[Open Design + Hardware] opendesign Digest, Vol 63, Issue 1
Irene Maldini
irene.maldini at gmail.com
Tue May 7 12:51:04 UTC 2019
Great initiative Cindy, congrats!
El mar., 7 may. 2019 a las 14:00, <opendesign-request at lists.okfn.org>
escribió:
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> Today's Topics:
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> 1. CFP: Alternative Histories in DIY Cultures and Maker Utopias
> (Kohtala Cindy)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 6 May 2019 19:06:03 +0000
> From: Kohtala Cindy <cindy.kohtala at aalto.fi>
> To: open Design and Hardware mailing list <opendesign at lists.okfn.org>
> Subject: [Open Design + Hardware] CFP: Alternative Histories in DIY
> Cultures and Maker Utopias
> Message-ID: <AD2A7A87-9C0F-4917-8540-753E7D1F7F5D at aalto.fi>
> Content-Type: text/plain; charset="utf-8"
>
> Hi all,
>
> for the attention of researchers and researcher-practitioners - please
> consider submitting an abstract and share with your networks.
>
> *
>
> Special Issue, Digital Culture & Society
> 'Alternative Histories in DIY Cultures and Maker Utopias?
> Guest Editors Cindy Kohtala, Yana Boeva, Peter Troxler
>
> abstract submission by 31 May 2019 to <dcs.si.althistdiy at gmail.com>
>
> This special issue of the Digital Culture & Society journal invites
> theoretical and methodological contributions discussing the histories and
> historiographies of DIY maker cultures worldwide.
>
>
> http://digicults.org/callforpapers/cfp-alternative-histories-in-diy-cultures-and-maker-utopias/
>
> DIY digital-maker culture is increasingly studied for its impact on
> production and consumption patterns, technological innovation, educational
> innovation and citizen engagement in design and technology. As making
> practices proliferate globally and begin to institutionalise, research on
> these practices is also maturing beyond mere conceptual speculation and
> propositional dogma. Nevertheless, particular terminologies tend to
> dominate beyond their Anglo-Saxon contexts (even the term ?maker? itself),
> and technocultural histories of digital making are often rendered as
> over-simplified technomyths and hagiographies of selected gurus. Such
> story-making reinforces a specific represented history in the maker
> imaginary: typically a white, male, well-educated (often engineering or
> computer science), middle-class, Western-situated narrative. The guest
> editors of this Special Issue suggest a targeted examination of DIY maker
> culture that profoundly acknowledges and investigates its diverse histor
> ical precedents, which play an important role in present practices and
> strategic visions, is both timely and needful. The issue aims to elicit
> contributions from cultural-historical perspectives, technology and design
> histories and historiographies, alternative histories related to
> postcolonial resistance, and studies that highlight how historical elements
> and historicising play a role in mythmaking and the creation of social
> imaginaries.
>
> Maker culture tends to refer to current communities, activities and
> projects in shared community workshops (fab labs and makerspaces), but
> these endeavours are informed by more diverse practices than is always
> recognised (Richterich/Wenz 2017b). Other relevant counter-culture
> movements, from hacking, free and open-source software development and
> community technology to DIY craft and building, media art and activist
> publishing, are not always brought into the conversation when discussing
> the meanings, technocultural antecedents and possible future pathways for
> material peer production (e.g. Krewani 2017). Moreover, DIY maker practices
> in other contexts ? other continents than Europe and wealthy Anglo-Saxon
> nations, as well as the forgotten, neglected cities inside them ? manifest
> differently, build on other local industrial and technological histories
> and use other terminologies for their endeavours (e.g. Chan 2014; Lindtner
> 2015; Braybrooke/Jordan 2017).
>
> Such fragmenting of historical representations, even deliberate
> suppression, are cause for worry in these turbulent times, when makers?
> promises of empowerment, agency, inclusion, democratisation and openness of
> apparently everything too easily serves to render nothing as open or
> empowering (von Busch 2012; Powell 2012; Pomerantz/Peek 2016); the promises
> of making to ease the socio-economic ills of unfettered capitalism, not to
> mention environmental destruction, appear fragile and vulnerable to
> enclosure, commodification and colonisation (Fonseca 2015; Irani 2015;
> Lindtner/Lin 2017). Current dominant narratives, apparently stemming from
> the grassroots, are bloated with techno-optimism and techno-solutionism.
> They serve to shape a hegemonic sociotechnical imaginary (Jasanoff/Kim
> 2015) in ways that cause concern for researchers as to what is rendered
> invisible and voiceless: we need to re-examine and re-focus on who and what
> is left out. If DIY making is to be truly equitable, accessib
> le and capacity building, there is a role for research to unmask these
> alternative histories.
