The Maker Movement Unmade? Part 2: The Roots of the Maker Movement

With the shaky ground that Maker Media (now Make: Community) stands on, this author was prematurely ready to signal the end of the maker movement. However, we have already received feedback from a number of people in the world of open source hardware who suggest that, while the Make: brand may have run into issues, the larger movement it still thriving. We will provide those comments in a follow-up article as a means of diagnosing the current state of the maker community.

American and Australian soldiers in the reading room of the Ballarat Mechanics Institute in 1942.

Before we get into the future, however, it’s worth looking at the history of the hacking mentality and makerspaces. Depending on how far back you want to go, we could back to the 19th century and Mechanics’ Institutes, which joined libraries, labs and lecture halls. Funded by industrialists, these facilities were meant to provide the working class with a place to gain skills that would aid them in the workplace.

This sort of acceptable form of tinkering, however, seems to be part of a lineage distinct from the sort of unauthorized hacking that would play an important role in the creation of makerspaces much later. As broken down by author “Maxigas” in the Journal of Peer Production, we can distinguish between more-or-less sanctioned makerspaces (or “hackerspaces,” as they were earlier called) and unsanctioned hacklabs (the terms used by the author only to keep the two traditions separate).

Hacklabs blended different movements that developed from the 1970s. In Europe, this included the leftist autonomous movement, which developed with the idea that the working class could create its own power structures separate in response to the State and capital. Communists and anarchists within this fight appropriated physical spaces and real estate to challenge the establishment, a practice known as squatting.

Also in the 70s, the miniaturization of electronics enabled budding tech enthusiasts to computers from kits, like the Altair 8800. Inspired by phone phreaks who experimented with public telephone networks a decade before them, hackers worked individually or often in clubs to program their own software with a philosophy dedicated to the freedom of information and sharing of knowledge.

With the development of technology, another activist tradition developed nestled in the roots of squatting, but dedicated to intervening in cultural spaces. The practice of culture jamming emerged as a form of media activism characterized by pirate radio stations, then video broadcasts and eventually internet-based works.

Maxigas describes the emerging ideology in this way: “Many media activists adhered to some version of Gramsci’s theory of cultural hegemony, taking the stand that cultural and educational work is as important as directly challenging property relations. Indeed, this work was seen as in continuation with overturning those property relations in the area of media, culture and technology.”

Forte Prenestino. Image courtesy of Spotted by Locals.

In turn, squatting and media activism blended, as squats served as urban hubs for internet access as well as locations to orchestrate culture jamming. These became hacklabs, which emerged roughly between 1995-2005. An interesting example is Italy’s Ultralab, established at the occupied fortress of Forte Prenestino in Rome.

Whereas these sites were dedicated to a countercultural mode of living and challenging society, Maxigas describes hackerspaces (later also called “makerspaces”) as less subversive than hacklabs, as the concept of hacking became institutionalized (like the creation of the Electronic Frontier Foundation) and more integrated into mainstream society. An example of an early second wave hackerspace, would be C-base, founded in 1995 in Berlin as a community center for free internet access.

By the late 2000s, hackerspaces had proliferated extensively, with lectures around the world, as well as established media, inspiring this proliferation. In 2007, Cologne’s C4 hackerspace gave a talk called “Building a Hackerspace,” which inspired “Building Hacker Spaces Everywhere: Your Excuses are Invalid” the next year in the U.S. Hackerspaces.org was founded in 2008, with 72 hackerspaces listed.

Maxigas summarizes the formation of hackerspaces by saying: “the emergence of hackerspaces is in line with a larger trajectory in the hacker movement, which gradually has gained more institutional structures. The turn towards the physical (mainly through utilising micro-controlers) marked the point when hackerspaces became widespread since development and collaboration on such projects is greatly facilitated by having a shared space. While most discourse and innovation in the community was focused on the organisational form rather than the political content of hackerspaces, such less defined and more liberal-leaning political content allowed the movement to spread and forge connections in multiple directions without losing its own thrust: from companies through civil society to a general audience.”

At the same time, the philosophies of hacklabs and hackerspaces/makerspaces are quite different. Hacklabs were born out of a tradition of leftist activism and, at least according to Maxigas, see inclusion of women, sexual minorities and the disabled almost as inherent to the creation of the space. Whereas hackerspaces/makerspaces have tended to be made up of male, well-educated, white and more affluent members with a more narrow philosophy focused on freedom of information and innovation, rather than challenging the status quo. At the same time, due to their integration into society at large, hackerspaces have proliferated more widely than the more societally challenging hacklabs.

