. Sharing creativity andposting is not alwayspositively received. It
can be argued that digital technology creates higher levels of distraction. For
example, SNSusers often create posts for short-term amusement, causing alarmor
eliciting controversy.Moreover, SNSmemes go viral and are shared across huge
networks. Thesememes and jokes are expressive, but they are forgotten as quickly
as they are generated (Gardner and Weinstein 2018). The remixing and rapid
dissemination of these personalworks inNDMhave diminished the importance of
traditional notions of appropriateness and authorship of media (Gardner and
Weinstein 2018). More seriously, designers of technology, executives and
researchers have all recently expressed their concern about the implications of an
attention-based economy being the basis for business models focused on digital
tools. The goal of maximising usersā time online can result in the malicious
hijacking of themind, via themonetisation of thoughts, emotions and actionswith
potentially serious consequences formental health, relationships and democracy.
Digital technologies can and do exploit human vulnerability and reduce auton-
omy throughaddictionbydesign,whichmighthave signiļ¬cant implications for the
creativity of entrepreneurs and their teams. Hence, the digital realm offers new
arenas andopportunities for group engagement, fromwhich creativity can emerge,
but also new dilemmas about the value and purpose of creative work and how to
distribute it respectfully.
2.8 Digital CreativityModel
Given themany deļ¬nitions of creativity, it is difļ¬cult to imagine that an accepted
deļ¬nition of digital creativity will emerge, and it is evenmore difļ¬cult for digital
creativity to emerge in entrepreneurship, particularly since terms have different
descriptions andmeanings across disciplines.
Onemodel of digital creativity is proposed in Fig. 1, showing the key dimen-
sions (participating, making, compose, code, edit, curate, perform, author and
producer) and their relationshipswith each other.
Theļ¬rst line of themodel, the activitywhich has the aspects of participating or
making, indicates that there are different levels of intensity of engagement at dif-
ferent periods of time. An entrepreneur will typically be leading (making) the
creative activity but will also be involved in creative digital activities initiated by
38 R. D. Hisrich andM. Soltanifar
Digital Entrepreneurship
Impact on Business and Society
- Title
- Digital Entrepreneurship
- Subtitle
- Impact on Business and Society
- Authors
- Mariusz Soltanifar
- Mathew Hughes
- Lutz Gƶcke
- Publisher
- Springer Verlag
- Location
- Cham
- Date
- 2021
- Language
- English
- License
- CC BY 4.0
- ISBN
- 978-3-030-53914-6
- Size
- 16.0 x 24.0 cm
- Pages
- 340
- Keywords
- Entrepreneurship, IT in Business, Innovation/Technology Management, Business and Management, Open Access, Digital transformation and entrepreneurship, ICT based business models
- Category
- International