research. However, this does not mean that the selec-
tion of projects and perspectives that combine to an
entirety is coincidental and of less importance. Like
all artefacts it is the whole that really matters. None-
theless the whole should not be regarded as a some-
thing linear in which every argument is like a tree
that grows from linear roots but rather the mesh-
work-like unity described by Deleuze and Guattari
(2004) as “rhizomatic”. This consists of nothing than
overlapping and displaced lines; of multiplicities
connected to other multiplicities where there are no
points of culmination, termination or external ends.
(D&G 2004: 23f )
It is has been most practical to organize the thesis in
five chapters with each chapter following a line and
mode of engagement in different practices. These
lines come under the headings of Hacktivism, Here-
sy, Fan Fiction, Small Change Protocols, and Pro-
Ams. Their order should not be seen as a structured
progression, but neither are they simply in random
order. A process can be followed through the transi-
tion of the projects as well as the connections to the
economy of fashion. The projects are different “phas-
es” of this process, yet they do not culminate in the
last chapter. Nevertheless, all chapters cut through
one specific line. This line of engagement is what I
call the abstract machine of hacktivism and it is an
approach of assembly or a certain diagram of be-
coming that runs throughout the whole thesis. This
will be described in the coming section. Finally, the
methodological appendix finishes the thesis with a
discussion of a number of intersecting lines that are
intended to help position the work from different
contexts. The reader can therefore, through own sec-
tions, dive from point to point, ride along a line, or
draw new diagonals. The hope is that the reader will
gather a new understanding of this subject, to ap-
prove or reject ideas, or to be inspired to act on his
own accord. In such a rhizomatic structure there are
many possible points of entry, and likewise several
overlapping layers of theories, projects and exam-
ples. To initiate the most fruitful way of approaching
this way of reading the format of this thesis has been
arranged as that similar to a fashion magazine. Thus
it can be just leafed through, even beginning at the
end, glancing through illustrations and reading the
captions. Likewise, it can be subject to a more careful
and attentive browsing, and following up particular
discussions, examples and projects. Naturally, it can
of course be worthwhile to read from beginning to
end, even if it will not provide a linear experience
that leads from a question to an answer. “The ques-
tion is not: Is it true? But: does it work? What new
thoughts does it make possible to think?” (Massumi:
“Translators foreword”, in D&G 2004: xv)settings
In this section I will set some initial points of depar-
ture for my research. I will begin with a quick look at
the situation of fashion from my perspective and
how this work approaches that field of research. On
the way I must make a quick detour to show in which
way I use fashion throughout this text and in the
projects described further on. This will allow the
reader to take a closer look both at my own stand-
point and point of departure for the research. We
will then follow a discussion about the main thread
that stretches throughout the thesis – that of hack-
tivism.
Still continuing along this line of thought we will
meet a central concept in my work, that of Action
Spaces; those zones of interactivity where potentials,
skills and tools meet to form new concepts, practices,
products and services. We will also discuss one of
several dilemmas that arise when engaging and
stretching action spaces in collaborative projects. Fi-
nally, we will meet a new emerging crafter and de-
signer role that might act as a certain guiding light
during the reading of the chapters to come. Let us
start with the settings.
&Fashion design and the fashion industry are con-
stantly changing, yet it has always been a sign of ex-
clusivity, a material sign of status and aspiration for
the chosen few. Over the last decades, fashion may
have become more ”democratic”; stressfully ubiqui-
tous, and what was before considered a luxury item
has for many, at least in our part of the world, be-
come an everyday desirable and necessary compo-
nent in their lives. Star designers create collections
for H&M and copies in various forms swamp the
markets. Great shifts occur in fashion as it now be-
comes a globally distributed phenomenon in which
we at any minute can be photographed for some
street-wear webpage, and indeed every fashionista
seems to have their own blog. However, in relation to
the inherent logic of fashion, consumers are gener-
ally passive; they are offered platforms from which to