The increasing digitalization of society has intensified the importance of secure and effective data management. For human rights defender organizations, these demands are complicated by scarce resources and risks of surveillance and online harassment. Simultaneously, regulatory frameworks such as the GDPR shape how these organizations are required to handle data. This paper examines how human rights defender organizations in Sweden navigate data practices, focusing on their strategies, challenges, and the effects of legal requirements. Drawing on critical data literacy and data feminist perspectives, we conceptualize data literacy as the ability to interpret and act on data in relation to its social and political effects. We show that limited resources significantly constrain organizations’ ability to adopt robust data practices. Nonetheless, data remains crucial for their advocacy and support of marginalized communities. We contribute to HCI by showing how human rights defender organizations develop situated, feminist forms of critical data literacy that challenge dominant assumptions about security, compliance, and good data practice.

This critical research-through-design study at the Stockholm City Archives addresses the lack of research infrastructure supporting image researchers’ metadata needs. It contributes to CSCW by situating design within a broader system of technologies, norms, and institutional practices, revealing what is at stake for archivists and researchers. It shows how the digital transformation of archival practices, rather than enabled participation, has reduced the autonomy of institutions and archivists, reinforcing centralized control, framing user generated content as a risk to institutional legitimacy in an era of misinformation. The findings indicates that a more participatory metadata interface for researchers within the Swedish galleries, libraries, archives, and museums sector require a reformulation of the institutions' role, to being a facilitator and provider of the standards needed for long-term participation, where strong objectivity is developed through more transparent archival processes and decentralized practices.

Although the media played a pivotal role in the #MeToo movement, research on #MeToo and journalism has primarily examined journalists as news providers, leaving their own engagement with the movement underexplored. In Sweden, #MeToo was characterized by the formation of petition groups across diverse professions, including journalism. This article draws on qualitative analyses of petition texts and interviews to investigate how key actors in the Swedish journalism industry's #MeToo petition #Deadline conceptualize sexual harassment, assess the movement's consequences, and reflect on ongoing efforts toward gender equality. Findings reveal that participants frame sexual harassment as both a structural and cultural problem, with causes and remedies situated at societal and organizational levels. Precarious employment emerged as a significant risk factor. Moreover, professional norms, ideals, and self-perceptions hinder journalists' identification as activists or victims. A recurring explanation for the persistence of harassment is the "culture of silence", which discourages employees from speaking out. In journalism, this silence is reinforced by specific cultural and structural conditions, alongside professional ideals such as toughness and objectivity. These findings highlight the importance of examining how processes on different levels co-construct gendered substructures, developing strategies that are sensitive to the specific organizational and cultural context of journalism.

One of the most exciting aspects of #MeToo is how the movementachieved global recognition for the problem of sexual harassment.In Sweden over 75 #MeToo groups were created during 2017–2019in different sectors of society, establishing a broad recognition ofthe problem as structural. Through interviews with 20 activists, thisstudy highlights how the movement gained strength through inter-connected levels of recognition, with social media playing a keyrole in facilitating collective action and expanding a feminist dis-course. The article also nuances the concept of “recognition” byadapting it to a public sphere transformed by digital media whereheterogeneous groups take connective action through persona-lized action frames. The result shows how recognition was devel-oped on several levels: On a personal level, in admitting to oneselfthat one had suffered from, or been part of, oppression. On a sociallevel, social media enabled large groups to interact in intimatepublics while obscuring the vast heterogeneity of the participants,allowing participants to use their shared differences as a base forcollective action. On a political level, the activism strengtheneda feminist agenda in the public sphere. The movement was alsogiven recognition at a formal level, influencing laws and policies.

In this article, drawing on 20 interviews with participants in the #MeToo petitions #deadline and #konstnärligfrihet [artisticfreedom], we explore the significance of sexual harassment in Sweden's cultural and creative industries. Our findings demonstrate how sexual harassment serves as a particularly effective tool of oppression in precarious work situations where individuals rely on informal social networks to secure work. To obtain and sustain work in this environment, an individual must gain recognition as an important — preferably indispensable — part of this social fabric. These dynamics can be understood through a bodily ontology of vulnerability, where vulnerability serves both as the emotional glue holding these networks together and as a source of anxiety, as inclusion depends on the validation of others. Another distinctive aspect of these contexts is the commodification of vulnerability within the professional role, as the value being exchanged is largely tied to the individual's perceived brilliance. Under these working conditions, sexual harassment functions as a form of reification, damaging relationships within the network while simultaneously diminishing the value of participants’ “genius.” #MeToo activism servedas a means of resisting the reification process by recognizing a collective vulnerability.

In line with the ‘Computing (X) Crisis’ theme, this workshop addresses a vital aspect of designing computing technology in challenging circumstances. Specifically, it explores the complexities of participatory and engagement-driven approaches (PEDAs) in sensitive and marginalized contexts. Although PEDAs emerged from workplace democracy and structured labor environments, their application in crisis-affected and vulnerable communities raises ethical and methodological tensions. Researchers navigating these complexities must critically examine power imbalances, extractive participation, and agency in design. In this workshop, participants will collaboratively create tangible outputs by making zines while reflecting on their experiences, sharing challenges, and developing strategies for ethical participation. The workshop fosters a supportive space for mutual learning, centering care, inclusion, and researcher well-being in participation-based research.

Cultural heritage practices is formed by different socio-technical regimes. Today, it is increasingly formed by the regime of commodification, expressed in terms like interoperability and reuse. This signifies a shift from a regime of the authentic object where the value is in the unique object positioned in a particular institutional context. To be able to exploit cultural heritage items on digital markets detached from their position in their original context, large resources are needed to furnish the items with metadata. In this metadata production, the regime of the institution as guarantor for the objects' authenticity, clash with the regime of aggregated trust, where authenticity is confirmed by aggregating data from multiple producers. This article argue that such rich contextual information is what creates long-term value for digital archival objects. In this speculative design project focusing humanities research needs, I therefore turn the attention to the metadata producers. Taking the idea of metadata as a commodity to its peak, I show how we can interpret metadata as a supply to meet imaginary demands. By looking at metadata as imaginary demands we can begin to see the contours of the diverse conceptual models the archives carry.