Hackerspaces

WEEE (waste electrical and electronic equipment) is estimated to be one of the fastest-growing waste stream worldwide and in the EU. Due to its content of dangerous substances, it is considered and regulated as hazardous waste. At the same time WEEE is a potential source for recuperation of valuable materials, such as precious metals. This paper presents the current European regulatory framework concerning WEEE management. As part of the assessment, fulfilment of the producer responsibility principle in the context of WEEE management is analysed as an example of implementation of the principle in practice. Furthermore, the paper explores selected consumer-initiated initiatives. The goal of the work is to frame and examine the topic WEEE under an EU lens and to highlight selected responses to the issue of WEEE increase, and more generally to explore current responses for sustainable management of this material stream.
The EU WEEE Directive sets targets to reduce generation of WEEE and to enhance proper collection, re-use and recycling of this material stream, encouraging producer responsibility as key principle. In response to the directive, the European Recycling Platform, that is the first ever pan-European producer compliance scheme, was established for providing an alternative concept to national monopolistic schemes. While in Europe top-down approaches based on regulatory frameworks have become common in WEEE management, consumer-initiated bottom-up initiatives to address WEEE are comparatively rare, but can become vital elements to lower occurrence of such waste streams. Community-based hackerspaces are one example of proactive response towards reduction of avoidable e-waste and should therefore be fostered.

This paper explores which rules and values are relevant to contemporary practices of hacking and making. It examines how members in hacker-and makerspaces conceptualise their communities and their use of digital technology. Based on interviews with community members in England, observations of physical spaces and online message boards, it shows how rules, social values, and communal practices are interrelated. Hackerspaces (also called hackspaces) and makerspaces are physical locations where community members meet in order to engage in and discuss activities such as programming and electronics construction. While the public perception of hacking as illegal activity is common, 1 hackerspace members understand and pursue hacking mainly as creative interaction with digital technology. 2 Hackerspaces have a great potential to facilitate creativity and IT literacy, and to act as hubs for (digital) civic engagement and learning. 3 At the same time, while feminist hackerspaces have received increased attention more recently, it is important to recognise that such spaces often suffer from a gender bias as male-dominated communities. 4 Expertise as it is acquired and maintained in such spaces facilitates new forms of civic participation. 5 Nevertheless, the term hacking is still closely associated with illegal activities, immoral use of information technologies, and breaking into closed systems. In computer science education and for trainings targeted at an employment in the field of IT security, educational institutions and service providers have even suggested the term 'ethical hacking' in order to dissociate 'legal' from 'illegal hacking' (cracking). 6 Moreover, the term makerspace has become more common during the last years: It refers to communities which are (in many ways) similar to hackerspaces, while avoiding the negative connotations of 'hacking'. 7

A implementable plan to seed the process of the Creative Economy and redeem America's misspent wealth.

Utilizes the Pangaia World Game, available here, for managing it.  Be sure to see the most recent version of both these documents at wiki.hackerspaces.org.

Prerequisite:  Responsibility for the old.

L’article s’interroge sur les pratiques féministes de hacking qui ont évolué dans les dernières années et leurs effets spatiaux. C’est tout d’abord à travers le hacking du corps (hacking the body) que les pratiques féministes de hacking se sont particulièrement développées. Mais l’engouement pour le hacking du corps, pratique assez individuelle, laisse tranquillement place aux réponses à la violence en ligne puisque ces dernières sont omniprésentes, urgentes et collectives. C’est grâce aux réflexions collectives, aux années de militantisme et aux habiletés techniques que les hackeuses féministes créent des infrastructures féministes autonomes telles que des hackerspaces, des serveurs, des listes de discussions et des bots pour faire échec à cette violence. Cet article vise finalement à révéler certaines des spécificités du hacking féministe et ce, en proposant des principes phares de leurs pratiques et de leurs effets spatiaux, dont la politique de la visibilité, la coproduction du savoir, la solidarité et la prise de conscience de la matérialité de la technologie.

