Summer 2024

Maker Lab 1: Design Lab

Keywords: art, aesthetics, politics, creativity, design, STEAM, maker education, sewing, scratch, hard fun

STEAM Teaching and Learning ESM 501, 3 credits

stencil art MIXI

Instructors:

Materials:

There are no required textbooks for this course. All course materials will be provided at class meetings.

Meetings:

  • Monday & Wednesday, 4pm-7pm
  • Saturday (6/8 & 6/15), 10am-4pm

Location:

Adelphi Brooklyn Center Room 7122 (7th floor maker lab)

In the Design Lab students encounter the big ideas in Maker Education and STEAM as well as the practices of the maker lab. Emphasis is placed on engagement in and critique of the practice of “making” through foundational literature and hands on studio culture with a focus on creativity and learning.

Goals

  1. Students will explore and analyze foundational and contemporary theories and approaches of MakerEd and STEAM texts and respond through a series of written, audio and video prompts.
  2. Students will engage conceptual, aesthetic, and practical aspects of MakerEd and STEAM through the generation and production of a series of material and digital prototyping and final projects. This includes creative problem-solving, collaboration and critical inquiry as they ‘make’ with others. Both processes and final work will be included in student-created digital portfolios.
  3. Students will analyze and evaluate the role of MakerEd and STEAM theories and practices in educational settings through a final interactive online zine that curates their learning across the course.value
  4. Students will have fun and experience joy in learning, understanding and demonstrating the role of play, risk-taking and experimentation in making and creating in MakerEd and STEAM environments.

Class schedule

This is an intensive, summer course where we squeeze a full semester’s worth of work into two weeks! Weekday classes run from 4pm-7pm, and our two Saturday sessions will run from 10am-4pm. In addition to class meetings, you will need to spend time outside of class in the maker lab, and arrange time to complete your museum visits.

Readings listed below are due for that class session, including our first meeting. Please come to class prepared to discuss the readings.

# date topic readings
1 Mon, Jun 3 STEAM & Maker Ed Martinez & Stager; Runco & Jaeger
2 Wed, Jun 5 Public Art / Public Pedagogy Cartier & Zebracki; Low & Proietti
3 Sat, Jun 8 Fashion & Wearables Studio Cipolla; O'Brien
4 Mon, Jun 10 Curriculum Design Noddings
5 Wed, Jun 12 Constructionism & Hard Fun Papert (1991 & 2002)
6 Sat, Jun 15 Scratch Story Games Gee; Game Play
7 Mon, Jun 17 Aesthetics & Politics Greene; Forensic Architecture
8 Thurs, Jun 20 Final Studio -

Readings

Cartiere, C., & Zebracki, M. (Eds.). (2015). Introduction. In The Everyday Practice of Public Art: Art, Space, and Social Inclusion. Routledge. [pdf]

Cipolla, C. (2019). Build It Better: Tinkering in Feminist Maker Pedagogy. Women’s Studies, 48(3), 261–282. [pdf]

Forensic Architecture, & Poitras, L. (Directors). (2019). Triple Chaser [Documentary, Short]. Praxis Films.

Gee, J. P. (2003). What video games have to teach us about learning and literacy. Computers in Entertainment, 1(1), 20. [adelphi libraries]

Ladson-Billings, G. (2011). “Yes, But How Do We Do It?”: Practicing Culturally Relevant Pedagogy. In White Teachers / Diverse Classrooms (2nd ed.). Routledge. [pdf]

Low, B., & Proietti, M. (2021). Dissensus, Street Art and School Change. International Journal of Art & Design Education, 40(1), 7–19. [AU Libraries Online] [pdf]

Martinez, S. L., & Stager, G. (2013).Chapter 1: An Insanely Brief and Incomplete History of Making. In Invent to learn: Making, tinkering, and engineering in the classroom. Constructing Modern Knowledge Press. [pdf] [epub]

Noddings, N. (2013). Standardized Curriculum and Loss of Creativity. Theory Into Practice, 52(3), 210–215. [pdf]

Greene, M. (1977). The Artistic-Aesthetic and Curriculum. Curriculum Inquiry, 6(4), 283–296. [pdf]

O’Brien, K. C. (2021). Fibre Artists and Outsider Algorithms: Rethinking Ethnomathematics Through Contemporary Craft. For the Learning of Mathematics, 41(1), 8–13. [pdf]

Papert, S. (1991). Situating constructionism. In I. Harel & S. Papert (Eds.), Constructionism (pp. 1–10). Praeger. [mit.edu]

Papert, S. (2002). Hard Fun. Bangor Daily News. Bangor, ME. Bangor Daily News.

