I am perhaps a little bit apprehensive of the rise of ‘humanoids’. But, in reality, how is Hatsune Miku any different from someone like Justin Bieber? Both shown through videos on a screen and audio through a speaker. This is where we see the fine line between craft and commodity.
Justin Bieber – A commodity, untouchable and unchangeable.
Hatsune Miku – A craft, where her audience can buy and contribute to the product.
Hatsune Miku’s creators have allowed the audience creative freedom. By purchasing the software, they can create their own songs and, therefore, influence the message of the product. They are both consumers and producers.
This is the development of craft in the digital age. As a result of new mediums, we have a movement towards collaborative experiences where everyone can influence production.
Another example of digitally enabled craft is glitching.
Glitching and creating purposeful ‘mistakes’ embodies authenticity that is becoming increasingly more desirable in the post-industrial society.
Perhaps this is due to what we infer of the artistic value. Unpredictability? Connotations? Like getting all warm and fuzzy reminiscing on our past technology as discussed in the YouTube video below.
The ability to manipulate content has dissolved the boundaries between conception and production. Digital craftsmanship is not certain, it is of risk.