Many participants thought that it was important to consider how closely the final product aligned with their initial conceptions (P7, novelist; P8, web developer; P11, filmmaker), "almost like a success-type question" (P3, dancer). This idea can be thought of as an aspect of intentionality — as P11 (filmmaker) stated, "Did your intentions translate into the final work?"

Intentionality can be supported through periodic intent check-ins and visual diffs that surface drift from initial goals.

Levene and Friedman [20] examined the effects of creation and intent on ownership judged and found that the effects of creation hold even when controlling for other factors. They also showed that successful and intentional creations are ascribed more ownership than unsuccessful or unintentional creations, and that creation is ascribed more ownership than the equivalent labor.

Even though the majority of participants stated that intentionality doesn't play a role in their conceptions of ownership as it is "a given" (P5, architect) and that "everything is intentional" (P17, illustrator, graphic designer), these cases showcase that intentionality can indeed play a role in ownership sentiments, especially when the ability to be intentional is taken away.

there seem to be times when material constraints can indeed shift ownership feelings, especially when control, intentionality, and creative vision all lie at an intersection: "I lose ownership points there, because I'm limited by this specific tool even if I have a specific vision" (P4, nonfiction writer)

The one participant who did directly reference intentionality did so more in terms of the medium they work with: "We're still digging up shards of pottery from hundreds and thousands of years ago; once you fire something, it doesn't go away. It's hard as rock. So you really want to be sure and confident and intentional when you make something out of clay and fire it, because it can't be undone" (P20, ceramicist).

While continuity is distinct from control or intentionality, it can still shape one's capacity to make intentional creative decisions, particularly when involvement is limited to a part rather than the whole project.

Only one participant directly mentioned the term intentionality, but a few participants reported that whether or not they were able to work on the project from start to finish (a sense of continuity perhaps) was important to their sense of ownership.

Intentionality – How intentional were you about the creative decisions that you made?

Intentionality can be supported through periodic intent check-ins and visual diffs that surface drift from initial goals.

Levene and Friedman [20] examined the effects of creation and intent on ownership judged and found that the effects of creation hold even when controlling for other factors. They also showed that successful and intentional creations are ascribed more ownership than unsuccessful or unintentional creations, and that creation is ascribed more ownership than the equivalent labor.

Even though the majority of participants stated that intentionality doesn't play a role in their conceptions of ownership as it is "a given" (P5, architect) and that "everything is intentional" (P17, illustrator, graphic designer), these cases showcase that intentionality can indeed play a role in ownership sentiments, especially when the ability to be intentional is taken away.

However, there seem to be times when material constraints can indeed shift ownership feelings, especially when control, intentionality, and creative vision all lie at an intersection: "I lose ownership points there, because I'm limited by this specific tool even if I have a specific vision" (P4, nonfiction writer); "I wrote everything that I wanted to, I planned everything the way that I wanted it to be. But when I went to shoot, and I started facing challenges, I realized I don't have enough time, enough budget, and the crew is not experienced enough. So then, your idea of making the film itself changes" (P11, filmmaker).

The one participant who did directly reference intentionality did so more in terms of the medium they work with: "We're still digging up shards of pottery from hundreds and thousands of years ago; once you fire something, it doesn't go away. It's hard as rock. So you really want to be sure and confident and intentional when you make something out of clay and fire it, because it can't be undone" (P20, ceramicist).

Only one participant directly mentioned the term intentionality, but a few participants reported that whether or not they were able to work on the project from start to finish (a sense of continuity perhaps) was important to their sense of ownership.

In study of AI-driven scriptwriting by Weber et al. [42], participants associated ownership with ease, expression, collaboration, uniqueness, and enjoyment.

Weber et al. [43], for example, use the term "artistic ownership" in studying support for creative goals, yet operationalize it through adjacent concepts such as creative vision, intentions, collaboration, pride, control, and emotional response [43]. Even when researchers begin with a focused definition, as in Wasi et al.'s work [41] on content ownership, related ideas often surface—embodiment, identity, originality, and effort among them.

Some studies conflate ownership with adjacent ideas (e.g., control, vision, identity); others elicit participants' views without a common scaffold, making results hard to compare across settings and media.

As one participant put simply, "Did I love it?" (P3, dancer).

P4 (nonfiction writer) reported a similar sentiment but used the term pride instead — "That sense of proudness doesn't really have anything to do with how much I feel ownership about it, at least not directly."

P2 (ukulelist, singer) reported feeling a "creative attachment" to a piece, even though they didn't feel any ownership over it — "A little bit of my heart and the soul is in this thing, even though it doesn't have anything to do with me otherwise."

ussed last week, plus my own thoughts into this wiki for the mo. I'm not excessively attached to anything h