, Volume 28, Issue 2, pp 133–145 | Cite as

Concerted knowledges and practices: an experiment in autonomous cultural production

  • Xin Wei Sha


About 20 years ago, the ecology of media art practices proliferated in two domains: those that attached themselves to high technology labs or companies like Xerox PARC, and those that took advantage of personal computing to form collectives only loosely coupled to academic institutions or disciplines. In this essay, I closely examine the diverse epistemic cultures and diverse technical, political, and generational interests in such “cyber-anarchist” networks. I sketch the economy of knowledge in recent media arts and technology communities of practice in the wake of Open Source. I use as my lens the experience of creating a responsive media space called the TGarden, with a collective that gathered more than 26 artists and engineers from 11 institutions and 7 nations.


Art and technology Science and technology studies Media art Autonomous production Responsive environments Open source Knowledge economy 



I am indebted to Michael Century for trenchant observations and for the opportunity to write about the TGarden experience. I thank my colleagues in the TGarden consortium: Maja Kuzmanovic, Chris Salter, Laura Farabough, Evelina Kusaite, Nik Gaffney, and other members of the FoAM and sponge creative networks, as well as the many supporters of this experiment in autonomous cultural production.


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Copyright information

© Springer-Verlag London Limited 2012

Authors and Affiliations

  1. 1.Topological Media LabConcordia UniversityMontrealCanada

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