Evento realizado el 4 de febrero de 2022 en el marco de la serie Innovation Mentory. Organizado por la Dirección de Innovación y Transformación de la Universidad Peruana de Ciencias Aplicadas. Contó con la presentación de Lenin Tarrilllo, líder de innovación y transformación en Caja Piura. / Evento abierto que busca difundir el conocimiento de Blockchain como tecnología emergente.

The following essays explore ways in which the environment affects and is affected by organizations. The first essay, “Trust and the Division of Labor” considers that the trust environment of a firm helps determine its structure. Jointly with Stephan Meier and Patryk Perkowski, I show that exogenously imposed culture leads to variation in organizational form. An experiment primes trust using past performance from a pilot study and demonstrate that the level of trust within an organization affects division of labor and consequently organizational productivity. This evidence is consistent with a cross-country link between trust and the division of labor that we observe in data from the European Social Survey. A simple evolutionary game theoretic model is provided to illustrate the results. The second essay, Nobody Likes a Rat”, considers the impact of norms against certain types of behavior (in this case dishonesty) on behavior and organizational composition. Jointly with Ernesto Reuben, I investigate the intrinsic motivation of individuals to report, and thereby sanction, fellow group members who lie for personal gain. We find that when groups can select their members, individuals who report lies are generally shunned, even by groups where lying is absent. This facilitates the formation of dishonest groups where lying is prevalent and reporting is nonexistent. Finally, "NFTs, Volume, and Social Influence" observes how organizations and individuals use environmental cues like rankings and volume for sensemaking in a market with high quality uncertainty. Using observational data scraped from the top 1000 NFT collections I find a significant positive relationship between volume and price. Then, using plausibly exogneous variation in blockchain-level transaction fees, I fit an instrumental variable model which helps validate the causal interpretation that changes in volume lead to changes in price. I further add an experiment on NFTs to tease out two plausible channels through which volume could affect prices: user attention and normative social influence. The experiment finds strong evidence that being told an NFT is higher volume leads subjects to pay more attention to that NFT, whereas this has no significant effect on a subject's reported preference for the NFT. A second experimental treatment, in which subjects were told the NFTs were ordered by volume transaction costs, does observe a significant positive affect on reported preferences (as well as attention).

Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

Non-fungible tokens, or NFTs, are unique virtual tokens which are stored on a blockchain and can be linked to a wide range of digital and physical assets. In the online art world, NFTs are meant to function as digital certificates of authenticity and ownership, facilitating provenance research and introducing the notion of scarcity to the digital realm. However, the long-term sustainability of NFTs is threatened by their association to art theft, scams, and negative environmental impact. This qualitative study investigates the effects that non-fungible tokens have had on the work of online visual artists. With the goal of presenting multiple perspectives on a complex phenomenon, semi-structured interviews were conducted both with artists who personally create NFTs of their artwork and with artists whose art was tokenized by others without their permission. The results of the study reveal that NFTs appear as a possible path towards financial freedom for artists and a democratization of the arts. At the same time, a reoccurring point of concern is that online social media platforms and NFT marketplaces largely fail to protect artists against NFT-related art theft. Based on the answers collected from the interviews, this study presents several potential measures that could help combat plagiarism and scamming. Finally, the issue of widespread ignorance and misinformation is discussed, highlighting the need for more reliable, unbiased resources on the topic of NFTs.

Gaming is booming, and over the past few years, blockchain games have found their way into this market. These games operate in a highly competitive environment, where marketing is vitally important for their success. This study, commissioned by Crypto Rogue Games, aimed to explore social media marketing activities to promote their blockchain game, Crystals of Naramunz. Given this purpose, an analysis of competing developers' activities on Twitter, Facebook, and Instagram was conducted. Additionally, interviews were performed with a sample of the gaming community. The interviews also explored attitudes toward an experience with blockchain gaming. Essentially, the study indicated that Twitter is the most effective platform to target the audience. On this platform, sharing a variety of content, such as artwork, news, and game graphics, was shown to be most engaging. In addition, it was important to communicate in a creative, personalized, and interactive manner. The interviews also indicated that attitudes toward and experience with blockchain must be considered in the marketing efforts. However, as the study was limited, additional research is required to draw more detailed conclusions and to generalize these findings. / Intresset för videospel ökar, och under de senaste åren har spel baserade på blockchain hittat sin väg till denna marknad. I denna hårt konkurrensutsatta bransch är marknadsföring viktigt för att lyckas. Denna studie genomfördes i samarbete med Crypto Rogue Games. Syftet med studien var att undersöka möjligheten för marknadsföring av deras blockchain-baserade spel, Crystals of Naramunz, på sociala medier. Utifrån detta syfte genomfördes en analys av konkurrerande aktörers aktivitet på Twitter, Facebook och Instagram. Dessutom utfördes intervjuer med ett urval spelare. Dessa intervjuer undersökte även attityder till och erfarenhet av blockchainspel. Studien indikerade att Twitter är den mest effektiva plattformen för att fånga publikens intresse. På denna plattform skapade en variation av visuellt material, nyheter och spelgrafik högst engagemang. Att dela kreativt, personligt och interaktivt innehåll visade sig även vara viktigt. Vidare indikerar intervjuerna att marknadsföringen behöver ha spelarnas attityder till och erfarenhet av blockchain i åtanke. Eftersom studien var begränsad krävs det dock ytterligare forskning för att dra mer detaljerade slutsatser och generalisera resultatet.

