DIY

3-D printing has entered the consumer market because of recent radical price declines. Consumers can save substantial money by offsetting purchases with DIY pre-designed 3-D printed products. However, even more value can be obtained with distributed manufacturing using mass customization. Unfortunately, the average consumer is not technically sophisticated enough to easily design their own products. One solution to this is the use of an overlay on OpenSCAD parametric code, although current solutions force users to relinquish all rights to their own designs. There is thus a substantial need in the open source design community for a libre 3-D model customizer, which can be used in any design repository to democratize design. This study reports on the design, function, and validation of such software: the Free Open Source 3-D Customizer. It is demonstrated with a case study of the customization of 3-D printable external breast prosthetics. The results showed that novice users can adjust the available parameters according to their needs and save these to a new file on a website. This PHP (recursive acronym for PHP: Hypertext Preprocessor) library is free and open source and has potential for increasing the usefulness of online repositories to enable distributed manufacturing using consumer customized 3-D printable products.

In order to assist researchers explore the full potential of distributed recycling of post-consumer polymer waste, this article describes a recyclebot, which is a waste plastic extruder capable of making commercial quality 3-D printing filament. The device design takes advantage of both the open source hardware methodology and the paradigm developed by the open source self-replicating rapid prototyper (RepRap) 3-D printer community. Specifically, this paper describes the design, fabrication and operation of a RepRapable Recyclebot, which refers to the Recyclebot's ability to provide the filament needed to largely replicate the parts for the Recyclebot on any type of RepRap 3-D printer. The device costs less than $700 in mate rials and can be fabricated in about 24 h. Filament is produced at 0.4 kg/h using 0.24 kWh/kg with a diameter ±4.6%. Thus, filament can be manufactured from commercial pellets for <22% of commercial filament costs. In addition, it can fabricate recycled waste plastic into filament for 2.5 cents/kg, which is <1000X commercial filament costs. The system can fabricate filament from polymers with extrusion temperatures <250 °C and is thus capable of manufacturing custom filament over a wide range of thermopolymers and composites for material science studies of new materials and recyclability studies, as well as research on novel applications of fused filament based 3-D printing.

Apa yang terbersit dibenak kawan-kawan begitu mendengar kata Jogja. Pasti ada ribuan jawaban yang seketika itu muncul. Tapi mayoritas orang akan mengatakan Jogja itu romantis, Jogja itu bikin kangen, Jogja itu murah.

Tak salah karena itu memang benar adanya. Terutama bagi mereka yang pernah berkunjung ke Kota Budaya ini entah karena liburan, bekerja, belajar atau sekadar mampir pasti ingin kembali mampir.

This paper discusses three methodological themes employed by contemporary media artists who reuse obsolete information technology hardware in their work. Methodologies include the exploration of the hidden “blackboxed” layer of technology by circuit bending artists like Reed Ghazala, the tactical use of technologies to bring social change by artists like Natalie Jeremijenko, and the archaeological use of outdated technologies to intervene in history by artists like Tom Jennings. These themes are presented as useful tools to construct a language of reuse which serves a valuable function in a culture increasingly confronted by electronic waste and assists in critiquing assumptions of obsolescence, technological progress and understanding digital culture primarily within the framework of “new media.”

Do it Yourself (DiY) is a participatory culture which exemplifies a particular ethos in its approach to technology and materials. Rather than engage with 'complete' technologies, such as a technology supplied as ready-to-go item, the DiY practitioners examined in this thesis engage with the raw materials of garbage and recycling, 'incomplete', broken and discarded technologies. In this type of DiY practice the emphasis is towards creating individualised and custom-built forms of technology: often made from components and materials which have been re-functioned from their original intention to produce new and unexpected functionalities; practices which disrupt the dominant discourses of technology.