Runco, M. A., & Jaeger, G. J. (2012). The Standard Definition of Creativity. Creativity Research Journal, 24(1), 92–96. [pdf]

Assignments

Assignment Due Date Points
Participation Ongoing 10
Artist’s Journal Ongoing 10
Museum Visits Ongoing 10
Public Art Encounters Ongoing 10
Reading responses Ongoing 10
Maker Lesson June 15 10
Maker Vest June 12 15
Scratch Story Game June 19 15
Online Portfolio June 19 10

Participation

A class is a place where we study together. Your participation will help make this a great class.

To get full participation points:

  1. Attend every class session. This is a short course and there are no excused absences outside of medical exemptions with a doctor’s note, modification from the Student Access Office, or a religious holiday.
  2. Don’t be late. Don’t leave early.
  3. Do the readings. Come to class prepared to discuss the readings. If it’s obvious that you didn’t do the readings, or made little effort to engage with or try to understand them, you will lose participation points.
  4. Maintain the lab. We are all responsible for maintaining the maker lab, closet, and our materials. Help us set up, help keep things clean and organized, help us put things away.
  5. Be bold. This is a class about creativity and making. We want you to take risks, to try new things. This is not an easy thing!
  6. Be kind and respectful. We love a spirited debate, strong opinions, and learning new things from each other. But those practices only work if we offer our respect to the other participants and assume they are operating in good faith, too.
  7. Communicate. Read your emails. Post on Discord. Talk to your partners. Let the instructors know if there’s a problem or question. Tell us how to make things better.

On the last day of class, please share with the instructors (via Direct Message on Discord) a photo of a 1-page reflection of your participation from your journal.

Artist’s Journal

Everyone will keep an artist’s journal during this course (and after, we hope). The Journal is a place for you to record thoughts, plan designs, sketch ideas, and reflect. There will be some “assigned” journal entries (see below), but mostly it is meant for your own benefit. Journaling might not be for you… but for the purpose of this course, try it out with an open mind.

To “grade” your journal, you will upload photos of key pages to your online portfolio and post a brief (300-500 word) reflection about how you used it, and what you thought of the journal.

Museum Visits

You will visit (at least) 3 museums outside of course hours. Each visit must be at least one hour long. You must keep journal entries for each visit that log the museum, the date and time of the visit, and key exhibitions or works that you engaged with. You should also document your visit with sketches, photos, and videos. You will create an entry on your online portfolio for each visit. Your entries should reflect on the visit in terms of course readings and discussions, including considering how the museums work as public pedagogy, the learning design, the aesthetic experience, politics of the museum, etc.

You must visit at least one of the following “STEM” museums:

You can use your library card (New York, Brooklyn, or Queens) to get free culture pass to many museums in the city. Even if you can’t take advantage during our short course, it is a great resource.

The instructors will post other interesting museum exhibits and events on Discord as well as invitations to join us for informal, optional fieldtrips during the course. You can also check out the NYC Arts Calendar for further ideas and events.

Maker Lesson

You will read the New York State and professional standards for your content area (Math, Biology, Physics, Comp Sci, etc.) as well as the Art Standards. You will create your own lesson plan that addresses one of the standards from your content area and one of the art standards. Your lesson must incorporate key ideas of maker education and STEAM learning. The instructors will provide links to sample lesson plans as well as example templates for creating a lesson plan.

Plan a lesson for a 45 minute class.

At the very least, your lesson plan must include the following items:

  • a brief narrative describing what happens before and after this lesson
  • learning goals and standards covered in the lesson
  • materials list
  • a timeline of activities
  • how the lesson will be assessed
  • any instructor created materials (slides, handouts, examples)

You will submit your lesson as a Google Doc shared with the instructors, with links to all external materials and resources.

The lesson will be evaluated on the following criteria:

  • creativity of the lesson
  • alignment with standards
  • integration with maker and STEAM learning
  • viability of the lesson in a classroom setting

Optionally add your lesson plan to your portfolio.

Public Art Encounters

New York is full of public art: famous sculptures, big shows, street art, hidden and half forgotten works, and more. You will document at least 3 public art works that you encounter. At least one of these should be “sanctioned” work and at least one should be “unsanctioned” work.

Document your encounter in your journal with at least one sketch of each work, and notes on the context, your experience, and thoughts on the work. Further document your encounter with photos and videos. Consider things like the medium of the work, the scale (aka size), the materials, when it was created, how it was funded (or not).

Upload your documentation to your online portfolio.

Reading Responses

For each reading, you will write a “reading response” in your journal prior to the class session (except for the first meeting – we will write them in class). Your response must include a 150 word summary of the reading, it should also include notes, questions, reference to key passages, and your thoughts.

Reading responses will be checked by the instructors at the start of each class. For some sessions you will read your response aloud or share with a partner.

Maker Vest

We are all going to make a vest. Working from patterns provided, you will design your own vest, cut the fabric, and sew it together. You will design an embroidery or patch for your name, and also a decorative design for the back of the vest. The vests will include “wearable” technologies powered by Adafruit Qt Py microcontrollers. Your technology integration can be playful, aesthetic, or functional.

