User:)biyibiyibiyi(/RW&RM 04/bibliography

* Galloway, A. (2004). Protocol: How Control Exists After Decentralization. MIT Press.

Network protocols such as TCP/IP, W3C Consortium, RFCs.

* Rosenzweig, R. (1998). Wizards, Bureaucrats, Warriors, and Hackers: Writing the History of the Internet. The American Historical Review, 103(5), p.1530.

* Mazzilli-Daechsel, S. (2019). Simondon and the maker movement. Culture, Theory and Critique, pp.1-13.

* Lindtner, S. (2015). Hacking with Chinese Characteristics. Science, Technology, & Human Values, 40(5), pp.854-879.

an overview of maker movement in China from the very first hacker spaces. The writer took noticed of the unique cultural fabrics that exist in Chinese context of maker culture. It also provided brief history of how maker culture originated in Silicon Valley. Origination of maker culture in the U.S. was instilled by media such as the Wired Magazine, as ways to enabling of new forms of citizen science and democratizing technology production. It drew critical comparisons between the Chinese context and elite reuse culture; such as, the understanding of dealing e-waste in mundane small shops in China as making out of necessity and intuitive acts, as compared to reuse promoted as an compensation towards consumerism.

The article also discussed topics of authorship and IP(intellectual property) in context of Chinese manufacturing. It cited "Gongkai", a principle that refer to open sharing principle in Chinese manufacturing and "Gongban", a prototype board that's shared across various components in manufacturing business to decrease cost. This is cited as example that differs to the quintessential Western open source culture.

The examination of Chinese maker movement offered by author's field work challenges western authority and authenticity claims of what counts as innovation, creativity, and design; challenges a global maker movement that subsumes local practices in the visions and historical references to American digital culture.

* Larkin, B. (2013). The Politics and Poetics of Infrastructure. Annual Review of Anthropology, 42(1), pp.327-343.

* Bridle, J. (2018). New Dark Age: Technology and the End of the Future. London ; Brooklyn, NY: Verso

* Easterling, K. (2014). Extrastatecraft; London ; Brooklyn, NY: Verso

* Crary, J. (2014). 24/7. London: Verso.

* Han, B. (2017). Psychopolitics. London ; Brooklyn, NY: Verso

* Aranda, J., Kuan Wood, B., Vidokle, A., Assange, J., Berardi Bifo, F., Diederichsen, D., Latour, B., Lovink, G., MacCormack, P., Obrist, H. and Steyerl, H. (2015). The Internet Does Not Exist. Berlin: Sternberg Press.

* Halpern, O. (2015). Beautiful data. Durham: Duke University Press.

* Turner, F. (2010). From Counterculture to Cyberculture. Chicago: University of Chicago Press.

* Markoff, J. (2014). What the dormouse said. New York: Penguin Books.

It's quite lengthy and rich with details, writing from a journalistic perspective on how personal computer is invented. I am missing critical commentary on, for example, when once computer become personal, does it become an instrument of liberation or subjectification?

* Striegl, L. and Emerson, L. (2019). Anarchive as technique in the Media Archaeology Lab | building a one Laptop Per Child mesh network. International Journal of Digital Humanities, 1(1), pp.59-70.

* Abraham, A. and Bansal, L. (2006). In the shade of the commons. Amsterdam: Waag Society.

* Barbrook, R. and Cameron, A. ()The Internet Revolution: From Dot-com Capitalism to Cybernetic Communism. Amsterdam: Institute for Network Cultures.

Dragana, D. and Charitos, D. (2017). Going Off the Cloud: The Role of the Art in the Development of a User Owned & Controlled Connected World. Journal of Peer Production, Issue 9

Nafus, D.(2011). Patches Don't Have Gender: What is Not Open in Open Source Software. New Media & Society

Coffin, J (2006) Analysis of Open Source Principles in Diverse Collaborative Communities. First Monday, volume 11, number 6

Hertz, Garnet (2009) Methodologies of Reuse in the Media Arts: Exploring Black Boxex, Tatics and Archaeologies. Ditigal Arts and Culture