This e-book is based on the research reports produced during the first year of the EU financed project EDUfashion, a two-year project for the development of a col- laborative platform for fashion creation and continuous education emphasizing skill-sharing and ethical branding. In an age of discontinuity, fashion and its related universe are prisms through which many contemporary issues are being refracted. We are experiencing a twin trend diffusing across the fashion sector. On the one hand consumer demand is being increasingly oriented toward “ethical” fashion items, meaning no sweatshop, ecologically sustainable, locally produced, and fairly traded apparel. On the other side, we’re witnessing the emergence of self-organized employment focusing on independent, socially engaged, critical and multitasking creative production driven more by communal needs than market imperatives or consumer fads. We think that here lies a new perspective on fashion that can be translated into reality by ex- ploring the forces that are behind these consumer and producer trends. EDUfashion project’s main objective is to foster community, collaboration and innovation to provide a new vision and practice for fashion. Our main goal is to support the dissemination of knowledge, skills and practices so to empower a self-managed workforce, in order to create an alternative learning environment for sustainable garment crafting and selling. It will connect various individuals and groups, to enable them to act as small, sustainable enterprises, which will gather under a single open-source participatory brand whose benefits will be shared.


Keywords:

P2P Clothing, P2P Fashion, Peer-production, Open Source, Cultural Economy, Sustainability, Center for Creative Encounters, clean clothes campaign, DIY, EDUfashion, ethical economy, micro-entrepreneurs, p2p, p2p design, social responsibility, sustainable fashion

Most experimental research projects are executed with a combination of purchased hardware equipment, which may be modified in the laboratory and custom single-built equipment fabricated inhouse. However, the computer software that helps design and execute experiments and analyze data has an additional source: It can also be free and open-source software (FOSS). FOSS has the advantage that the code is openly available for modification and is also often free of charge. In the past, customizing software has been much easier than custom-building equipment, which often can be quite costly because fabrication requires the skills of machinists, glassblowers, technicians, or outside suppliers. However, the open-source paradigm is now enabling creation of open-source scientific hardware by combining 3D printing with open-source microcontrollers running on FOSS. These developments are illustrated below by several examples of equipment fabrication that can better meet particular specifications at substantially lower overall costs.

The high cost of what have historically been sophisticated research-related sensors and tools has limited their adoption to a relatively small group of well-funded researchers. This paper provides a methodology for applying an open-source approach to design and development of a colorimeter. A 3-D printable, open-source colorimeter utilizing only open-source hardware and software solutions and readily available discrete components is discussed and its performance compared to a commercial portable colorimeter. Performance is evaluated with commercial vials prepared for the closed reflux chemical oxygen demand (COD) method. This approach reduced the cost of reliable closed reflux COD by two orders of magnitude making it an economic alternative for the vast majority of potential users. The open-source colorimeter demonstrated good reproducibility and serves as a platform for further development and derivation of the design for other, similar purposes such as nephelometry. This approach promises unprecedented access to sophisticated instrumentation based on low-cost sensors by those most in need of it, under-developed and developing world laboratories.

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The 2020 toy and game market is projected to be US$135 billion. To determine if 3D printing could affect these markets if consumers offset purchases by 3D printing free designs, this study investigates the 100 most popular downloaded designs at MyMiniFactory in a month. Savings are quantified for using a Lulzbot Mini 3D printer and three filament types: commercial filament, pellet-extruded filament, and post-consumer waste converted to filament with a recyclebot. Case studies probed the quality of: (1) six common complex toys; (2) Lego blocks; and (3) the customizability of open source board games. All filaments analyzed saved the user over 75% of the cost of commercially available true alternative toys and over 90% for recyclebot filament. Overall, these results indicate a single 3D printing repository among dozens is saving consumers well over $60 million/year in offset purchases. The most common savings fell by 40%–90% in total savings, which came with the ability to make novel toys and games. The results of this study show consumers can generate higher value items for less money using the open source distributed manufacturing paradigm. It appears clear that consumer do-it-yourself (DIY) manufacturing is set to have a significant impact on the toy and game markets in the future.