‘HACKER SPACE’ คือพื้นที่เสมือนศูนย์กลางการเรียนรู้และพื้นที่สำหรับแบ่งปันองค์ความรู้ต่างๆ ทั้งในรูปแบบของ WORKSHOP การบรรยาย ซึ่งจะใช้ความสัมพันธ์แบบกลุ่มเป็นตัวนำพาผู้คนให้มาแลกเปลี่ยนความคิดและสร้างสรรค์สิ่งใหม่ๆ ร่วมกัน รองรับความต้องการ ของกลุ่มคนรักเทคโนโลยีและนวัตกรรมใหม่ๆ ในสังคมร่วมสมัย
        แนวคิดการออกแบบพื้นที่เริ่มจากการประยุกต์การจัดการพื้นที่ตามแนวคิด ‘BA Concept’ ของ Kitaro  Nishida นักปราชญ์ชาวญี่ปุ่น ‘Ba’ หมายถึง  สถานที่ หรือ พื้นที่ ที่กลุ่มคนมาอยู่รวมกันและแลกเปลี่ยนความรู้และสร้างความรู้ ซึ่งพื้นที่นั้นอาจจะเป็นพื้นที่เสมือนจริง (Virtual) หรือพื้นที่ด้านความคิด ซึ่งถูกแสดงออกมาเป็นส่วน Originating Ba เป็นพื้นที่ส่วนแรกที่สร้างความรู้และแสดงให้เห็นถึงความสำคัญของประสบการณ์ที่ได้รับจากการพบปะสมาคม เกิดขึ้นในส่วนของ Event stair ส่วนที่สอง Interacting Baเป็นพื้นที่การพบปะสมาคมของกลุ่ม สมาชิกภายในกลุ่มจะเป็นผู้กลั่นกรองสมาชิกที่มีความรู้ ความสามารถเพื่อให้ถ่ายทอดความรู้ เกิดขึ้นในส่วน Flexible Event Stair และAuditorium ส่วนที่สาม Cyber Ba เป็นที่ๆ เกิดการติดต่อสัมพันธ์กันในโลกแห่งความเป็นจริงแทนสถานที่และเวลาจริงโดยใช้เทคโนโลยีสารสนเทศเป็นเครื่องมือ เกิดขึ้นในส่วน Co-Working Space และส่วนที่สี่ Exercising Ba เป็นพื้นที่ของการเรียนรู้และการคิดโดยอาศัยการฝึกในระหว่างการทำงานจริง หรือการเข้าไปมีส่วนร่วมกับในงานต่างๆ อย่างสม่ำเสมอ เช่น Workshop
แนวคิดในการออกแบบรูปทรงอาคาร เริ่มจากการศึกษาและออกแบบให้ตัวสถาปัตยกรรมโครงการเป็นสัญลักษณ์ของย่านหอการค้าไทย-จีน ภาพที่เลือกคือการใช้’เรือสำเภาจีน’ที่ปรากฏในวัฒนธรรมการค้าขายแลกเปลี่ยนของสยาม-จีนตั้งแต่อยุธยาจนรัตนโกสินทร์ เรือสำเภาจีนจึงเป็นสัญลักษณ์และความหมายของการค้าขาย การเดินทางเพื่อแลกเปลี่ยนสินค้าและวัฒนธรรม เพื่อขับเคลื่อนเศรษฐกิจและความสัมพันธ์ทางด้านต่างๆระหว่างประเทศไทยกับจีน เพื่อปลุกจิตวิญญาณวัฒนธรรมของย่านนี้ โดยใช้วิธีการ Simile and Metaphor เรือสำเภาจีน ในการสื่อความหมายเชิงการขับเคลื่อนเพื่อการเดินทางแลกปลี่ยนสินค้าและวัฒนธรรม โดยการศึกษาการหมุนของกลไกต่างๆของเรือสำเภาที่มีหน้าที่ขับเคลื่อนตัวเรือสำเภาให้กลายเป็นองคาพายพแห่งสถาปัตยกรรมที่มีพลวัตร สู่ความเคลื่อนไหวของกิจกรรมในโครงการเพื่อกระตุ้นผู้ใช้ให้ระลึกถึงสัญญะแห่งวัฒนธรรมผ่านเรือสำเภา เพื่อรองรับอนาคตธุรกิจ startups ที่จะเป็นตัวขับเคลื่อนเศรษฐกิจแบบใหม่  ให้เข้ามาเกี่ยวข้องกับชุมชน สังคมมากขึ้น เพราะนี่คือปัจจัยที่สำคัญต่อความสำเร็จของธุรกิจในโลกปัจจุบันด้วยองค์ประกอบเหล่านี้ช่วยอัดฉีดเม็ดเงิน ทรัพยากรและความมีชีวิตชีวากลับสู่ชุมชนในที่สุด
HACKERSPACE is like a learning center and the knowledge sharing area in forms of WORKSHOP, lecture, creating a group relationship to lead people to exchange their opinions and create the new things to support the demand of new technology and innovation.
By adapting the “BA Concept” of Kitaro Nishida, a Japanese philosophy. “Ba” means place or assembly area of people to share the knowledge and create new knowledge. The area can be Virtual area or conceptive area such as experiences, thoughts and ideals. In terms of shape, the building was studied and the architect was the symbol of Thai-Chinese Commercial symbol, represent the trading area, transportations to exchange products and cultures to drive the economy and international relationship between Thailand and China. The symbol also represents The Sense of Place by Simile and Metaphor from the Chinese argosy, representing moving for trading and culture exchange. Study the mechanic of the argosy such as mast, helm, and paddles. There are circulation to create different format and spaces, representing the area of the important parts of the project to drive the creativities
          In the future, Startups will be the new driver of economy. Startups business will come to involve with village and event exhibition because it is the important factor for their success. These factors can increase the money, resources, and liveliness to the village.