The growth of hacklabs vs. hackerspaces, based on data taken from hacklabs.org and hackerspaces.org. Image courtesy of Maxigas.

The creation of MAKE: Magazine in 2005 seems to lay at the intersection between second- and third-wave hackerspaces. Perhaps it represents the conclusion of the second and beginning of the third wave, which included the introduction of the term “maker”, the launch of Maker Faires, and the media frenzy that coincided with the introduction of 3D printers, microcontrollers, consumer drones and more.

So, we might refer to this third wave, in which hackerspaces were commercialized and branded, as the “maker movement.” We will look at the commercialization of the maker revolution more in the next part of this series and explore the extent to which that commercialization may have played a role in the unmaking of certain portions of the maker movement.

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The Maker Movement Unmade, Part 1: Maker Media

For those of us who were drawn into the world of 3D printing because of the seemingly limitless possibilities of open source hardware, there is an obvious sense that something has died. It would be hard to attribute the gaping hole left by the once vibrant maker movement to a lack of zeal on the part of its members, so one wonders what exactly happened to kill off the DIY revolution that was supposed to completely change the way we live our lives.

To understand how exactly the maker movement was unmade, we will be investigating various players involved, exploring the RepRap forums, and, hopefully, hearing from some of you to learn of any behind-the-scenes machinations meant to unmake open-source machines (if such scheming exists beyond this paranoid author’s mind). We’ll begin with Maker Media.

The company was started in 2005 with the publication of MAKE: magazine, in which readers were guided through some of the most ingenious DIY or DIWO (Do-It-With-Others) endeavors imaginable. Just a year later, the first Maker Faire was launched just outside of San Francisco, giving these see-to-believe projects the physical space that they deserved.

Over the course of 15 years, Maker Media became more than a brand, but the symbol of a revolution in thinking and living in which it was possible to join together with a community and craft enjoyment out of scraps and off-the-shelf materials. And not just in the U.S., but all over the globe, with over 240 Maker Faires taking place in over 40 countries in 2017.

A marshmallow cannon at the White House “Week of Making”

Maker Faires and Mini Maker Faires popped up everywhere from China, Australia and Spain to the UK, Italy and Chile. There was even a Maker Faire hosted at the White House in 2014, meant to underscore the potential of U.S. youth as well as a revitalization of the country’s manufacturing prowess, previously outsourced for cheap labor.

At the same time as the success of the revolution continued, the company that had sparked the movement began to falter. In January 2016, Maker Media laid off 17 employees. In 2019, eight workers were let go in March before the rest of the staff was fired in June, at which point the company ceased operations.

This came despite the fact that the company’s largest Maker Faire, in the Bay Area, met its sales targets and maintained 125,000 paid subscribers to its magazine. However, according to TechCrunch, “high production costs in expensive cities and a proliferation of free DIY project content online had strained Maker Media.” Corporate sponsors were no longer as enthused, with Microsoft and Autodesk declining to sponsor the 2019 Bay Area event.

Maker Media may be down but is not entirely out. In July, it was reported that Dougherty had revived the company using his personal finances, hiring back 15 of the 22 fired staff members and relaunching MAKE: as a quarterly (from six issues a year to just four). It continues to license its logo to Maker Faire events.

Reborn as Make: Community, Maker Media now offers subscribers access to the digital magazine, members directory, a community platform and exclusive videos. If the company is fully revived, subscribers will also have access to maker and makerspace directories, Maker Faire ticket giveaways, chat forums with staff and guest MCs, and “a voice in the direction and causes of Make: Community.” Make: Community is also seeking “Corporate Members,” who will benefit from “priority access to innovating professionals, makers, and consumers” in the Make Community Network.

Even Dougherty seems unsure about the survival of his brand. He told a small meetup in Oakland, “I’d be happy if someone wanted to take this off my hands.” So, at this point, it’s more than a little unclear about whether or not Make: Community will be able to continue forward.

MakerBot 3D printers in reverse chronological order of development.