Anarchism and geography have a long and disjointed history, characterized by towering peaks of intensive intellectual engagement and low troughs of ambivalence and disregard. This paper traces a genealogy of anarchist geographies back to the modern development of anarchism into a distinct political philosophy following the Enlightenment. The initial rise of geographers’ engagement with anarchism occurred at the end of the nineteenth-century, owing to Élisée Reclus and Peter Kropotkin, who developed an emancipatory vision for geography in spite of the discipline’s enchantment with imperialism at that time. The realpolitik of the war years in the first half of the twentieth-century and the subsequent quantitative revolution in geography represent a nadir for anarchist geographies. Yet anarchism was never entirely abandoned by geographical thought and the counterculture movement of the 1970s gave rise to radical geography, which included significant interest in anarchist ideas. Unfortunately another low occurred during the surge of neoliberal politics in the 1980s and early 1990s, but hope springs eternal, and from the late 1990s onward the anti-globalization movement and DIY culture have pushed anarchist geographies into more widespread currency. In reviewing the literature, I hope to alert readers to the ongoing and manifold potential for anarchist geographies to inform both geographical theory and importantly, to give rise to more practice-based imperatives where building solidarities, embracing reciprocity, and engaging in mutual aid with actors and communities beyond the academy speaks to the ‘freedom of geography’ and its latent capacity to shatter its own disciplinary circumscriptions.

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A promising method of enhancing the circular economy is distributed plastic recycling. In this study plastic waste is upcycled into 3-D printing filament with a recyclebot, which is an open source waste plastic extruder. The recyclebot is combined with an open source self-replicating rapid prototyper (RepRap) 3-D printer, to enable post-consumer ABS plastic filament from computer waste to be further upcycled into valuable consumer products pre-designed in the digital commons. The total electrical energy consumption for the combined process is monitored and an economic evaluation is completed. The coupled distributed recycling and manufacturing method for complex products reduces embodied energy by half, while reducing the cost of consumer products to pennies. This economic benefit provides an incentive for consumers to both home recycle and home manufacture, which tightens the loop on the circular economy by eliminating waste associated from transportation and retail. It is clear from the results that waste plastic can be significantly upcycled at the individual level using this commons-based approach. This tightening of the loop of the circular economy benefits the environment and sustainability as well as the economic stability of consumers/prosumers.

Three years in the making, Recipes for Disaster is the long-awaited follow-up to the CrimethInc. collective’s notorious first book, Days of War, Nights of Love. This 624-page manual complements the romance and idealism of that earlier work with practical information and instruction. Over thirty collectives collaborated in testing, composing, and editing the book’s 62 sections, which range from Affinity Groups, Coalition Building, and Mental Health to Sabotage, Squatting, and Wheatpasting. These are illustrated with extensive technical diagrams and first-hand accounts, and prefaced with a thorough discussion of the diverse roles direct action can play in social transformation. If you’re looking for a tactical handbook for revolutionary action, look no further.

Con el objetivo de dar a conocer BioEucaliptol, producto hecho para uso tópico, y comprobar su efecto antibacterial se procedió a la creación del mismo a partir  de Etanol 95°, trimetanolamina, Glicerina, Carbopol, agua destilada y extracto de hoja de eucalipto, creando de esta manera el sistema coloidal de fase continua sólida y dispersión líquida, conocido como gel. (Quimico, 2011)Dando como resultado que el BioEucaliptol, al realizar pruebas con cajas de Petri, no presentó ninguna colonia a diferencia de la muestra control, con resultado positivo a bacterias, aunque no se pueden tomar los datos como de gran veracidad y sin margen de error, ya que la incubadora empleada no presentaba el requerimiento óptimo de temperatura (15- 40°C) ni homogeneidad de la misma (Danival, s.f.) ya que esta era regulada de forma manual.

‘Low vision’ (LV) is a common form of vision impairment that involves irreversible vision loss, significantly reduced vision but not total blindness and hence still usable vision, which affects 246 million people globally. The project developed an open-source haptic proximity module (HPM) costing approximately $100, which can enable LV users to engage with their direct environment through vibration feedback as a measure of closeness. This endeavour contributed to the discourse on wearable assistive technology while incorporating off-the-shelf components to create an accessible open source device. After conducting a study of LV, its effects on an individual’s functional independence and on the available assistive technologies, the project’s findings show that people with LV are still reasonably independent within the home, but outside the home this independence begins to deteriorate due to a lack of vision assistance. The available products are expensive and narrow in application. Hence there is a lack of cheap and readily available haptic devices that could extend a LV user’s perception of their immediate surroundings. This project explored how these findings can be used within a design process to achieve the outcome of improving the functional independence of the LV population within their surroundings through the design of a low cost HPM, shared through an open source network.