In addition to the patch and tech, you will must also design and 3D print an element for your vest. This could be a button, a zipper pull, a buckle, or something else.

We will begin working on the vests during our first Saturday session, but you will need to spend time outside of class to complete the project.

To submit your vest, create a page to showcase it on your portfolio. Add photos of the vest (in stages as you construct it), supplement it with videos, sketches, digital diagrams, 3D models, etc. Upload these to your portfolio, along with a reflection of your process, what you learned, what you think of your final piece, and how this project fits into your understanding of maker education.

Your vest will be evaluated on:

  • the quality of your craft
  • the innovations found in your design (don’t just copy something your found online)
  • the demonstration your ability with the tools of the maker lab:
    • microcomputer
    • circuits
    • 3D design and printing

Scratch Story Game

The Scratch programming language is many students’ first introduction to computer science and computer programming. Scratch is the direct descendent of the Logo programming; Seymour Papert’s constructionist programming language.

For this project you will work in a team of two to design, code, and test a “story game” in Scratch. You will create original art for your game as vector graphics, create a compelling narrative to drive the game, and incorporate puzzles, challenges, and other interactive elements.

Your will build your game on top of our Scratch game platform which will make provide basic mechanics such as keeping track of active scenes, inventory, score, etc. You will not just create a game, but a game-for-learning (aka serious game) that incorporates elements of our STEAM content areas.

To complete this assignment, you publish your game on Scratch. Each team member will also submit a reflection on their portfolio site that describes the content areas addressed, the theory behind the game (why is it fun? who is it for? how does it teach?). Also discuss the development and game testing process. Finish your reflection with ways that you could improve the game.

Your game will be evaluated on:

  • Risk & Creativity: does your game try to do something new?
  • Fun: how well does it work as a game?
  • Story: does the story make sense? are the characters compelling? does the player make real choices?
  • Art & Design: does the game visually and aesthetically enhance the learning and story goals? are the developers able to create a polished look and feel?
  • Programming: do the developers demonstrate understanding of key CS concepts such as loops, conditionals, variables, events, functions, and parallelism? do they understand key Scratch concepts such as sprites, costumes, and backdrops?
  • Learning: does the game teach something? is it worth teaching? are the “play” and “learning” elements integrated?

Online Portfolio

You will create an online portfolio that will be used throughout the Master’s in STEAM Teaching and Learning. While the portfolio will house many of your assignments, you are also responsible for designing a site that reflects your identity as a maker and educator.

The portfolios will be created using Google Sites with your Adelphi email account. You will be responsible for maintaining the site permissions and making sure that it is available to the instructors and other students in the class, and that some aspects (at least) are fully public. Everyone is encouraged to use Google Sites, but if you have a strong preference for another platform, you can use it once you have instructor approval.

Your portfolio will be evaluated on how well you demonstrate your ability to use the features of your online platform, you ability to achieve a consistent and professional design and user experience, the quality of your content (well edited writing, thoughtful images, clear audio, etc), and the overall creativity and originality of your site.


Session 1: STEAM & Maker Ed

Mon, Jun 3, 4pm-7pm
QT Py board connected to a breadboard with a red LED

In our first meeting we will get to know each other, a feeling for the main goals of the class, and start to play around with some of the tools and methods we will be using in this summer course. We will make sure that everyone has their online portfolio up and running, and that everyone has started their artist’s journal.

Goals:

  • Understand the goals of the course
  • Get to know each other and the instructors
  • Develop basic vector graphic design skills
  • Cut stencils with the Cricut
  • Begin an online portfolio

Agenda:

  1. Welcome
  2. Reading discussion
  3. Cricut Stencils & Spray Paint
  4. Google Sites & Online Portfolis
  5. Journal Design / Site Design

Due:

  • Read
    • Martinez, S. L., & Stager, G. (2013).Chapter 1: An Insanely Brief and Incomplete History of Making. In Invent to learn: Making, tinkering, and engineering in the classroom. Constructing Modern Knowledge Press. [pdf] [epub]
    • Runco, M. A., & Jaeger, G. J. (2012). The Standard Definition of Creativity. Creativity Research Journal, 24(1), 92–96. [pdf]
  • Join Discord (see email for invite)
  • Install:

Resources:

Session 2: Public Art / Public Pedagogy

Wed, Jun 5, 4pm-7pm

Field Trip: We are going to meet at 4pm at BRIC Arts Media House in Brooklyn on 647 Fulton St, Brooklyn, NY 11217.

At BRIC, we will get a gallery tour (including a mural designed by Prof. Eric Miles) and a tour of their media facilities and studios. After the tour, we will walk back to the Brooklyn Center, stopping at several public art sites along the way.