The flatlining of Maker Media was just one almost-death among the death of many maker movement symbols, including Printrbot and RepRapPro Ltd. Just a month ago, LulzBot nearly kicked the bucket. Throughout this journey, we’ve also had our innocence lost, with Kickstarter not only hosting countless disreputable projects, but even engaging in union busting. Then, of course, we saw MakerBot and Ultimaker leave their maker roots in the search for industry profits.

So, what happened exactly? As Open Works founder Will Holman suggests, are even DIY-ers just not fit enough to really work with advanced components manufactured by big corporations?

Before a death knell was even sounded, Evgeny Morozov described a number of fatal flaws in the maker movement in the New Yorker. For instance, perhaps there never really was a countercultural movement to begin with, but rather a rearrangement of or tinkering with the existing parts of capitalist consumer society. Or maybe moneyed interests saw a profitable opportunity in the Making and co-opted the movement, thus sucking it of its lifeforce and destroying it. Or maybe all of the above.

As we explore the other victims undid with the unmaking of the maker movement, we hope to answer these questions and fill in the blanks in our picture a bit further.

The post The Maker Movement Unmade, Part 1: Maker Media appeared first on 3DPrint.com | The Voice of 3D Printing / Additive Manufacturing.

Make Your Own Set of 3D Printed Egg Speakers For Less Than $150

Heine Nielsen, a 37-year-old maker from Denmark who goes by the name dr_frost_dk on Thingiverse, is always up for trying out “totally untested” projects. After spending two decades building amps and speakers, Nielsen decided to try out 3D printing last year and see if it would be a good way to make an enclosure for audio speakers.

We’ve definitely seen plenty of 3D printed speakers before, along with headphones, earbuds, and other audio equipment, like CD players and mics. After Nielsen saw how strong some of the 3D printed parts were that his friend had made, he was inspired to give it a shot with a fun pair of 3D printed audiophile egg speakers. He told 3DPrint.com that he has been developing this project “for about a year.”

In an article for Make: in its Projects section, Nielsen explained that this easy DIY project, which does require basic soldering skills, only takes 1-3 hours and $51-$150 to complete.

Heine Nielsen

“The result: A pair of good-looking speakers that truly sound great, with no sharp corners to impede airflow inside the cabinet. The “egg” has always been one of the holy grails of cabinets in the hi-fi world, but they’re hard to make in a conventional way. Now it’s much easier with 3D printing,” Nielsen wrote.

“I learned a lot about using infill settings to create an air gap between the inner and outer walls. This helps a lot — instead of just having solid plastic, the air gap dampens the pressure from inside, so the outer wall has less resonance. Material and wall thickness have the biggest effect on holding in the sound pressure, so you get more sound pressure in the listening room.

“It’s been a long process in getting the ratios “right” but I’m so amazed at the sound coming from such small speakers.”

You can find STL files for 3″, 4″, and 5″ egg speakers on Nielsen’s Thingiverse. The directions for the project vary a little, depending on which size you go with.

In the article, Nielsen explains step by step how to complete this project, starting with cleaning up your 3D printed egg speakers “so they look their best” and then drilling two 5 mm holes in the back of the egg for the speaker wire connection.

“It’s tricky to print these so they fit perfectly,” Nielsen said about why the eggs weren’t 3D printed with the holes already added.

Next, 3.5 mm threads need to be tapped for the speaker mounting holes, so the plastic won’t separate when the speakers are screwed in. MDM-5 foam should be placed around the speaker hole, while 10 mm foam should go behind the bass port.

You’ll need to solder two female gold bullet connectors to one end of the speaker cable, then glue them into the back of the egg from the inside – just be careful not to mix up the polarity.

“This step is a bit fiddly, so do some dry runs,” Nielsen said.

Once you’ve connected your speaker to the bare end of the wire, put on the ring and screw it in, before gluing the feet, which Nielsen 3D printed out of Ninjaflex, to the bottom of the enclosure.

Then, you will repeat the entire process for the second speaker. Once both speakers are finished, connect them to an amplifier and enjoy!

“I’m very happy with the result — it sounds better than any other cabinet I’ve ever had in this size,” Nielsen said.

His original low-poly model had a little difficulty with even wall infill-thickness, so he created a high-poly model as well.

Nielsen said, “For my next build I’m printing these transparent, and adding WS2812B LEDs so they’ll fill the room with sound and also with every kind of light and color pattern you can think of!”

What do you think of this project? Will you try it yourself? Discuss this and other 3D printing topics at 3DPrintBoard.com or share your thoughts below.