This post is the first of 4 posts about Digital manufacturing (fabbing) environments that are going to be published weekly in the next 4 Fridays. In these posts I will share my research on fab labs, open innovation and smartcities, mainly in Europe and in Spain.
This has all the makings of an epic and surreal legal battle. You thought Hollywood and record labels were powerful lobbyists, crushing Napster and suing file-sharers?
Last winter, Thomas Valenty bought a MakerBot -- an inexpensive 3D printer that lets you quickly create plastic objects. His brother had some Imperial Guards from the tabletop game Warhammer 40,000, so Valenty decided to design a couple of his own Warhammer-style figurines: a two-legged war mecha and a tank.
He tweaked the designs for a week until he was happy. "I put a lot of work into them," he says. Then he posted the files for free downloading on Thingiverse, a site that lets you share instructions for printing 3D objects. Soon other fans were outputting their own copie
With 3D printing and scanning technology becoming more affordable for the everyday consumer, the Pirate Bay has declared that the next frontier of piracy is going to be real-world objects that can be created on those devices.
Openness – as a theme, in form and as a quality – is central in 'Yes, we’re open'. What can a term like openness mean in art today, and in an internet society? Currently people regard the internet as an 'open' and free medium for the distribution of massive quantities of information, but at the same time politics and commerce meddle with it to an unbelievable degree. The internet has its boundaries, literally and figuratively, and is not infinite. On the other hand, the internet has also contributed immensely to a more or less successful effort toward achieving the transparency and openness that the public wants to see on the part of businesses and organizations. The question of copyright, which is playing a more complex and prominent role in the present era, is also related to this. How does this issue influence art and artists?
A couple of researchers, Jarkko Moilanen from University of Tampere and Tere Vadén from Aalto university, conducted a global survey among "3D Printing community" about a month ago. Survey gained over 350 participants.
This survey is part of P2P Foundation supported project called Statistical Studies of Peer Production.
The fundamental moment in which design becomes a political tool has arrived. Whatever we choose to call it — P2P culture, peer production movement, open-P2P-design — will we be able to find new meaning cooperatively?
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