Una ciudad moderna no sólo es el espacio por antonomasia de la diferencia, sino que debe hacer de la diversidad el motor de su crecimiento.  La diversidad lejos de ser un problema es la principal fuente de inspiración de sus políticas, es la vibración que la mantiene en forma.  Una ciudad entonces debe aprender a vivir de/en la discrepancia, la diferencia, la heterodoxia y la rebeldía.  Y aprender a vivir juntos reclama desarrollar nuestra habilidades de escucha, cuestionando la fácil y costosa tentación de vigilar conflictos, regular disonancias, normalizar disensos o manipular discrepancias.  Además de entornos estables, regularizados o seguros también necesitamos espacios que reconozcan en la desobediencia, la improvisación, la paradoja y el desencuentro expresiones de una vitalidad (a veces, malestar) que deben ser reconocidos y que con frecuencia funcionan como palancas capaces de movilizar otras miradas, otras conceptualizaciones u otras prácticas.  Estos espacios que evocamos son los laboratorios ciudadanos de innovación.
Un laboratorio ciudadano es un espacio hospitalario capaz de convocar la diversidad y que metaboliza malentendidos y desencuentros para construir nuevas formas de crítica.  Un laboratorio ciudadano es un entorno experimental donde se someten a escrutinio público, abierto y horizontal la pluralidad de experiencias y conocimientos. Un laboratorio ciudadano es un lugar de producción de nuevas formas de visualizar, mapear y representar los problemas.  Un laboratorio ciudadano no es una asamblea legislativa, ni una plataforma para movilizar ideas  afines a un partido, un colectivo o un movimiento. Un laboratorio es un espacio de trabajo orientado a la producción de prototipos y no una sala de exposiciones.
Un laboratorio ciudadano es un lugar donde se están experimentando nuevas formas de ciudadanía y nuevas formas de conocer.  En un laboratorio ciudadano  no hay objetos que presentar, sino experimentos en construcción y, en consecuencia, más que dotar a la sociedad con nuevos objetos que mostrar, usar o vender, lo que se hace es ensayar nuevas formas de vivir juntos mediadas por la tecnología, respetuosas con la experiencia, resistentes al pacto y proclives a la innovación.

Research concerning computer hackers generally focuses on how to stop them; far less attention is given to the texts they create. Phrack, an online hacker journal that has run almost continuously since 1985, is an important touchstone in hacker literature, widely read by both hackers and telephone and network security professionals. But beyond its instantiation as a compendium of illicit technical knowledge, Phrack was, above all, a rhetorical publication. The files in each issue of Phrack created a shared rhetorical vision concerning the place of the hacker underground within society and in relation to law enforcement officials, as well as what it means to be a hacker. This essay examines two important events in the evolution of the hacker movement through the lens of Phrack—Operation Sundevil and the arrest of Kevin Mitnick. How these events were framed in Phrack both shaped and reflected emerging shifts in hacker collective identity.

Maker culture, the so-called revolution bringing digital fabrication technologies to the common citizen, has gained a lot of ground in the last few years. Maybe too much, in fact. We can of course ignore those people who are only, as always, surfing the current wave of hype. They seldom have any clue of the ideas they are selling themselves with anyway. But it also feels as though everybody else is talking about maker culture. Those words are even being uttered by people who have always been opposed to what they should mean. Or is it me? Did I get it wrong all the way?

Makerspaces are at once an emerging architectural and institutional typology and a manifestation of the so-called sharing economy. But will they last? Originally published in Nov. 2015: https://placesjournal.org/article/makerspace-towards-a-new-civic-infrastructure/

"A double is haunting the world--the double of abstraction, the virtual reality of information, programming or poetry, math or music, curves or colorings upon which the fortunes of states and armies, companies and communities now depend. The bold aim of this book is to make manifest the origins, purpose, and interests of the emerging class responsible for making this new world--for producing the new concepts, new perceptions, and new sensations out of the stuff of raw data.

A Hacker Manifesto deftly defines the fraught territory between the ever more strident demands by drug and media companies for protection of their patents and copyrights and the pervasive popular culture of file sharing and pirating. This vexed ground, the realm of so-called ""intellectual property,"" gives rise to a whole new kind of class conflict, one that pits the creators of information--the hacker class of researchers and authors, artists and biologists, chemists and musicians, philosophers and programmers--against a possessing class who would monopolize what the hacker produces.

Drawing in equal measure on Guy Debord and Gilles Deleuze, A Hacker Manifesto offers a systematic restatement of Marxist thought for the age of cyberspace and globalization. In the widespread revolt against commodified information, McKenzie Wark sees a utopian promise, beyond the property form, and a new progressive class, the hacker class, who voice a shared interest in a new information commons.

Since the microcomputing revolution in the 1970s we live in the age of permanent technological disruptions, but institutional and educational practices remain unchanged. As noted by Flavin, " technologies come and go but the university remains, in a recognizable and largely unchanged form " (Flavin, 2017). Disruptive technologies, such as distributed consensus systems (blockchains, DLTs) challenge the role of the university as gatekeeper to knowledge and question the structure and organisational architecture of institutions. The only chance for traditional institutions is to find interfaces to informal and technology-driven " production cultures " (Tarasiewicz, 2011) to be able to radically reinvent the university. If the universities don't react to technological and societal change, they will be forked, replaced, and decentralized.

