Читать книгу Critical Digital Making in Art Education - Группа авторов - Страница 26

As a practice that demonstrates improved accessibility and utilizes various tactile modalities, digital-handicraft invites criticality within the making process. The activist potential of this position makes craft more easily dematerialized, shared, and accessible, thus expanding the possible reach and potency of a craftivist project. A digital-handmade practice considers labor as a key component of cultural production immaterial or otherwise. In considering the invisible labor of workers behind technology and materials, the digital-handicraft practice is inherently collaborative and decenters the maker as the sole producer of culture. Moreover, the role of the hand of the maker within craft production is likely to transform with the increased use of haptic technology in the hands of both viewers and makers.

We put forward that the digital-handicraft, a hybridized field of making, emerges from considering touch; examining touch in both discourses expands the potential of interdisciplinary art, new pedagogical models, and alternative modes of organizing and resisting. Through discovering how haptic technologies let us touch digital objects, we clarified that these prosthetics deepen the continuous interaction space between physical and virtual arenas, resisting apparent binaries. We continue to envision haptic engagement as conventional material for craft production, where themes of accessibility, pedagogy, and authenticity remain at the fore. As craft goes digital, so too does the virtual emerge as crafted, highlighting the potential for new ways of making, doing, and organizing material culture.

←32 | 33→