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'.
The book is a fascinating and compelling resource for those interested in critical and interdisciplinary modes of practice that combine arts, technology and making. It presents international case studies that interrogate perceived distinctions between sites of artistic and economic production by brokering new ways of working between them. It also discusses the synergies and dissonances between art and maker culture, analyses the social and collaborative impact of maker spaces and reflects upon the ethos of the hackathon within the fabric of a media lab's working practices.
Art Hack Practice: Critical Intersections of Art, Innovation and the Maker Movement is essential reading for courses in art, design, new media, computer science, media studies and mass communications as well as those working to bring new forms of programming to museums, cultural venues, commercial venture and interdisciplinary academic research centres.
Forward Beryl Graham + Context 0: https://whereby.com/arthackpractice Introduction Victoria Bradbury and Suzy O'Hara + Context I: Histories and Futures Chapter 1- Abigail Susik - Art History Hacked: Art Hack Practice as an Intra-garde Chapter 2- Mugendi K. M'Rithaa - The Afrikan Maker: Hacking Our Way into a Hybrid Future... Chapter 3- Serena Cangiano, Davide Fornari, Azalea Seratoni - Reprogrammed Art, a Bridge between the History of Interactive Art and Maker Culture Chapter 4- Ruth Catlow and Marc Garrett - DIWO to DAOWO: Rehashing Proprietorial Dominance of Art Practice + Context II: Labs and Fab Labs Chapter 5- Clare Reddington - Pervasive Media Studio: Propagating Practice Chapter 6- Olga Mink - Elaborating on Labs: Reflections on the Blurring Boundaries between Arts, Science, Technology and Society. Chapter 7- Alexia Mellor - Participating in the Viscous Porosity of Makerspaces and Fab Labs: A Participatory Art Perspective + Context III: Engaged Communities Chapter 8- Ayodamola Tanimowo Okunseinde - Iyapo Repository: Constructing and Archiving Alternate Futures Chapter 9- Jasmin Theresa Grimm and Sally Abu Bakr - Future Heritage: A Community-Based Exchange between Berlin and Ramallah Chapter 10- Suzy O'Hara - Little Inventors: From Artistic Method to Global Brand + Context IV: Hack Events, Residencies and Workshops Chapter 11- Ellen Pearlman - Cyborg Arts Co-Lab: Interdisciplinary Collaboration Enriched Through Art-A-Hack (TM) Practices Chapter 12- Victoria Bradbury and Suzy O'Hara - Delivering Hack Events within the Arts Chapter 13- Victoria Bradbury - Where Do We Work? Things We Chat about While Sorting SIM-Cards: A Conversation with Constant Dullaart Chapter 14- Olof Mathe - Art Hack Day + Context V: Museums, Galleries, Festivals and Programs Chapter 15- Nora O'Murchu - Critical Making as a Model for Curating or Making Exhibitions as Things to Think With Chapter 16- Yidi Tsao - WIKITOPIA Hong Kong: Curating a Collaborative Urban Future Chapter 17- Julie Freeman and Hannah Redler Hawes - The Evolution of the ODI Data as Culture Art Programme Chapter 18- Tania Aedo - Tracking Hack-Style Interdisciplinary Processes at Laboratorio Arte Alameda, Mexico City Chapter 19- Irini Papadimitriou - The Making of Digital Futures
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.