A large number of community based spaces for individual and social creation and production have emerged over the past decade. The new and easy access these spaces provide to small scale production technologies and specialized design and manufacturing knowledge has the potential to empower individuals to bring about significant social change. We study two such spaces, a hackerspace and a fab lab to improve our understanding of their role and influence within the same urban area.

Los hackers han capturado nuestra imaginación a través de memorables imágenes en televisión, cine y el periodismo. Los medios los presentan como criminales informáticos ex­pertos; a veces, como activistas que buscan la libertad en Internet. Pero no todos son delincuentes. Los hackers de “sombrero blanco” utilizan de manera innovadora la tecnología. En tal sentido, el propósito de este libro es describir sus motivaciones y valores éticos. En este estudio colabo­raron tres hackers, de quienes conocí las prácticas a través de la observación participante y entrevistas a profundidad. Mediante el análisis del discurso comprendí la dimensión ética que tienen con respecto a la tecnología. Asimismo, fue posible apreciar que los hackers comparten valores, formas de trabajar y una visión del mundo que lucha por una mayor libertad para todos. Su confianza en los idea­les y el trabajo comunitario los asemeja más a un culto religio­so que a los espías de la era digital retratados en el cine.

The Manual maps projects and hacks. The projects link streetscapes and data-landscapes. The hacks go after what’s in the way. Endgame is an urban design protocol. A protocol is a recipe. This recipe is for a street in “A City That Thinks.” Hackerspace for Myth Making lays out a line of case studies. The case studies are protocol r + d. They include a nightclub, media labs, theatrical plays, gallery shows, documentary films, street projections, and a line of public installations. They were up-running as private-public culture made the switch over to full-body digital apparel. Remix binds all the projects. The projects pushed remix artists into the street. Shoved them out to map a 2-byte maelstrom. But the Manual is more than a remix handbook or an art scene audit. It’s also a dispatch, a dispatch from a front. The front was St. Louis, Missouri. The St. Louis street was project workshop, scaffold, and catwalk. The projects were arks. They were gear to navigate patterns, kit to weave a course. But there were problems in assembling transit tools. If you want early radar systems on the street you better be ready to go after the bad code. The Manual chronicles a messy cognitive arms race. It traces resistance to the street as a way-station to peer and charts a clamp-down on a radar street.

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.

This paper examines the recent emergence of feminist hackerspaces in the United States. As little data exist on this practice, this paper is based on interviews undertaken with intersectional feminist, queer and trans hackers who have been involved in the development of feminist hackerspaces. Through this paper, I demonstrate that for feminist hackers, makers and geeks the open space concept enshrined as the core of the standard hackerspace model is largely undesirable. They envisage a different role for their hackerspaces, one in which boundaries offer both safety and a platform for political resistance. In doing so the trajectories of hacker and feminist culture are brought together.

This chapter is part of an ongoing research project ('CityLabs') focusing on the role that so-called maker-spaces and hackerspaces (may) play in developing new forms of bottom-up urbanity. While too soon to lay out the project's findings (ethnographic fieldwork is ongoing in Accra, Cape Town,  Lomé and Nairobi), the intention here is to present the project's vantage point and ambitions

The particular characteristics and affordances of technologies play a significant role in human experience by defining the realm of possibilities available to individuals and societies. Some technological configurations, such as the Internet, facilitate peer-to-peer communication and participatory behaviors. Others, like television broadcasting, tend to encourage centralization of creative processes and unidirectional communication. In other instances still, the affordances of technologies can be further constrained by social practices. That is the case, for example, of radio which, although technically allowing peer-to-peer communication, has effectively been converted into a broadcast medium through the legislation of the airwaves. How technologies acquire particular properties, meanings and uses, and who is involved in those decisions are the broader questions explored here.
Although a long line of thought maintains that technologies evolve according to the logic of scientific rationality, recent studies demonstrated that technologies are, in fact, primarily shaped by social forces in specific historical contexts. In this view, adopted here, there is no one best way to design a technological artifact or system; the selection between alternative designs—which determine the affordances of each technology—is made by social actors according to their particular values, assumptions and goals. Thus, the arrangement of technical elements in any technological artifact is configured to conform to the views and interests of those involved in its development. Understanding how technologies assume particular shapes, who is involved in these decisions and how, in turn, they propitiate particular behaviors and modes of organization but not others, requires understanding the contexts in which they are developed.
It is argued here that, throughout the last century, two distinct approaches to the development and dissemination of technologies have coexisted. In each of these models, based on fundamentally different ethoi, technologies are developed through different processes and by different participants—and therefore tend to assume different shapes and offer different possibilities.
In the first of these approaches, the dominant model in Western societies, technologies are typically developed by firms, manufactured in large factories, and subsequently disseminated to the rest of the population for consumption. In this centralized model, the role of users is limited to selecting from the alternatives presented by professional producers. Thus,
according to this approach, the technologies that are now so deeply woven into human experience, are primarily shaped by a relatively small number of producers.
In recent years, however, a group of three interconnected interest groups—the makers, hackerspaces, and open source hardware communities—have increasingly challenged this dominant model by enacting an alternative approach in which technologies are both individually transformed and collectively shaped. Through a in-depth analysis of these phenomena, their practices and ethos, it is argued here that the distributed approach practiced by these communities offers a practical path towards a democratization of the technosphere by: 1) demystifying technologies, 2) providing the public with the tools and knowledge necessary to understand and shape technologies, and 3) encouraging citizen participation in the development of technologies.


