Eleven propositions to the question: What is contemporary about craft?

I evoke the term 'handmade web' to suggest slowness and smallness as forms of resistance. In today's highly commercialised web of multinational corporations, proprietary applications, read-only devices, search algorithms, Content Management Systems, WYSIWYG editors, and digital publishers it becomes an increasingly radical act to hand-code and self... See more

For those without maker skills, consumer connoisseurship of “craft” commodity categories like previous hipster mainstays coffee and denim became a popular choice of hobby and profession. This in turn contributed to the hundreds of restaurants and brands that all claimed to be part of the movement towards “local,” small production scales, heritage, ... See more

One thing is certain: the authenticity aesthetic served as a cohesive for all of these developments. It tied the spectrum of consumable items, spaces, and identities into a single unified visual experience.

This is a good time to discuss the demand for authenticity and where it comes from. As I hinted at previously, there’s a personal dimension to a... See more

It is impossible to think about the Brooklyn authenticity aesthetic, authenticity commodities, the “maker movement,” and startup culture as independent phenomena. It is not a coincidence that they all developed into mainstream culture at the same time. It might have been inevitable but the Great Recession certainly catalyzed the process.

I evoke the term 'handmade web' in order to advocate for an ongoing active engagement with the making of web pages and of web policies.

In  The Fabric of Interface , Stephen Monteiro argues that our everyday digital practice has taken on traits common to textile and needlecraft culture. Our smart phones and tablets use some of the same skills—manual dexterity, pattern making, and linking—required by the handloom, the needlepoint hoop, and the lap-sized quilting frame. Monteiro

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