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Flow The Psychology Of Optimal Experience

In this essay, Erica Halverson and Kimberly Sheridan provide the context for research on the maker movement as they consider the emerging role of making in education. The authors describe the theoretical roots of the movement and draw connections to related research on formal and informal education. They present points of tension between making and formal education practices as they come into contact with one another, exploring whether the newness attributed to the maker movement is really all that new and reflecting on its potential pedagogical impacts on teaching and learning.

The Maker Movement in Education

2004아테네 올림픽대회출전 한국레슬링 대표선수의 무산소성 운동능력 및 등속성 근력

Structure and interpretation of computer programs

Languages of Art: An Approach to a Theory of Symbols

Digital fabrication courses that relied on physical makerspaces were severely disrupted by COVID-19. As universities shut down in Spring 2020, instructors developed new models for digital fabrication at a distance. Through interviews with faculty and students and examination of course materials, we recount the experiences of eight remote digital fabrication courses. We found that learning with hobbyist equipment and online social networks could emulate using industrial equipment in shared workshops. Furthermore, at-home digital fabrication offered unique learning opportunities including more iteration, machine tuning, and maintenance. These opportunities depended on new forms of labor and varied based on student living situations. Our findings have implications for remote and in-person digital fabrication instruction. They indicate how access to tools was important, but not as critical as providing opportunities for iteration; they show how remote fabrication exacerbated student inequities; and they suggest strategies for evaluating trade-offs in remote fabrication models with respect to learning objectives.

Remote Learners, Home Makers: How Digital Fabrication Was Taught Online During a Pandemic

The combination of computational design and digital fabrication offers many exciting possibilities for art, design, and creative expression. We seek to make computational design accessible by developing tools that allow novices to use programming and digital fabrication to produce personal and functional objects. In this paper, we describe our development of Codeable Objects, a preliminary computational-design programing tool developed to work in conjunction with digital-fabrication machines. We also present our evaluation of the tool based on a set of user studies in which people built computationally generated crafts, clothing, and accessories. These studies illuminated the viability (and challenges) of engaging novice programmers through design and digital fabrication, and provide a platform for future work in developing programming tools to support personal expression.

Codeable objects: computational design and digital fabrication for novice programmers

People have been making things for a long time, yet digital making has developed mostly within an industrial context. We question how non-digital craft cultures can inform the design of digital tools. Furthermore, what methods can help us understand these cultures in ways that are relevant to digital practice? As makers ourselves, we see potential for collaborative making to mitigate barriers in communication and provide insight into non-digital practices and values. To evaluate this approach, we visited a hunter-gatherer community that preserves an ancient craft, bringing with us digital design and fabrication tools. Working together, we merged digital tools with ostrich eggshell jewelry craft. We use this experience to draw conclusions about making as a form of communication, the importance of supporting appropriation and immediacy in collaborations, the challenge of combining abstract design tools with concrete approaches, and the value of incorporating design and making into communal life.

Hybrid Practice in the Kalahari: Design Collaboration through Digital Tools and Hunter-Gatherer Craft

Computation is a powerful artistic medium. Artists with experience in programming have demonstrated the unique creative opportunities of using code to make art. Currently, manual artists interested in using procedural techniques must undergo the difficult process of learning to program, and must adopt tools and practices far removed from those to which they are accustomed. We hypothesize that, through the right direct manipulation interface, we can enable accessible and expressive procedural art creation. To explore this, we developed Para, a digital illustration tool that supports the creation of declarative constraints in vector artwork. Para's constraints enable procedural relationships while facilitating live manual control and non-linear editing. Constraints can be combined with duplication behaviors and ordered collections of artwork to produce complex, dynamic compositions. We use the results of two open-ended studies with professional artists and designers to provide guidelines for accessible tools that integrate manual and procedural expression.

Supporting Expressive Procedural Art Creation through Direct Manipulation

Procedural art, or art made with programming, suggests opportunities to extend traditional arts like painting and drawing; however, this potential is limited by tools that conflict with manual practices. Programming languages present learning barriers and manual drawing input is not a first class primitive in common programming models. We hypothesize that by developing programming languages and environments that align with how manual artists work, we can build procedural systems that enhance, rather than displace, manual art. To explore this, we developed Dynamic Brushes, a programming and drawing environment motivated by interviews with artists. Dynamic Brushes enables the creation of ad-hoc drawing tools that transform stylus inputs to procedural patterns. Applications range from transforming individual strokes to behaviors that draw multiple strokes simultaneously, respond to temporal events, and leverage external data. Results from an extended evaluation with artists provide guidelines for learnable, expressive systems that blend manual and procedural creation.

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Jennifer Jacobs

Papers

Remote Learners, Home Makers: How Digital Fabrication Was Taught Online During a Pandemic

Codeable objects: computational design and digital fabrication for novice programmers

Hybrid Practice in the Kalahari: Design Collaboration through Digital Tools and Hunter-Gatherer Craft

Supporting Expressive Procedural Art Creation through Direct Manipulation

Extending Manual Drawing Practices with Artist-Centric Programming Tools