This thesis examines hackathons and their outcomes for participants and organizers. These events exemplify issues in collective identity and the recursive relationships between individual and collective concerns. Hackathons in the public interest are best understood as collaborative venues which engender both technological output and personal benefit to organizers and participants. Negotiating the tensions between the agendas of participants and organizers leads to a reevaluation of collective identity in these groups. Conceptualizing these events as "weak collectives" reflects the individual autonomy of participants and how personal agency determines participation versus representation within the group.

Esta pesquisa investigou modos de mediação tecnológica em experimentos com interfaces vestíveis (REILLY, 2017; MARINI,2017). Os vestíveis neste caso são conceituados como objetos ou protótipos construídos em Espaços do Fazer que se dão em eventos ou lugares como Fab Labs, Makerspaces (VIEIRA, 2019; EYCHENNE; NEVES, 2013; GERSHENFELD, 2005) ou Hackerspaces (MARTINS, 2017). Tais ambientes de interação evidenciam dimensões
pertinentes entre o campo da técnica (SIMONDON, 2013) e o conceito de Do It Yourself (DIY)/Faça Você Mesmo (CABEZA; MOURA, 2015; NEVES, 2014). O corpus empírico se consolidou a partir de entrevistas informais, mapeamentos online, ações presenciais norteadas
pela etnografia e a realização de experimentos pautados no método da Observação Participante (MALINOWSKI, 1984; MARIETTO, 2018). Experimentos low tech e high tech de prototipagem foram base da construção de vestíveis e da análise do trabalho. Análise esta
pautada em dois estudos distintos de caso. O primeiro deles ocorreu no Espaço Divaholic (SP) em abril de 2019 com a prototipagem de vestíveis IoT (Internet of Things) em plataformas abertas de hardware como o Arduino, Lilypad Arduino e NodeMCU. O segundo experimento
articulou os saberes da costura e da eletrônica em peças vestíveis, durante a 2a edição do projeto
Favela Hacklab (BH) promovido pelo Gambiologia, entre novembro e dezembro de 2019. A noção teórico metodológica de mediação se ancora no campo dos Science and Technology Studies (STS), especialmente com base na enquete latouriana aos modos de existência da técnica (LATOUR, 2019). A noção de interface (BRUNO, 2001) está vinculada à mediação e à noção de prototipagem (BROWN, 2017). A escolha empírica pelos vestíveis se dá pela dimensão material e algorítmica destes objetos que ressignificam a experiência humano-
máquina (MANN, 1998; TURING, 2019), inclusive nos âmbitos comunicacionais contemporâneos. Os resultados desta pesquisa apontam a prototipagem como um modo de mediação tecnológica que se desdobra em outros, principalmente na conexão com a gambiarra [PRO.GAM], fabricação digital [PRO.FAB] e com a codificação criativa [PRO.COD].

Palavras-chave: 1.Mediação Tecnológica. 2.Movimento Maker. 3.Interfaces Vestíveis 4.Prototipagem 5.Cultura Hacker

Makerspaces have helped frame processes of design, adaptation, and the repair of things and systems—hardware, software, networks, tools, food, currencies, energy, bacteria—as social activities (Sleigh et al., 2015). Makerspaces have also been revealed as sites that encourage self-directed civic practices and the assembling of new civic identities, or DIY citizenship (Nascimento, 2014; Toombs et al., 2014; Kubitschko, 2015; Shea, 2015; Hunsinger and Schrock, 2016). This chapter offers an additional contextual review and further evidence of emergent civic practices linked to makerspaces, focusing attention on peace-building projects in Northern Ireland. It specifically examines the role of design and material engagement in the performance of these ethical and social interventions. The study elucidates how the propagation of alternative thinking and responsible action in Northern Ireland’s makerspaces is challenging normative understandings of civic participation.