The ZoOHPraxiscope is a modified overhead projector that can be used to show cinematographic animations. It allows blending and mixing of animated shadow play with cinematographic animation. Similar to the Zoopraxiscope that was developed by the photographer Eadweard Muybridge in the 19th century, the ZoOHPraxiscope combines a rotating picture disc with a Laterna Magica and shutter mechanism. The mechanical shutter of the original device is replaced by a high-power LED that can be turned on and off at the fraction of a second. The overhead projector acts as Laterna Magica. This new device is used as a performance instrument to combine sound, vision, shadow play and animation.

"Socio-economic and physical change have visibly affected post-socialist cities, yet the state of decay of their inherited large housing estates has only deepened throughout the 1990s, despite the change in tenure through policies of large-scale  privatisation. Housing disrepair has now reached a critical stage that requires rapid private and public intervention. This paper examines the extent to which Romanian block residents have been able to improve in situ their housing conditions since 2000, the strategies they employed and the challenges they faced. It focuses on the often ignored private domain of housing, flats and blocks, where changes are also likely to be less visible. By analysing the process of individual utility metering and the practice of collective block management, I argue that besides economics, the unregulated housing context and a relaxed legal
culture have challenged individual and collective action and have generated a framework of housing privatism."

Sepertimana yang kita semua sedia maklum, dunia sedang mengalami pandemik Coronavirus ataupun dikenali dengan singkatannya sebagai Covid-19 atau SARS-CoV-2 yang lebih akademik.

Berikutan kebimbangan para pemimpin dunia dengan penularan virus yang bermula dari Wuhan,China ini, para pemimpin Malaysia juga dengan sepakat dan bersatu hati untuk melaksanakan Perintah Kawalan Pergerakan (PKP) ataupun Bahasa Inggeris dikenali sebagai Movement Control Order (MCO).

Kenapa perlu tutorial cara membuat Hand Sanitizer sendiri dirumah?

Namun, akibat dari perlaksanaan Perintah Kawalan Pergerakan ini, terjadinya pembelian panik yang sangat luar biasa. Barang-barang penjagaan kesihatan habis dipasaran. Contohnya, sabun hand sanitizer, pencuci detergen, topeng mulut (face mask) dan pencuci disinfeksi.

Tidak lupa juga, bawang juga habis. Ya, HABIS! Kehabisan bawang di pasaraya juga menimbulkan tanda tanya samada kita berjuang menentang VIRUS ataupun VAMPIRE. :D

Di dalam buku ini "Tutorial Cara Membuat Hand Sanitizer Sendiri Dirumah", saya tidak akan membicarakan tentang vampire, hantu, jin atau yang lain-lain. Buku ini akan menerangkan secara ringkas mengenai membuat hand sanitizer anda sendiri dirumah. Langkah ini penting, memandangkan hand sanitizer sangat laku dipasaran tempatan dan anda terpaksa menunggu beberapa lama untuk mengambil pesanan atas talian.

Buku ringkas ini ditulis selari video yang saya layarkan di Instagram.

Since more than 25 years the cutting and forming of THT components is the core business of EBSO. With over 20 standard preforming machines we can provide solutions to any kind of lead forming jobs. Despite of the SMT technology, THT components are still in use in reasonable quantities in the electronic industry hence makes a big portion of our business. Visit our website to learn more about EBSO products.

