Do It Yourself: Democracy and Design

Atkinson, Paul

doi:10.1093/jdh/epk001

Cited by 114 publications

(90 citation statements)

References 1 publication

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“…Increasingly, they participate in multi-disciplinary teams of experts and non-experts, made up of people who share ideas and open it to others for improvement. According to Paul Atkinson (Atkinson, 2006) this is a transition from an era of vertical flow to a collaborative and open one, made possible mainly because of the possibility of using technologies that allow designing through code. This allows wider openness for sharing knowledge and experimenting, thus multiplying the possibilities for the democratization of design.…”

Section: Framing Design In the Collaborative Commons Modelmentioning

confidence: 99%

Commons people: additive manufacturing enabled collaborative commons production (by design)

Smith

Mortati

2017

IJRAPIDM

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ABSTRACT"Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it's the only thing that ever has." -Margaret MeadIn a post industrial age the current model of mass manufacture characterized by integrated organizations and economies of scale, a new production paradigm is emerging. Due to technology advances especially in the field of additive manufacturing (AM) small scale decentralized production is again a possibility. Where once the tools to produce goods were seen as large capital investment beyond the means of most small enterprises, it is now possible for individuals to access tools that are capable of producing consumer goods. This shift had led to the emergence of a social phenomenon that until now was bound to the digital world. Networks of individuals are coming together to collectively design, develop, manufacture and distribute goods through a network under the banner of the open hardware movement. This paper presents a case study of one such network designing and distributing open source prosthetics using a collaborative approach enabled by AM technology. It takes a contemporary definition of commons production as a framework to describe the network and assesses the role AM technology plays within it. Moreover, it discusses the potential role for design (both as a discipline and a profession) within this emerging socio-industrial system.

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Section: Framing Design In the Collaborative Commons Modelmentioning

confidence: 99%

Commons people: additive manufacturing enabled collaborative commons production (by design)

Smith

Mortati

2017

IJRAPIDM

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“…Another interesting fact is the emergence of tribute bands many of which pay tribute to bands currently in the peak of their careers such as Arctic Monkeys, Queens of the Stone Age, MUSE, Aerosmith, Rolling Stones, Depeche Mode which further creates and enhances a vacuum of musical mimesis, delivering another such moment of "constructed conviviality". What happens with cover and tribute nights is the shift of roles where passive consumers meaning musicians who do not compose or have no repertoire of their own can become active producers in order to satisfy their own needs (Atkinson, 2006) changing themselves from mere customers to co-creators in the process (Fuad-Luke, 2009). The shift from consumers to creators is also reflected in the term "presumption" (Toffler, 1984) indicating an approach to sustainability in which consumers create (produce) for their own consumption.…”

Section: Clubs: Clubs Are Strangementioning

confidence: 99%

Linguistic and Semiotic Features of Music Clubs and Band Names in Bulgaria After 1989

Rayzhekova¹

2015

UCFL

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The current club situation in Bulgaria is one that started unfolding in the late 1980s with the gradual fall of communism and the emergence of many alternatives to the official mainstream bands. What followed after the abrupt end of the regime was an emigration wave of musicians followed by the opening of various clubs and bars and the first steps of music business together with the launching of many independent music projects. What the article examines is the way English language has invaded this particular sphere of entertainment influencing band names, bar names, and lyrics. The article is examining the reasons that lie behind this peculiar and persistent Bulgarian identity crisis, the accompanying identity emigration, English language saturation, and how these factors came to shape the current Bulgarian alternative music scene. A semantic and linguistic analysis of the names of the most popular clubs and bands will be provided and a few conclusions as to the reasons behind this overall trend will be offered supported by findings from the science of suggestology, sociology, and anthropology. The methods used are inclusive observation, anthropological interviews, rich ethnographic materials, and other methods.

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“…Although DIY practices have not received much attention from design historians, there have been some attempts to study the variety of meanings and techniques associated with it throughout history. A special issue of the Journal of Design History on the subject offered an important contribution to the field (Atkinson, 2006), with the articles in this publication revealing how DIY has been associated with various social phenomena throughout history.…”

Section: Introductionmentioning

confidence: 99%

Attachment, Durability and the Environmental Impact of Digital DIY

Maldini¹

2016

The Design Journal

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Do It Yourself: Democracy and Design

Cited by 114 publications

References 1 publication

Commons people: additive manufacturing enabled collaborative commons production (by design)

Commons people: additive manufacturing enabled collaborative commons production (by design)

Linguistic and Semiotic Features of Music Clubs and Band Names in Bulgaria After 1989

Attachment, Durability and the Environmental Impact of Digital DIY

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