From installations overlaid on the world around us to reprints of otherwise inaccessible archaeological finds that we can handle at will, digital objects help us interact with and understand the world differently. This workshop will walk through a wide variety of digital-making methods, from the 3D scanning of real world objects to laser cut mixed-media structures, and offer a clear view of the analog skills that underpin these digital approaches. We'll use your research question or object as the entry point to make sense of the world of digital making and rendering, and we’ll also send you home with an activity that will help you bring digital making into your classroom. This presentation is part of a series of workshops offered by the Institute for Digital Arts and Humanities called Choosing a Digital Method.
First Thursday features IU Makes, a network of makerspaces across the Bloomington campus dedicated to supporting curricular, research and creative needs and curiosities of students, faculty, and staff through digital and non-digital fabrication. Come explore making opportunities and meet representatives from: 3D Printing Lab, UITS SICE (School of Informatics, Computing, and Engineering) Makerspaces Mobile Maker Cart, IU Libraries MAD LABS (Makerspace for Art + Design), School of Art, Architecture + Design MILL (Make, Innovate, Learn Lab), School of Education IU Makes is partnering with the Institute for Digital Arts & Humanities as part of IDAH's Making the Arts and Humanities speaker series for 2017-2018.
Culture, Power and Learning in Makerspaces: Enacting Equity at the Crossroads of Arts, Humanities and Sciences
Making is a deeply cultural and historical practice that often lives at the intersection where science meets the arts and humanities. As a portal to practicing various ways of knowing, inquiring, creating and relating, making is increasingly shaping educational spaces, both inside and outside of the classroom. Yet efforts to expand access to “makerspaces” often treat making as a normative or ahistorical practice, and tend to reproduce individualistic and economic narratives with regard to the purposes of making. In this talk, Vossoughi offers a critical framework for design, practice, and research on making in educational spaces. This framework draws from cultural-historical theories of learning, literature on educational equity and justice, and Vossoughi’s long-term ethnographic research on afterschool tinkering programs that merve students in non-dominant communities. More specifically, Vossoughi argues that a framework for equity in making ought to include: a.) critical analyses of educational injustice; b.) historicized approaches to making as cross-cultural and cross-disciplinary activity; c.) explicit attention to pedagogical philosophies and practices; and d.) ongoing inquiry into the sociopolitical values and purposes of making. Offering examples of each of these principles, Vossoughi considers the specific theoretical and pedagogical sensibilities that animate transformative visions for educational equity. This presentation is part of the Institute for Digital Arts and Humanities Making the Arts & Humanities 2017-2018 theme.
Quantitative Transgressions: Computing and Quantitative Methods in History and Literary Studies. This term the Computational Humanities Reading Group (CHRG) will examine three recent cases where it appears that scholarship in the humanities and interpretive social sciences has failed to use quantitative evidence skillfully. Are these cases the expected outcome of explorations of new methods? Might an infelicitous use of quantitative methods ever be intentional? Are more mundane explanations credible, such as publishers' failures to match articles with suitable reviewers? Join us this year as we consider cases from history and literary studies. The topic for November's meeting of the CHRG is "The History Manifesto: A Critique." In "The History Manifesto: A Critique" Cohen and Mandler criticize an interpretation of data from Chapter 2 of The History Manifesto by Armitage and Guldi. Related: "The History Manifesto: A Critique" (pdf) Reply to "The History Manifesto: A Critique" (pdf) Chapter 2 of The History Manifesto (pdf) And please join us for the next two meetings of the Computational Humanities Reading Group as well: Friday, December 1: "Measuring Concentration and Diversity in the Humanities" Friday, January 19: "Plot Arcs and Syuzhet"
The maker movement, a subculture affiliated with a do-it-yourself ethos and, more recently, a passion for digital technologies, has been growing over the last two decades and is making its way onto the university campus . Digital humanities (DH) centers in particular have taken up the maker ethos, incorporating digital technologies such as 3D printers and microcomputers into their spaces. While recent literature acknowledges both the lack of female presence in makerspaces and a desire for more diversity in the digital humanities, no study of making has yet employed a feminist approach to understanding why and how these issues arise in the first place. The Centering Gender Project aims to do just this, by employing Wajcman’s (2004) theory of TechnoFeminism in an examination of public and academic examples of making. Martin's talk will showcase preliminary findings from her first on-site visits to makerspaces, and challenge the audience to think through ways their learning spaces could diversify their population.