Considering the current transformations due the digital and its developments, and with the alternatives generated by open source devices and open and shared
culture and knowledge, my position as a critic (into the field of arts) is in the idea to observe the making and to understand and to modelize new models of
production, into local as well as global scale.
It could be possible to lean on some concrete examples in artistic, cultural and social experiences, and also on theories that interpret making into a set
constituent of an epochal production. And thus « to claim some modes to fit out », up to a sentence by the french philosopher Bernard Stiegler (in « About
symbolic poverty II, Galilée Publisher, 2005).
The critical making summit Transformaking has been a place for experimentation, observation, propositions, and maybe prototype (and later to modelize) some
ways to figure poetics and politics of arts of making and arts of living into the digital environment. That means for new ways of life.
So we should use « critical making » as a form of critic, linking practices and thought, and establishing the neccessity to debate, test, rethink, models and
proptotypes, but also as a politic, in the way it also means : important and vital décisions for production process.
I have written a report on the summit in Jogjakarta into the Makery review, called For a great transformation, related to the book of Karl Polany:
http://www.makery.info/2015/09/29/pour-une-grande-transformation-par-colette-tron/?lang=en
Colette Tron
> Message du 07/12/15 à 17h09
> De : czegledy@interlog.com
> A : "YASMIN DISCUSSIONS"
> Copie à : "Sharath chandra" , "venzha christ"
> Objet : [Yasmin_discussions] Transformative and Critical Making
>
> Dear Yasminers,
>
> We would like to start a discussion on Transformative and
> Critical Making
>
> «Critical making» -a term coined by Matt Ratto of the University
> of Toronto- links conceptual investigation and creative physical making.
> Critical Making is based on the potential applications of open source
> software and hardware as well as the investigation and use of new
> technologies. Prof. Ratto agreed to introduce his concept of critical
> making for this discussion.
>
> The House of Natural Fiber (HONF) concentrates on principles of
> critique and innovation towards the development of art, science, and
> technology for society since 1999. After « Prototype 2014 », HONF
> and partners organized the Transformaking 2015 Summit
> (www.transformaking.org) in September in Yogjakarta, Indonesia.
> The Summit including thematically linked events brought together
> makers, scientists, hackers, DIYers, researchers, artists, critics,
> designers and interdisciplinary practitioners from various regions of
> the world.The initial objectives centered on the development and future
> of maker culture: "The maker movement, as well as the culture associated
> with it, offers alternative solutions, in a practical way and with citizen
> involvement, where sociopolitical institutions fail. But confronted with
> an industrial scale in the current economic system, the risk of
> commercialization remains. A critical attitude is essential to investigate
> a true transformation of production: Transformaking." The constructive
> discourse at the Transformaking2015 symposia prompted us to propose
> this discussion on various aspects of critical making, The exploration
> of this concept and activities could be helping us to criticize the way
> we make things, and what we make together. All the participants of
> Transformaking2015 are invited as well as Yasminers on this list
> to contribute to the discussion.
>
> Collette Tron and Nina Czegledy
>
>
> The moderators:
> Collette Tron and Nina Czegledy
>
> colette tron is a french art critic and art director based in marseille.
> directing the organization Alphabetville (www.alphabetville.org),
> she is trying to articulate new art practices, particularly in the digital,
> with conceptual and theoretical perspectives. feeling close to
> "critical making" approach, colette tron is involved with honf in
> Transformaking.
>
> Nina Czegledy artist, curator, educator collaborates internationally
> on art& science& technology projects. She has exhibited and
> published widely won awards for her artwork and has initiated, lead
> and participated in forums and festivals worldwide. Nina is a Research
> Fellow at the Semaphore Research cluster the Critical Making lab,
> University of Toronto.
>
>
> The respondents:
> Venzha Christ (HONF and Sharath Chandra Ram
>
> Venzha Christ prolific artist, initiator, and leader in media and
> art and science research founded the House of Natural Fiber,
> (HONF) a new media art laboratory' www.natural-fiber.com in
> 1999 with the aim to combine education, art and technology with
> local communities. HONF produced several special projects in
> media art, including public art installations, technology research,
> education, mediart art festivals at home and internationally in
> addition to the annual Cellsbutton series of festivals.
>
> Sharath Chandra Ram, a graduate of University of Edinburgh
> specializing in Artificial Intelligence and Interactive Virtual
> Environments. His research interests lie in the intersection of law,
> technology and society with a focus on Open Education (Open
> Science and Open Hardware), Open Spectrum, Citizen Science,
> ICT4D and Intellectual Property. A licensed amateur radio broadcaster
> he is actively interested in communication policy research, radio
> astronomy as a transmission artist. He installed his work in several
> national & international avenues. An international partner and
> co-organizer of the International Summit on Critical and Transformative
> Making he actively works with local open source and research
> community at the Centre for Internet and Society and organizes the
> annual NASA International Open Data Challenge. At Srishti Sharath
> he teaches a variety of programs..
>
>
>
>
>
>
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