EveryWhen ISEA, 2024

New economies of making in post-disciplinary and post-industrial climates are pushing the traditional boundaries of the craft industries. This article examines recent artistic practices exploring and experimenting at the bleeding edge of art-science-technologies, where artwork is critically crafted, combining digital with physical materials through hybrid forms of hands-on-making. New materials and technologies are being incorporated into contemporary craft and new modes of making are revealed as we witness a move away from moderncraft to an era of post-craftwork. Electronic media sits at the heart of these developments, but in contrast to modernist dematerialisation of art and the dominance of screen essentialism in art production and in daily life, post-craftwork engages with digital technologies in ways that rematerialize data in physical and hybrid spaces and artefacts. The authors draw on new materialism philosophy in consideration of digital material agency, cutting across posthuman, transhuman, and morethan-human paradigms, to examine post-craftwork through examples of six artworks that embody the creative thoughts and insights of their makers, instilling them with social and spiritual value. Re-imagining material conditions and technological futures may offer potential to reconnect culture with nature.

Diseñar el aire. Dissenyar l'aire. Designing The Air, 2022

We often forget that, from Antiquity until the 18th century, art was conceived as téchnē, 'craft, art', that is, as a series of very diverse skills. The parenthesis between the 18th century and the emergence of the avant-garde in the 20th century is what gave rise to the Fine Arts: the artist as intellectual or even as romantic genius; the work of art as an autonomous entity, according to the Kantian dictum. From Marcel Duchamp's urinal to the present day, artistic practices have remained for the most part tied to the philosophy of art, which is what they have become, at best.

Arquitetura Revista, 2009

bruscatop@unisinos.br Unisinos. Avda. Unisinos 950, 93022-000, Sao Leopoldo, RS, Brasil Emociones precisas: fabricación digital en la enseñanza de la arquitectura arquiteturarevista -Vol. 5, n° 2:122-136 (julho/dezembro 2009) 123 en arquitectura, motivando una elaboración más precisa de las cualidades del diseño.

2010

While much of autonomist theory privileges the most developed sector of capitalism (the digital online media and communication industries), this paper asks us to turn our attention to a revived ‘pre-capitalist’ form of cultural production. This article analyzes the recent resurgence of DIY craft culture around the following themes: 1) immaterial and affective labour; 2) gender and the home; 3) time and capitalism’s historicity. It challenges the periodisation of immateriality by highlighting the informational and communicative practices embedded in craft culture. In so doing, we can rethink the temporality of capitalism by teasing out a labour thread that passes through capitalism without being reduced to its purview. The gendered dimension of digital labour displays affective and immaterial qualities that have persisted resiliently before, during, and, in time, after capitalism. Craft as power (the capacity to act) is an ontological accumulation of species-being that pushes us to rethink the ‘organizing’ of subjects. Craft, tied to what Nick Dyer-Witheford calls species-being resurgent, provides a key example of the ontological development of subjective powers, ones that become ever more resonant in the crisis and ruins of capitalism.

2017

Aquest article qüestiona el context en el qual la producció artística en relació amb la història industrial pot entrar a formar part de les narratives oficials de l’art. Prenent com a exemples la sèrie escultòrica Voltron de David Smith (1962), la performance Carriage Discreteness (1966) d’Yvonne Rainer i el treball d’Stuart Brisely a Hille Fellowship Poly Wheel (1970), proposo que observar la producció d’obres d’art en entorns industrials implica un doble compromís per a la història de l’art. D’una banda, investigar obres d’art construïdes amb materials i formes de producció industrials exigeix una anàlisi dels “indicis concrets i directes” que proporcionen els materials (Didi-Hubermann, 2015; Rubio, 2012). D’altra banda, conviden a la valoració d’arxius informals i “indicis dubtosos” relacionats amb el coneixement tàcit de la producció, l’autodocumentació subjectiva i la història oral (Rosnow i Fine, 1976). Des d’aquesta perspectiva, la producció dels artistes en el context de la ...

This thesis addresses the relevance of craft disciplines in our present--day world, one that is driven largely by information technology. It is an examination of the contemporary value, benefits and importance of making objects 'by hand' from the perspective of both the craftsperson and the people who take pleasure in craft objects. In the thesis, craft is interlinked with an issue of time, more precisely, with the need for slowing down in order to live and work at a variety of speeds or rhythms. The impact of this on our understanding of learning, in the formal education system and beyond, is central. The thesis draws on a variety of sources from contemporary education and economic theories to craft philosophies of the past and issues relating to the current international Slow movements which urge us to enjoy the sensual, visual and tactile pleasures of life.

EGA. Revista de expresión gráfica arquitectónica, 2013

Revista I2 Investigación e Innovación en Arquitectura y Territorio, 2016

ES Diferentes autores se refieren a la fabricación digital como la Tercera Revolución Digital, después de las revoluciones de la computación y la comunicación. Como ocurriera con las dos revoluciones precedentes, se generaron grandes expectativas en torno a las virtualidades políticas de estas nuevas tecnologías para dar lugar a relaciones de producción más libres e individuos más autónomos. Sin embargo, como también ocurriera con la computación y la comunicación, lo que realmente está ocurriendo demuestra que las supuestas virtualidades no llegarán a hacerse actuales sin una intensa implicación, organización y trabajo por parte de sectores activistas técnicos y sociales. Se discute el caso de la compra corporativa de la empresa pionera de hardware libre Makerbot, como ejemplo de la situación y punto de inflexión en las expectativas de los nuevos tecno-visionarios. Para concluir se propone una serie de posibles estrategias que podrían promover el desarrollo efectivo de un ecosistema libre y open source de fabricación digital. EN Digital fabrication is meant to be a Third Digital Revolution, after those of computation and communication. As happened with the two preceding revolutions, great expectations have arisen around its political virtualities to promote freer and more horizontal production relations and more autonomous individuals. However, as happened before with computation and communication, actual events are showing that these alleged virtualities won't become actual without strong determination, organization and work by social and technical activists. The case of the corporate acquisition of open hardware pioneering company, Makerbot, is discussed as an example and turning point of the initial optimism among the new generation of tech-visionaries. A set of possible strategies to promote a free & open source digital fabrication ecosystem is discussed as a conclusion.

Quaderni Culturali IILA, 2022

Este artículo analiza el proceso de co-creación de una obra de arte digital en el contexto del conflicto armado colombiano. El artículo sitúa este proceso dentro de un panorama más amplio de experiencias artísticas dedicadas a para transformar, testimoniar o bien generar memoria sobre el conflicto. Todas estas prácticas son parte del actual “boom de la memoria” que se vive en Colombia y se involucran con la teorización sobre victimización y sobrevivencia. A continuación, este artículo establece un dialogo con debates recientes de las Humanidades digitales que han exigido una ampliación de esta disciplina indicando cuestiones clave de representación artística digital. El articulo entonces hipotetiza sobre el potencial que los métodos artísticos digitales pueden tener para formas alternativas de compromiso y representación de experiencias traumáticas. A continuación, el artículo expone la conceptualización del enfoque artístico que sustenta la obra de arte digital en cuestión: Voces i...