Twenty-first International Conference on New Directions in the Humanities

Abstract

This study examines the concept of craft as a form of knowledge within the context of the digital era, employing Simondon’s techno-aesthetics (2012) as a theoretical framework. Traditionally, craft has been associated with specialized skills and manual dexterity. However, with the emergence of digital technologies and tools, there has been a shift towards de-skilling as certain tasks and processes become automated or simplified. By integrating Simondon’s ideas, which emphasize the dynamic relationship between individual objects, tools, and the body, this study investigates how craft can be reconceptualized to include the creative utilization of digital tools, processes, and materials. Simondon’s techno-aesthetics provides a lens through which craft can be understood as an evolving form of knowledge. It goes beyond the mastery of traditional techniques and embraces the integration of digital practices of making. The study highlights the significance of ‘motoric pleasure’ and ‘instrumentalized joy’ in the process of craft, as suggested by Simondon, to capture the experiential and aesthetic dimensions of engaging with digital literacy. Furthermore, the study explores the process of up-skilling, which involves craft practitioners acquiring a hybrid skill set that combines their traditional craftsmanship with new competencies associated with the digital landscape. These competencies may include engaging in open-source practices, utilizing reverse-engineering techniques, participating in peer-to-peer sharing, or implementing common access and common ownership. In conclusion, this study aims to discover how craft can adapt and thrive in the digital age while maintaining its value as a source of knowledge, creativity, and human expression.