>
> Today?s DIY maker communities and their spaces may take inspiration and
> even strategic guidance from the global commodified maker movement, but
> they are geographically situated and actual practices and tactics are
> informed, explicitly or implicitly, by groups and norms that precede the
> makerspace and its community (e.g. Dunbar-Hester 2014). We thus build on
> this journal?s previous Special Issue on Making and Hacking
> (Richterich/Wenz 2017a) to place emphasis on legacies and foundations:
> thinking in terms of history places the emergent and fast-changing
> phenomena of DIY making practices into a broader and richer frame. If
> articulated, currently invisible histories could tell us much about how
> such practices could be made more relevant, better answer local needs and
> gain staying power in their own localities. Historical knowledge can feed
> back into actual practice, strengthen the potential for positive
> socio-environmental impact, inform policy and more generally foster
> plurality of voic
> e and agency (Oudshoorn/Pinch 2003; Turner 2006; Soppelsa 2011; Knott
> 2013; Oldenziel/H?rd 2013; Medina/Marques/Holmes 2014; Smith 2014; Jordan
> 2016; Usenyuk/Hyysalo/Whalen 2016; Serlin 2017; Escobar 2018;
> Rosner/Shorey/Craft/Remick 2018).
>
> From craft guilds to abandoned factories to intentional communities, the
> richness of DIY maker culture is manifest in the histories and
> methodologies we aim to collate in this Special Issue. Possible themes for
> contributions to this Special Issue include, but are not limited to, the
> following:
>
> ? 20th and 21st century craft and making collectives and movements;
> ? State-sponsored or state-organised maker and craft cooperatives
> / initiatives;
> ? Making and craft industries;
> ? Historical small-scale, alternative manufacturing collectives;
> ? Histories of makerspaces or workshops (the physical building,
> e.g. a former factory, and/or regional industrial histories);
> ? Methodologies for studying the past of maker social movements
> (e.g. digital culture).
> Journal sections
>
> When submitting an abstract, please state to which of the following issue
> sections you would like to submit your paper:
>
> ? Field Research and Case Studies (full paper: 6000 ? 8000 words)
> We call for historical studies, historiographies and archival accounts of
> specific DIY maker spaces and/or communities.
> ? Methodological Reflection (full paper: 6000 ? 8000 words)
> We welcome contributions in this section that address the methodological
> and ontological challenges in examining technocultural antecedents and
> histories.
> ? Conceptual/Theoretical Reflection (full paper: 6000 ? 8000 words)
> Contributions in this section can present theoretical perspectives on the
> histories of DIY making, from e.g. philosophical or postcolonial
> standpoints.
> ? Entering the Field (2.000 ? 3.000 words; experimental formats
> welcome)
> Practitioners and researcher-practitioners are welcome to submit short
> papers on their experiences with local making histories.
>
> Deadlines and Submission
> Abstracts (max. 300 words) and short biographical note (max. 75 words) are
> due on: 31 May 2019.
> ? Authors will be notified by 16 June 2019 whether they are
> invited to submit a full paper.
> ? Full papers are due on: 15 September 2019.
> ? Authors will receive the peer review feedback by: 31 January
> 2020.
> ? Final versions due: 31 March 2020.
> ? Publication: September 2020.
> Please send your abstract and short biographical note to <
> dcs.si.althistdiy at gmail.com>. Based on the abstracts, the editors will
> pre-select authors that will be invited to submit a full paper. All full
> papers will be double-blind peer reviewed.
>
> *
> thanks,
> Cindy Kohtala
>
>
> Cindy Kohtala | Postdoc researcher, Department of Design | Aalto
> University School of Arts, Design and Architecture | Espoo, Finland |
> cindy.kohtala at aalto.fi
> -
> Making Sustainability (Aalto ARTS dissertations, 2016) | Changing
> Helsinki? (Nemo, 2015) | Product Service-System Design for Sustainability
> (Greenleaf, 2014)
> -
> CALL FOR PAPERS: Special Issue, Digital Culture & Society, ?Alternative
> Histories in DIY Cultures and Maker Utopias
> http://digicults.org/callforpapers/cfp-alternative-histories-in-diy-cultures-and-maker-utopias/
>
>
>
>
>
>
>
>
> ------------------------------
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> End of opendesign Digest, Vol 63, Issue 1
> *****************************************
>
--
*Irene Maldini*
+31 0650451478
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