From the rising number of hackerspaces to an increase in hardware start-ups, maker culture is envisioned as an enabler of the next industrial revolution – a source of unhindered technological innovation, a revamp of broken economies and educational systems. Drawing from long-term ethnographic research, this article examines how China’s makers demarcate Chinese manufacturing as a site of expertise in implementing this vision. China’s makers demonstrate that the future of making – if to materialize in the ways currently envisioned by writers, politicians and scholars of the global tech industry – rests on taking seriously the technological and cultural fabrics of professional making outside familiar IT innovation hubs like Silicon Valley: making-do, mass production, and re-use. I trace back to China’s first hackerspace, documenting how a collective of makers began to move away from appropriating Western concepts of openness towards promoting China as source for knowledge, creativity and innovation. This article demonstrates that when China’s makers set up open hardware businesses and articulate a unique culture of “hacking with Chinese characteristics,” they draw boundaries between the professional making they saw embodied in Chinese industrial production and the hobbyist making embodied in Western histories and cultures of hacking. In so doing, they position China as site of both technological and cultural expertise, intervening in dominant conceptions of computing that split manufacturing and innovation along geographical lines. The article contributes to critical scholarship of innovation and making cultures, technological expertise and authorship.

Social innovation requires a transformation in innovation practices. These transformations should be democratic. At least that is the argument in this paper. Makerspaces are studied as potential sites for democratising innovation activity. Makerspaces are community-based workshops where people access the tools, skills and collaborators to design and make almost anything they wish. The tools available include technologies for digital design and fabrication, and which permit collaboration between participants in different workshops via online platforms and social networks. Makerspaces are also networked spaces for reflection and debate over design and making in society. But they are many other things too, including a place for personal recreation, entrepreneurship, and education - features of increasing interest to institutions. Makerspaces are pulled and pushed in different directions. An open innovation agenda seeks to insert makerspace creativity into global manufacturing circuits under business as usual. Others see in makerspaces an inchoate infrastructure for a commons-based, sustainable and redistributed manufacturing economy. Activists anticipate more democratic relations in material culture and political economy. Makerspaces are thus socially innovative and not socially innovative at the same time: a site of struggle over issues of profound social significance, and hence an example of innovation democracy in action.

The contribution of this article consists on building on the types of innovation mechanisms in Living Lab
networks (Leminen, Westerlund, & Nyström, 2012; Leminen, 2013) by relating each type to a different
theoretical innovation logic (methods for creativity; social innovation; open innovation; user innovation).
Each logic is related to a different type of localized space of collective innovation (Fab Labs, co-creation
spaces, coworking spaces and hackerspaces) and participants’ motivation to collaborate. The literature
review on the main characteristics of each logic and the corresponding motivations of participants provide
some guidelines for Living Lab practitioners about how to motivate participants in the different modes of
“Living Labbing”.

Les hackers et autres bidouilleurs développent souvent un goût précoce pour l'informatique et les usages détournés des dispositifs numériques. Ce travail s'appuie sur une enquête ethnographique au sein d'hackerspaces, ainsi que des entretiens avec des étudiants et professionnels de l'informatique impliqués dans le « monde hacker ». La fréquentation des hackerspaces leur permet de pro-longer leur passion pour ces pratiques et d'y trouver des ressources appuis divers. Cet article se propose d'ouvrir des pistes de réflexion sur la socialisation des hackers, en questionnant les différences générationnelles ainsi que les multiples manières d'articuler exigences professionnelles et investissement au sein du hackerspace.
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Starting in adolescence, hackers develop an interest in computing and diverting the use of digital apparatus. What connections, complementarities, or tensions, exist between one’s hacking activities and professional life? For the purpose of this research work, an ethnographic survey was conducted in French hackerspaces – together with interviews of students and computer experts involved in the “hacker culture”. Their socialization within these practices is nurtured through hackerspaces, giving them access to a variety of supports. Building on the analysis of singular courses, this contribution aims at raising questions on hacker socialization and on the means of harmonisation between occupational requirements and hackerspace activities.

Disobedient Electronics: Protest (Hertz, 2016) is a limited edition publishing project that highlights confrontational work from industrial designers, electronic artists, hackers and makers from 10 countries that disobey conventions. Topics include the wage gap between women and men, the objectification of women's bodies, gender stereotypes, wearable electronics as a form of protest, robotic forms of protest, counter-government-surveillance and privacy tools, and devices designed to improve an understanding of climate change.

Social innovation requires a transformation in innovation practices. These transformations should be democratic. At least that is the argument in this paper. Makerspaces are studied as potential sites for democratising innovation activity. Makerspaces are community-based workshops where people access the tools, skills and collaborators to design and make almost anything they wish. The tools available include technologies for digital design and fabrication, and which permit collaboration between participants in different workshops via online platforms and social networks. Makerspaces are also networked spaces for reflection and debate over design and making in society. But they are many other things too, including a place for personal recreation, entrepreneurship, and education - features of increasing interest to institutions. Makerspaces are pulled and pushed in different directions. An open innovation agenda seeks to insert makerspace creativity into global manufacturing circuits under business as usual. Others see in makerspaces an inchoate infrastructure for a commons-based, sustainable and redistributed manufacturing economy. Activists anticipate more democratic relations in material culture and political economy. Makerspaces are thus socially innovative and not socially innovative at the same time: a site of struggle over issues of profound social significance, and hence an example of innovation democracy in action.