In this work will be an approach of Open Design and a description of the Ecosystem Open Design. For this, a brief history of man's ability to adapt in his natural environment and his manufacturing capacity will be made. Capacity that was lost in the industrial revolution, leaving the man at the mercy of industrial products.
Some individuals and communities have kept the spirit of making themselves their artifacts only by pleasure, while they shared that knowledge. This culture was known as "hacker culture" and DIY (Do It Yourself), which allowed the birth of emerging technologies such as the Internet, personal computers and concepts as free software (open source - open source design).
With the advancement of information technology, communication and digital manufacturing technologies, knowledge and information have become the principal productive force, as one of the special features never before seen in the two previous industrial revolutions, allowing these communities, recover projetual capacity of the common man, and transforming the linear models of production based on market satisfaction, new forms of production based on common without necessarily involving capital or money. Thus, the roles of designers, manufacturers and users have evolved to other relationship, very different from linear systems. From this context, it is to be described the "Open Design Ecosystem" and each of its main parts: its individuals, communities, the fabbing, websites, hardware, economics and legal framework.
We created a literature review about the aspects related to the Open Design as well as a review of information in the natural space of the Open Design: A network (internet), with the intention of finding elements associated with the "Open Design Ecosystem". These elements have allowed us to develop a mental map with possible connections to the representation of the ecosystem in question.

Hearing aids and cochlear implants can improve accessibility and quality of life for people with hearing impairments. However, use of these devices may cause concern amongst some users due to sociocultural issues such as unwanted attention and perceived stigma. While some individuals may respond to these concerns by attempting to conceal their devices, or even abandoning their devices, others have responded by making their devices more visible through aesthetic customization, and some have begun to share these customizations online. In this paper, we describe community interactions in an online forum dedicated to customized hearing aids and cochlear implants. We found that community members discussed customization tools and techniques, shared their customizations, and provided each other with encouragement and support. Community members customized their devices as a means of self-expression that demonstrated the wearer's fashion sense, revealed favorite sports teams and characters, and marked holidays and personal milestones. Our findings may inform the design of assistive technologies that better support personalization, customization, and self-expression.

Miastotwórczy antykapitalizm polegający w dużej mierze na koncepcji wyjścia poza bycie klasą pracującą oraz nadaniu wartości społecznie użytecznym pracom, wykonywanom w czasie wolnym, poza strukturami gospodarki rynkowej, opiewa w swojej książce Chris Carlsson. Analizując ruchy społeczne, poczynając od miejskich ogrodników (uprawiających ogródki działkowe czy ogrody społeczne) przez entuzjastów paliwa zrecyklingowanego z olejów jadalnych, po programistów kodujących w open source i aktywistów rowerowych organizujących masy Krytyczne, Carlsson wprowadza pojęcie Nowtopii czyli utopii rozgrywanej dokładnie teraz i realizowanej przez wspomnianych mieszkańców miast. Te nowtopijne aktywności tworzą nie tylko tymczasowe strefy autonomiczne ale również są próbą wprowadzenia konkretnych rozwiązań dążących do osiągnięcia społeczności samowystarczalnych. Nowtopia podważa życie w schemacie konwencjonalnej ekonomii (bycia zatrudnionym), która wycenia pracę wykonywaną w stosunku pracodawca-pracownik, wpływającym tak silnie na samodzielne wybory dotyczące czasu wolnego oraz filozofii życia rodzinnego i społecznego, że czasem zatraca się samego siebie, w przeciwieństwie do aktywności nowtopijnych. Równowagę oraz bardziej świadome podejście do życia, a nawet konkretne zmiany w układzie urbanistycznym miasta - zdaniem Carlssona - mogą przywrócić wspomniane grupy z teraźniejszej utopii. Tak jak np. środowiska aktywistów rowerowych walczą o nowy układ dróg bez uprzywilejowanej roli samochodu, a rower traktują jako narzędzie wyzwolonej ekologii.

This paper examines micro-independent record companies, mostly set up by musicians according to the Do It Yourself (DIY) principle. They serve as distribution channels for counter-mainstream, often local, music. This paper discusses the characteristics of micro-(DIY) independents in the Netherlands and their rationale and motives in the context of persisting uncertainties in the music market. Earlier research (Hesmondhalgh 1998b, 1999, Strachan 2003, 2007) on micro-independents in the UK demonstrates their typical moral or political motivations, aiming to counter the hegemony of the capitalist mainstream music industry. The analysis is based on business information and open (qualitative) interviews with 14 companies in Netherlands. The paper shows that DIY-independents want to contribute to broadening the supply of contemporary music. By releasing indie genres and engaging in the associated social discourse, they differentiate themselves from the commercial majors. Commercial or financial success is not considered important and they adhere to collectivist ideologies. However, they do not aim to resist the dominance of the major music industry.

