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.
Edited by:
Victoria Bradbury,
Suzy O'Hara (Universtiy of Sunderland,
UK)
Imprint: Routledge
Country of Publication: United States
Dimensions:
Height: 229mm,
Width: 152mm,
Weight: 394g
ISBN: 9780815374916
ISBN 10: 0815374917
Pages: 246
Publication Date: 08 November 2019
Audience:
College/higher education
,
Primary
Format: Paperback
Publisher's Status: Active
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
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.
