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<p class="MsoNormal"><b><span style="font-size:14.0pt">CFP: Crafting, Hacking, and Making: DIY Pasts, Presents, and Futures<o:p></o:p></span></b></p>
<p class="MsoNormal"><span style="font-size:14.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:14.0pt">Edited by Melanie Swalwell, David Murphy, and Maria B. Garda<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">A burgeoning interest in do-it-yourself production is evident around the world, especially in regions that manufacturing industries have abandoned. But while the contemporary Maker Movement would like us to accept its revolutionary-inspired
rhetoric of rupture and discontinuity (Hatch 2014), we believe that the current enthusiasm for do-it-yourself production is not without precedent. Existing on the peripheries of industrial production, crafting, hacking, and making movements have emerged in
different historical moments and localities in various political and cultural contexts. But instead of inciting comparative analysis, movements have often been defined in opposition to ‘passive’ forms of consumption that a do-it-yourself ethos resists. By
contrast, we would like to encourage analyses attending to the diversity of crafting, hacking, and making practices, and intersections and variations that entangle and distinguish communities, networks, and scenes, so an appreciation of similarities and differences
can add new perspectives to the discourses surrounding the DIY phenomena.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">Furthermore, it is clear that important practices have been excluded from a Science, Technology, Engineering, and Mathematics discourse that is often blind to cultural difference on the one hand, and a Cultural and Media Studies discourse
that is often unwilling or unprepared to deal with engineering on the other. Existing within this gap is an opportunity to bring forgotten histories into conversation with present-day practices—and an opportunity to examine contemporary and historic intersections
where the analogue and the digital overlap—as hacking-inspired methods are no longer specific to digital culture (Cramer, 2014), while digital culture is reigniting an interest in craft (Luckman, 2015). These shifts invite criticism and optimism and a chance
to reflect on the significance (or insignificance) of DIY acts, while also remembering (or forgetting) crafting, hacking, and making presents, futures, and pasts.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">This anthology aims to bring together constellations of do-it-yourself production and culture. Proposals for papers that explore any aspect of crafting, hacking, and making, or parallel practices on the peripheries of current discourse
will be considered. Both contemporary and historical case studies are welcome, and dialogue between the past, present, and future is encouraged.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">If you are interested in contributing, please submit an abstract (no longer than 300 words minus citations, a title, and a short biography) to craftinghackingmaking@gmail.comby August 1st, 2018. Notifications of acceptance will be sent
by September 1, 2018, and January 31, 2019 is the deadline for full chapter submissions. Questions can be emailed to David Murphy david.murphy@ryeson.ca.<o:p></o:p></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><b><span style="font-size:12.0pt;color:#404040;mso-fareast-language:EN-AU">Professor Susan Luckman<o:p></o:p></span></b></p>
<p class="MsoNormal" align="right" style="text-align:right"><b><span style="color:#404040;mso-fareast-language:EN-AU"><o:p> </o:p></span></b></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">Professor: Cultural Studies, School of Creative Industries<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">Associate Director, Hawke EU Centre
<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">University of South Australia<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">Cheney Fellow, University of Leeds 2017-2018<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">Chief Investigator:
</span><span lang="EN" style="color:#404040;mso-fareast-language:EN-AU">'Promoting the Making Self in the Creative Micro-economy' (ARC DP 150100485)
<a href="http://www.unisa.edu.au/craftingself"><span style="color:#1A89F9">http://www.unisa.edu.au/craftingself</span></a>
</span><span style="color:#404040;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU">Author:
<i>Craft and the Creative Economy</i> <a href="http://www.palgrave.com/us/book/9781137399649">
<span style="color:#1A89F9">http://www.palgrave.com/us/book/9781137399649</span></a>
<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="color:#404040;mso-fareast-language:EN-AU"> <o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="font-size:10.0pt;color:#404040;mso-fareast-language:EN-AU">UniSA respects the Kaurna, Boandik and Barngarla peoples' spiritual relationship with their country. We recognise and respect
their cultural heritage, beliefs and relationship with the land and acknowledge that they are of continuing importance to those people living today.<o:p></o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="font-size:10.0pt;color:#404040;mso-fareast-language:EN-AU"><o:p> </o:p></span></p>
<p class="MsoNormal" align="right" style="text-align:right"><span style="font-size:10.0pt;color:#404040;mso-fareast-language:EN-AU">CRICOS provider # 00121B</span><span style="font-size:10.0pt;color:#404040;mso-fareast-language:EN-AU"><o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
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