The text analyzes the rise of a digital networked makers culture, connecting the rise of Web 2.0 with new forms of crafting. In the first part, the author highlights the major changes in contemporary culture and economy that are driving to new forms of open, p2p and distributed production. In the second part, the author proposes 13 theses on the rise of digital crafting networks.

Keywords:
DIY; crafting; networked artisans; long tail; Web 2.0; open production; peer-to-peer production; open economy; p2p; digital crafting

This article discusses how the Central Sydney independent musicians' 'online DIY' (do-it-yourself) practices not only provide additional opportunities for practising 'independence', but such practices, established pre-COVID-19, allow them to sustain their networking during the pandemic. Empirical findings that inform this article are based on qualitative strategies of inquiry conducted in the inner-city and inner-west areas of Sydney, Australia between 2017-2019-specifically, semi-structured interviews with 15 individuals involved with the scene, supplemented with participant observation at live gigs, and textual analysis of relevant texts, with follow-up online interviews with the same study participants in late 2020. 'Online DIY' is the integration of digital music and online communication technologies with the Central Sydney independent musicians' independent practices. Since their online DIY practices enabled them to somewhat control where they want to perform, and how they want to produce, distribute, and promote their music, while also maintaining networks with both members of the local scene as well as music industries connections via online platforms like Bandcamp, YouTube, Facebook, and Instagram before the pandemic, the COVID-19-related live music shutdown did not have an immediate adverse impact on their activities.

This article integrates a series of diverse projects that together exemplify and interpret the Systemic Approach to Architectural Performance (SAAP) that has been developed by the author. SAAP is a fusion of several process-based fields and their media and agency, namely: a) Systems oriented design; b) Performance oriented architecture; 3) Prototypical urban interventions; d) Time-based design; e) Service design; and f) Co-design, co-creation and DIY. The article presents SAAP's relations to these fields and concludes with their integration and synergy in a 'Real Life Co-Design Laboratory', where collaborative and collective processes are seen as the resulting design objects or rather, objectives.

Delai sam (do it yourself) is a deeply rooted phenomenon in Russian life. However, as a form of contemporary art, this phenomenon has taken on an activist tenor in post-socialist urban Russia. Founded in 2010, the Delai Sam Festival of Urban Actions represents a politicized approach to DIY urbanism in today’s Russia, in which artists, designers, activists and scholars are joining together to develop alterna- tives to official visions for the design and planning of their cities. This article critically examines the discourse of the first few Delai Sam festivals in Moscow and Saint Petersburg, and related urban interventions, to understand how these actions are both situated within their local context, and linked discursively to global trends in art and urban activism. DIY actions like Delai Sam open windows into the convergence of art and social activism, the aesthetic and the political, currently taking shape within the global city.

​ In this paper, we describe a number of experiments and discoveries related to electroluminescent paper. Working with its chemical and physical properties, we present designerly ways of using electroluminescence, using different ephemeral substrates, hand painting, water as electrode, and sonic capabilities of electroluminescent displays. We propose a shift from electronics-oriented hardware to chemical and physical experiments with materials, arguing that such an engagement with inherent interactive properties of matter may lead to novel design ideas and creation processes. 1. Introduction For more than ten years, physical computing has drastically changed the way in which we use digital technologies in design and architecture. Today, responsive environments and objects are a collage of hardware components that can activate their physical parts, emit lights and sounds, and communicate among them. However, the process of composing ready-made electrical elements does not allow us, designers to explore and work with the properties of matter that make it active or responsive. In our research group we conduct material experimentation on the threshold between the mechanic, chemical and electronic. Our focus are materials that are inherently capable to change their states and/or properties in different environmental conditions or when exposed to electrical or chemical change. They are often not commercially available and the processes of creating them are too complex to be brought to a design studio. In order to address this issue, we develop processes, methods and tools that can allow designers, artists and architects to create with novel active materials and to explore how their behavior can be shaped and to what purpose. From the onset, we realized that such materials are suitable to explore novel creative practices, but also specific topics relevant for contemporary design such as aliveness, ephemerality, imagination, adaptability, hospitality and sustainability to name but a few. In this paper, we focus on one such material, namely electroluminescent paper and devices. 2. Transient Technology and Ephemeral Paper Interfaces The concrete materials explored in this paper challenge us with issues of longevity, durability and decay. These dynamic and fragile qualities are in direct opposition to the durability we have come to expect from consumer objects, technology and architectural environments. In the face of environmental problems related to electronic devices, a different approach is needed. Perhaps we can shift the value

