The increasing use of AI in industry and society not only expects but demands that we build human-centred competencies into our AI education programmes. The computing education community needs to adapt, and while the adoption of standalone ethics modules into AI programmes or the inclusion of ethical content into traditional applied AI modules is progressing, it is not enough. To foster student competencies to create AI innovations that respect and support the protection of individual rights and society, a novel ground-up approach is needed. This panel presents on one such approach, the development of a Human-Centred AI Masters (HCAIM) as well as the insights and lessons learned from the process. In particular, we discuss the design decisions that have led to the multi-institutional master’s programme. Moreover, this panel allows for discussion on pedagogical and methodological approaches, content knowledge areas and the delivery of such a novel programme, along with challenges faced, to inform and learn from other educators that are considering developing such programmes.
Explainable Artificial Intelligence (XAI) aims to provide insights into the inner workings and the outputs of AI systems. Recently, there’s been growing recognition that explainability is inherently human-centric, tied to how people perceive explanations. Despite this, there is no consensus in the research community on whether user evaluation is crucial in XAI, and if so, what exactly needs to be evaluated and how. This systematic literature review addresses this gap by providing a detailed overview of the current state of affairs in human-centered XAI evaluation. We reviewed 73 papers across various domains where XAI was evaluated with users. These studies assessed what makes an explanation “good” from a user’s perspective, i.e., what makes an explanation meaningful to a user of an AI system. We identified 30 components of meaningful explanations that were evaluated in the reviewed papers and categorized them into a taxonomy of human-centered XAI evaluation, based on: (a) the contextualized quality of the explanation, (b) the contribution of the explanation to human-AI interaction, and (c) the contribution of the explanation to human- AI performance. Our analysis also revealed a lack of standardization in the methodologies applied in XAI user studies, with only 19 of the 73 papers applying an evaluation framework used by at least one other study in the sample. These inconsistencies hinder cross-study comparisons and broader insights. Our findings contribute to understanding what makes explanations meaningful to users and how to measure this, guiding the XAI community toward a more unified approach in human-centered explainability.
MULTIFILE
In the past few years, the EU has shown a growing commitment to address the rapid transformations brought about by the latest Artificial Intelligence (AI) developments by increasing efforts in AI regulation. Nevertheless, despite the growing body of technical knowledge and progress, the governance of AI-intensive technologies remains dynamic and challenging. A mounting chorus of experts expresses reservations about an overemphasis on regulation in Europe. Among their core arguments is the concern that such an approach might hinder innovation within the AI arena. This concern resonates particularly strongly compared to the United States and Asia, where AI-driven innovation appears to be surging ahead, potentially leaving Europe behind. This paper emphasizes the need to balance certification and governance in AI to foster ethical innovation and enhance the reliability and competitiveness of European technology. It explores recent AI regulations and upcoming European laws, underscoring Europe’s role in the global AI landscape. The authors analyze European governance approaches and their impact on SMEs and startups, offering a comparative view of global regulatory efforts. The paper highlights significant global AI developments from the past year, focusing on Europe’s contributions. We address the complexities of creating a comprehensive, human-centred AI master’s programme for higher education. Finally, we discuss how Europe can seize opportunities to promote ethical and reliable AI progress through education, fostering a balanced approach to regulation and enhancing young professionals’ understanding of ethical and legal aspects.
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This project addresses the fundamental societal problem that encryption as a technique is available since decades, but has never been widely adopted, mostly because it is too difficult or cumbersome to use for the public at large. PGP illustrates this point well: it is difficult to set-up and use, mainly because of challenges in cryptographic key management. At the same time, the need for encryption has only been growing over the years, and has become an urgent problem with stringent requirements – for instance for electronic communication between doctors and patients – in the General Data Protection Regulation (GDPR) and with systematic mass surveillance activities of internationally operating intelligence agencies. The interdisciplinary project "Encryption for all" addresses this fundamental problem via a combination of cryptographic design and user experience design. On the cryptographic side it develops identity-based and attribute-based encryption on top of the attribute-based infrastructure provided by the existing IRMA-identity platform. Identity-based encryption (IBE) is a scientifically well-established technique, which addresses the key management problem in an elegant manner, but IBE has found limited application so far. In this project it will be developed to a practically usable level, exploiting the existing IRMA platform for identification and retrieval of private keys. Attribute-based encryption (ABE) has not reached the same level of maturity yet as IBE, and will be a topic of further research in this project, since it opens up attractive new applications: like a teacher encrypting for her students only, or a company encrypting for all employees with a certain role in the company. On the user experience design side, efforts will be focused on making these encryption techniques really usable (i.e., easy to use, effective, efficient, error resistant) for everyone (e.g., also for people with disabilities or limited digital skills). To do so, an iterative, human-centred and inclusive design approach will be adopted. On a fundamental level, scientific questions will be addressed, such as how to promote the use of security and privacy-enhancing technologies through design, and whether and how usability and accessibility affect the acceptance and use of encryption tools. Here, theories of nudging and boosting and the unified theory of technology acceptance and use (known as UTAUT) will serve as a theoretical basis. On a more applied level, standards like ISO 9241-11 on usability and ISO 9241-220 on the human-centred design process will serve as a guideline. Amongst others, interface designs will be developed and focus groups, participatory design sessions, expert reviews and usability evaluations with potential users of various ages and backgrounds will be conducted, in a user experience and observation laboratory available at HAN University of Applied Sciences. In addition to meeting usability goals, ensuring that the developed encryption techniques also meet national and international accessibility standards will be a particular point of focus. With respect to usability and accessibility, the project will build on the (limited) usability design experiences with the mobile IRMA application.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
