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List of contents
Forward Introduction Part 1: Histories and Futures 1. Art History Hacked: Art Hack Practice as an Intra-garde 3. The Afrikan Maker: Hacking Our Way into a Hybrid Future… 3. Reprogrammed Art, A Bridge between the History of Interactive Art and Maker Culture 4. DIWO to DAOWO: Rehashing Proprietorial Dominance of Art Practice Part 2: Labs and Fab Labs 5. Pervasive Media Studio: Propagating Practice 6. Elaborating on Labs: Reflections on the Blurring Boundaries between Arts, Science, Technology and Society 7. Participating in the Viscous Porosity of Makerspaces and Fab Labs: A Participatory Art Perspective Part 3: Engaged Communities 8. Iyapo Repository: Constructing and Archiving Alternate Futures 9. Future Heritage: A Community-Based Exchange between Berlin and Ramallah المستقبل تر
10. Little Inventors: From Artistic Method to Global Brand Part 4: Hack Events, Residencies and Workshops 11. Cyborg Arts Co-Lab: Interdisciplinary Collaboration Enriched Through Art-A-Hack™ Practices 12. Delivering Hack Events within the Arts 13. Where Do We Work? Things We Chat about While Sorting SIM-Cards: A Conversation with Constant Dullaart 14. Art Hack Day Part 5: Museums, Galleries, Festivals and Programs 15. Critical Making as a Model for Curating or Making Exhibitions as Things to Think With 16. WIKITOPIA Hong Kong: Curating a Collaborative Urban Future 17. The Evolution of the ODI Data as Culture Art Programme 18. Tracking Hack-Style Interdisciplinary Processes at Laboratorio Arte Alameda, Mexico City 19. The Making of Digital Futures
About the author
Victoria Bradbury is a new media artist and researcher who creates interactive installations, virtual reality artworks and performances. She teaches interactive New Media at The University of North Carolina Asheville and holds a PhD from the CRUMB research group at the University of Sunderland and an MFA from Alfred University. Her website is www.victoriabradbury.com.
Suzy O’Hara is a curator and researcher based at the University of Sunderland. Through her practice, she interrogates evolving relationships between art and technology and investigates interdisciplinary and cross-industry models of curation that utilise and inform innovation-based strategies. She holds a PhD from the CRUMB research group at the University of Sunderland and an MA in Curatorial Studies from Newcastle University.
Summary
Bridging art and innovation, this book invites readers into the processes of artists, curators, cultural producers and historians who are working within new contexts that run parallel to or against the phenomenon of ‘maker culture’.