So far, most sustainability research in HCI has been framed by persuasion theories . Without denying the merits of this approach, there is danger that we limit our understanding and our visions of sustainable living if we focus too much on this single aspect. In particular, HCI should not just ask how technology can change peoples' behaviour towards acting in a more environment-friendly manner. We should ask as well how could we empower people to adopt technologies that would facilitate environment-friendly lifestyles. Concerning this challenge, we argue that Do-It-Yourself communities are of high interest for sustainability research in HCI, especially the ones that are interested in environment related activities in areas such as urban gardening, home energy management or textile crafting. Especially in relation to digital fabrication technologies, these communities have great potentials for developing end-user innovations in the area of sustainability, supporting their appropriation by other users and propagating their practical use in everyday life. However, technology-oriented communities are still seen as places for nerds and technology-savvy people, and often have problems to attract wider audiences. Therefore we suggest for discussion during the workshop the following topic: how could HCI help to popularize sus-

A handmade book project by Garnet Hertz in the field of critical technical practice and critically-engaged maker culture. Critical making is defined by Ratto as exploring how hands-on productive work - making - can supplement and extend critical reflection on the relations between digital technologies and society. It also can be thought of as an appeal to makers to be critically engaged with culture, history and society.

Contributors: Mitch Altman (Noisebridge), Marie Bjerede, Julian Bleecker (Nokia), Albert Borgmann (U Montana), Jonah Brucker-Cohen (Parsons), Anne Burdick (Art Center), Daniel Charny (Royal College of Art), Ginger Coons (U Toronto), Critical Engineering Working Group (Julian Oliver, Gordan Savičić, Danja Vasiliev), Chris Csikszentmihalyi (Art Center), Carl DiSalvo (Georgia Tech), Dale Dougherty (Make Magazine), Paul Dourish (UC Irvine), Rob Duarte (Florida State University), Peter Flemming (Concordia), David Forbes, Alex Galloway (NYU), Benjamin Gaulon, Reed Ghazala, Ken Gregory, Esben Hardenberg, Natalie Jeremijenko (NYU), Daniel Jolliffe (U Ottawa), Brian Kane, Denisa Kera (National University of Singapore), Leonard Koren, Stephen Kovats, Stacey Kuznetsov (Carnegie Mellon), Golan Levin (Carnegie Mellon), Silvia Lindtner (UCI), Liz Losh (UCSD), Geert Lovink (Hogeschool van Amsterdam), Rafael Lozano-Hemmer, John Maeda (RISD), Roger Malina (Leonardo / MIT Press), Michael Manalo, Matthew Manos, Richard Maxwell (CUNY), Toby Miller (UCR), Monochrom, Rebecca Niederlander, Mark Pauline (Survival Research Labs), Allison Powell (London School of Economics), Fiona Raby (Royal College of Art), Matt Ratto (University of Toronto), Real Rydaz Lowrider Bicycle Club, RideSouthLA (USC), Niklas Roy, Craig Saper, Phoebe Sengers (Cornell), Jay Silver (MIT), Scott Snibbe, Kristen Stubbs, Josh Tanenbaum (Simon Fraser), McKenzie Wark (New School), Patricia Watts, Norm White, Amanda Williams, and Kaiton Williams (Cornell).