Enabled by ICTs and digital fabrication tools such as 3D printing, and facilitated by shared workspaces such as makerspaces and FabLabs, digital innovation and fabrication networks (DIFNs) are emerging globally. To open the debate on this nascent phenomenon in the global South, this paper examines the current state of knowledge and offers future research directions. Through a systematic scoping review of 70 articles, it identifies a need for more empirical and more conceptualised research, particularly on under-researched regions including Latin America, Africa and most of Asia. Three research topic areas are identified for immediate attention: the nature of production processes within DIFNs; the relationship between DIFNs and the wider innovation systems within which they sit; and the tension between the open and closed worldviews manifest in DIFNs.

Hacker spaces, maker spaces, Living Labs, Fab Labs or co-working spaces are common denominations of localized spaces of collaboration (LSC) where knowledge communities meet to collectively innovate. These spaces can represent a key element in the innovation ecosystem of cities, bridging between individual's creativity and the firms' innovation. However, the increasing importance of this phenomenon has been overlooked by researchers on innovation both in organizations and in territories. The research here presented is a first attempt to study the LSC phenomenon globally, by proposing a typology that classifies 120 spaces depending on the leaders (users or organizations) and the main driver (social or economic) of the projects developed in the LSC.

Hacker spaces, maker spaces, Living Labs, Fab Labs or co-working spaces are common
denominations of localized spaces of collaborative innovation (LSCI) where knowledge
communities meet to collectively innovate. These spaces can represent a key element in the
innovation ecosystem of cities, bridging between individual’s creativity and the firms’
innovation. However, the increasing importance of this phenomenon has been overlooked by
researchers on innovation both in organizations and in territories. The research here presented
is a first attempt to study the LSCI phenomenon globally, by proposing a typology that
classifies 120 spaces depending on the leaders (users or organizations) and the main driver
(social or economic) of the projects developed in the LSCI. The contribution of this paper is
to propose a practical methodology that could be applicable to the classification of other
existing LSCI. Furthermore, the proposed typology could be used by policy makers to
reinforce the interactions between the actors of the local innovation ecology.

Esta dissertação relata as descobertas, hipóteses e conclusões de pesquisa a respeito de um tipo de produção colaborativa que aproxima arte, ciência, ativismo, inovação, design, entre outras áreas. Concentra-se no surgimento, em anos recentes, dos assim chamados laboratórios experimentais - espaços articulados em rede nos quais tal produção toma corpo. São abordadas sob tal perspectiva denominações tais como labs de mídia, hackerspaces, Fablabs, entre outras. A pesquisa analisa alguns desses modelos sobre o pano de fundo do imaginário tecnoutópico, que afirma as tecnologias de informação como instrumentos de combate à burocratização e à alienação da sociedade. Com o objetivo de questionar a usual associação dos labs experimentais em termos gerais ao desenvolvimento da cibernética e em particular ao histórico do estadunidense MIT Media Lab, a pesquisa explora outros fios narrativos para os múltiplos campos que influenciam a formação dos labs. Debruça-se ainda sobre o diálogo entre, de um lado, o contexto contemporâneo dos labs em diferentes partes do mundo, e de outro a contribuição da ideia de uma cultura digital particularmente brasileira - que ao longo da última década proporcionou a construção de um discurso que aproximava software livre, diversidade cultural e políticas públicas de inclusão social. São debatidos em particular dois eixos da cultura digital brasileira: o compensatório, que buscaria corrigir distorções históricas incluindo populações na chamada era da informação; e o exploratório, que buscaria criticar e influenciar os caminhos futuros da articulação entre tecnologia e sociedade. A dissertação relata ainda pesquisa de campo desenvolvida na Finlândia, onde foram vivenciados a preparação de um festival internacional de arte e tecnologia, visitas a diferentes espaços que se situam no campo dos labs experimentais, e o contato pessoal com integrantes de grupos e coletivos que atuam na fronteira entre cultura e tecnologia. Tais experiências contribuíram para a compreensão de elementos importantes dos labs experimentais, principalmente o aspecto da não conformação às expectativas de uma sociedade cada vez mais regida pela transformação de toda expressão cultural em valor econômico. Esse entendimento é aprofundado ao fim da dissertação na imagem do lab experimental como espaço em branco que, ao mesmo tempo em que funciona como interface entre redes digitais e as dinâmicas particulares dos locais onde se encontram, também situam-se como instâncias de resistência e reinvenção frente ao capitalismo informacional de matriz cibernética.

This paper examines some of the initiatives that aim to teach programming skills at all levels in education to those for who would otherwise find it hard, due to nothing other than a lack of knowledge and opportunity within their education system, to gain an entry point into these skills. It also examines what can be learned from ‘hacker’ culture. It does not cover formal computer science education but focuses on the interwoven histories of computer programming and education, and their impressive output. The abstract was submitted before government minister Michael Gove proposed promising changes to UK ICT education, the idea being to liberate educators from an ICT that teaches little more than the use of proprietary applications such as Excel or Powerpoint, and begins to draw on some of the creative solutions that have been under continuous and often connected development since the late 1960s.

