The emergence of desktop ‘3D printing’ is not only a technological development, but equally a social and economic phenomenon that actively (and often contentiously) co-produces the material and ideological infrastructures it occupies. Reflecting wider momentum toward digital-material convergence, the current “revolution” in desktop digital fabrication is fundamentally attributable to the efforts of decentralized Maker and DIY communities who, connected through digital networks, practice citizen-led technological experimentation and occupy novel spaces for innovation and entrepreneurship.
Employing hybrid qualitative methods that include Critical Making, this research explores the following themes: rhetoric versus reality, the divisive notion of ‘digital craft’, perceptions of authenticity, as well as cultural momentum manifested in decentralization, convergence, stratification, and iteration. An overarching theme emerges: 3D printing is a fluid phenomenon – in literal, metaphorical, technological and cultural ways.
| Identifer | oai:union.ndltd.org:TORONTO/oai:tspace.library.utoronto.ca:1807/31404 |
| Date | 19 December 2011 |
| Creators | Ree, Robert |
| Contributors | Ratto, Matthew |
| Source Sets | University of Toronto |
| Language | en_ca |
| Detected Language | English |
| Type | Thesis |
Page generated in 0.002 seconds