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The article discusses the intersection of anti-money laundering (AML) compliance and the handling of Non-Fungible Tokens (NFTs) under German law or EU law applicable in Germany. It begins by acknowledging the negative perception of cryptocurrencies in the context of money laundering, emphasizing the need to explore AML regulations for NFTs, which have gained attention for tokenizing art. The text delves into the legal nature of NFTs, examining whether they can be classified as securities, asset investments, or crypto assets. It also explores the implications of these classifications on AML compliance, detailing the specific obligations for entities dealing with NFTs. The article concludes by highlighting the legal ambiguity surrounding NFTs and emphasizing the importance of conducting a case-by-case risk assessment for AML compliance.

A rising problem exists regarding the ownership of memes. This research proposes a solution consisting of an IT artefact that solves this problem by utilising design science research in combination with affordance theory and non-fungible tokens (NFTs). This artefact is designed by identifying the problem areas and creating affordances that guide the design process, using the design science research methodology by Peffers et al. (2007). The artefact is evaluated and considered a potential solution to the problem with meme ownership. The affordances are connected to the designed features and offer contributions in the form of a novel artefact and documented design processes. By using affordance theory as a lens to help the design, further research can build upon this idea and expand research by combining design science with affordances. The practical implementation of NFTs gives insights into how NFTs can be applied in the case of tokenising digital goods and allows people without knowledge of blockchains to participate.

NFTs (Non-Fungible Tokens) are digital assets representing real-world objects like art, music, videos, gaming items, etc., originally, they reside on a blockchain indicating a certificate of authenticity or proof of ownership deeming the uniqueness and scarcity of commodities. They have shown astonishing market attention and inconceivable price margins are being set for certain NFTs. The NFT phenomenon being in a nascent state, not much research has been conducted from the standpoint of value from the users and this thesis tries to fill the gaps in that area from a socio-economic point of view. The use of NFTs is on a rise with several companies delving in and speculated to grow even bigger bringing a transformative shift in the way businesses work today, using the blockchain technology NFTs are heralded as a new way to define ownership and property constructs. Going forward it is expected that they could be a gateway to a tokenised future through a new form of value assessment of commodities and transitioning economic functions. This dissertation ventures on to look at the value perspective from the masses on how they shape an individual's viewpoint. Through a classical economic intervention of theories as discoursed in the literature review, this research tries to infer nuances of users employing a qualitative study whereby unstructured interviews were the source for data collection and using a thematic analysis various themes are derived which are pointed out in the discussion section. The analysis gives us an indication that many people are indulged in the NFT space as a source of profit maximisation and several indications are portrayed towards community building as a means of value creation. The qualitative nature of the study relies on interpretivism and a radical structuralist paradigm shedding light on the thought process behind an individual’s behaviour, trying to understand the context of ‘value’ as perceived by the people.

Non-fungible tokens (NFTs) are digital assets that exist in the blockchain with a unique signature that has been gaining significant attention starting from the early 2021. While NFTs can be anything stored digitally from text to music, since these digital tokens enable artists to democratize their works, there has been a particular rise in using them to promote digital art which has long been undervalued. With NFTs’ potentially holding the power to transform the art world and imminent Web 3.0, the lack of women representation in NFT space and blockchain has started to occupy the agenda of mission-driven artists, sparking conversations around the issue that has led some female artists to begin strategically taking up their space in a male-dominated market with different initiatives and projects. World of Women (WoW) and Women Rise are two separate NFT art projects that aim to diversify and balance the NFT space. They put emphasis on increasing the representation of women while empowering them to participate in blockchain and NFT space by using the tools of Web 3.0 to challenge gender biases and ‘decentralize’ power structures. Herewith, this research by examining these NFT projects will explore how exactly NFT art projects can culminate a more inclusive environment towards Web 3.0, the future of internet. The project will try to uncover the mechanisms and strategies of these NFT art projects through the themes of voice, agency, and representation by using a case-study approach. The project will be analyzing the findings with the guidance of the conceptual framework that is operationalized though Roberts’ ICT4D Intent and Practice Matrix. The data used for this research consists of chosen web pages of the websites of these projects and media texts that feature the projects and the artists who founded these projects. The findings will in the end reveal through what types of practices these projects unlock social change and enable representation based on their conformist, reformist, and transformist inclinations.