"Elevated age in cyber warfare
Malware has become focused
SCADA Systems (Stuxnet)
Malware performs Operational Preparation of the Environment (OPE)
Conficker (Millions still infected)
Ransomeware
Data is being held hostage
The advanced capability of the threat has increased the risk.
Understanding the risk allows employment of defensive measures to mitigate the risk – “Risk will always be present”"

This paper describes a peer-production movement, the hackerspace movement, its members and values. The emergence of hackerspaces, fablabs and makerspaces is changing how hacker communities and other like-minded communities function. Thus, an understanding of the nature of hackerspaces helps in detailing the features of contemporary peer-production. Building on previous work on 'fabbing', two different sets of results are presented: (1) empirical observations from a longitudinal study of hackerspace participants; and (2) a theoretical description of hacker generations as a larger context in which peer-production can be located. With regard to (1), research data has been collected through prolonged observation of hackerspace communities and two surveys.

Recently there has been tremendous interest in “makerspace” and its potential in libraries: from middle school and public libraries to academic and special libraries, the topic seems very much top of mind.  A number of libraries across the country have been actively expanding makerspace within the physical library, and exploring its impact; as head of one such library, I can report that reactions to the associated changes have been quite polarized.  Those from the supported membership of the library have been uniformly positive, with new and established users as well as principal donors immediately recognizing and embracing its potential to enhance learning and catalyze innovation; interestingly, the minority of individuals that recoil at the idea have been either long-term librarians or library staff members.
I suspect the polarization may be more a function of confusion over what makerspace actually is.  This piece offers a brief overview of the landscape of makerspace – a glimpse into how its practice can dramatically enhance traditional library offerings, revitalizing the library as a center of learning.

Recently there has been tremendous interest in “makerspace” and its potential in libraries: from middle school and public libraries to academic and special libraries, the topic seems very much top of mind.  A number of libraries across the country have been actively expanding makerspace within the physical library, and exploring its impact; as head of one such library, I can report that reactions to the associated changes have been quite polarized.  Those from the supported membership of the library have been uniformly positive, with new and established users as well as principal donors immediately recognizing and embracing its potential to enhance learning and catalyze innovation; interestingly, the minority of individuals that recoil at the idea have been either long-term librarians or library staff members.
I suspect the polarization may be more a function of confusion over what makerspace actually is.  This piece offers a brief overview of the landscape of makerspace – a glimpse into how its practice can dramatically enhance traditional library offerings, revitalizing the library as a center of learning.

Nas últimas décadas, temos assistido à proliferação de diversos tipos de espaços alternativos de pesquisa, produção e aprendizado colaborativos. Neste artigo, abordamos um tipo específico deles, os
hackerspaces, que se caracterizam por serem, a princípio, auto-organizados e autofinanciados, sem patrocínio ou ingerência externa. Em nossa análise, além de explorar suas especificidades, trazemos alguns apontamentos a fim de articular essa experiência com as
iniciativas de ciência cidadã, em sua vertente democrática, e a  constituição de uma ciência comum, proposta por Antonio Lafuente e Adolfo Estalella.

Em Aberto, Brasília, v. 28, n. 94, p. 189-197, jul./dez. 2015
Abstract
New students in the old classroom: the teaching of art and
technology between institutionalization and possible worlds
Six students from three federal universities, in different stages of the course of visual arts (second, fifth and seventh semesters), were interviewed about the relevance of the curriculum or the approach of the course content. Projects in art, science and technology arise inside and outside academia. These projects are developed in so-called labs (hacklabs, fablabs, medialabs), conducted by researchers
who share the hacker activism ethics, whereby all knowledge must be open and shared. However, there is an absence of discussions that contextualize initiatives and movements closely related to artistic activism within the digital culture, which militate for free software and collective working methods.
Keywords: art; technology; hacker activism; course; visual arts.

In this paper, we discuss how a flourishing scene of DIY makers is turning visions of tangible and ubiquitous computing into products. Drawing on long-term multi-sited ethnographic research and active participation in DIY making, we provide insights into the social, material, and economic processes that undergird this transition from prototypes to products. The contribution of this paper is three-fold. First, we show how DIY maker practice is illustrative of a broader “return to” and interest in physical materials. This has implications for HCI research that investigates questions of materiality. Second, we shed light on how hackerspaces and hardware start-ups are experimenting with new models of manufacturing and entrepreneurship. We argue that we have to take seriously these maker practices, not just as hobbyist or leisure practice, but as a professionalizing field functioning in parallel to research and industry labs. Finally, we end with reflections on the role of HCI researchers and designers as DIY making emerges as a site of HCI innovation. We argue that HCI is positioned to provide critical reflection, paired with a sensibility for materials, tools and design methods.