Meet outside of BRIC at 3:55. Please don't be late.

map of BRIC at Fulton and Rockwell

Goals:

  • Investigate BRIC as an institution fostering public art and a site of informal learning
  • Become familiar with various types of public art
  • Develop skills in analyzing and describing works of art
  • Design basic circuits that power LEDs

Agenda:

  1. 4-5pm: BRIC Tour
  2. 5-6pm: Public Art Walk
  3. 5-7pm: Class/lab
    • reading discussion
    • paper circuits for journals

Due:

  • Readings
  • Cartiere, C., & Zebracki, M. (Eds.). (2015). Introduction. In The Everyday Practice of Public Art: Art, Space, and Social Inclusion. Routledge. [pdf]
  • Low, B., & Proietti, M. (2021). Dissensus, Street Art and School Change. International Journal of Art & Design Education, 40(1), 7–19. [AU Libraries Online] [pdf]

Session 3: Fashion & Wearables Studio

Sat, Jun 8, 10am-4pm
mixi lab embroidered patch

We are going to sew our vests. In this session we will learn basic sewing skills, how to design for and operate the robot controlled embroidery machine, and think about ways to integrate “wearable” technology into our designs for function and aesthetics.

The bulk of our day will be spent actually constructing our vests. We will have stations where you can design, sew, embroider, and work on electronic/wearable components. During the week we (later) we will also specifically work on 3D printing elements for the vest. By the end of the day, you will have the basic vest completed, and will have another week to revise and polish it.

Side quest: If you have clothes at home that you want to patch, fix a zipper, add a pocket, replace a button, etc, bring them in. We will have time durning lunch and after class to work on these projects too!

Goals:

  • Learn how to operate a sewing machine
  • Consider fashion as a form of public art
  • Design for computer-controlled embroidery
  • Design clothes with wearable electronics
  • Use board computer (Qt Py) to control and power LEDs

Agenda:

  1. 10am-10:30: Reading Discussion
  2. 10:30-11am: Fashion and Design Talk
  3. 11-12pm: Patterns, materials, sketches
  4. 12-12:45pm: Lunch
  5. 12:45-4pm: Sewing, embroidery, and and wearable studio

Due:

  • Read
    • Cipolla, C. (2019). Build It Better: Tinkering in Feminist Maker Pedagogy. Women’s Studies, 48(3), 261–282. [pdf]
    • O’Brien, K. C. (2021). Fibre Artists and Outsider Algorithms: Rethinking Ethnomathematics Through Contemporary Craft. For the Learning of Mathematics, 41(1), 8–13. [pdf]
  • Post (before class) photos of vests, embroidered logos, employee name badges, wearable fashion, etc. to Discord thread

  • Resources

Session 4: Curriculum Design

Mon, Jun 10, 4pm-7pm

Today we will look at the curriculum standards in Math, Sciences, Computing, and Art. Working from these standards, we will begin to develop lessons that teach something challenging and important to the content area, but incorporate STEAM principles that integrate art, play, and creativity.

Goals:

  • Become familiar with finding and reading content standards
  • Understand the basic elements for a “lesson plan”
  • Develop own criteria for evaluating lessons
  • Understand the basic principles of planning for diverse learners and learners with disabilities
  • Understand the basic principles of planning for students who are still developing academic English skills

Agenda:

  1. Reading discussion
  2. Curriculum review & discussion
  3. Lesson plan search
  4. Lesson design and sharing

Due:

  • Read
    • Ladson-Billings, G. (2011). “Yes, But How Do We Do It?”: Practicing Culturally Relevant Pedagogy. In White Teachers / Diverse Classrooms (2nd ed.). Routledge. [pdf]
    • Noddings, N. (2013). Standardized Curriculum and Loss of Creativity. Theory Into Practice, 52(3), 210–215. [pdf]

Resources:

Session 5: Constructionism & Hard Fun

Wed, Jun 12

In this class we will talk read a couple of papers by Seymour Papert that will help us think about how people learn, and how we can design effective learning experiences. As we work together on our various maker projects, we will have the opportunity to test Papert’s hypotheses with our own experiences.

In addition to discussion Papert, we will spend time this session working with the 3D printers, learning how to operate them, where to find ready-made 3D models, and how to modify and design our own 3D models using Tinkercad.

Goals:

  • Deepen our knowledge of the theoretical foundations of Constructionism and maker education
  • Learn the basics of 3D printing from design to print
  • Find 3D models online
  • Create 3D models with Tinkercad

Agenda:

  1. Reading discussion
  2. Curriculum review & discussion
  3. Lesson plan search
  4. Lesson design and sharing

Due:

  • Read
    • Papert, S. (1991). Situating constructionism. In I. Harel & S. Papert (Eds.), Constructionism (pp. 1–10). Praeger. [mit.edu]
    • Papert, S. (2002). Hard Fun. Bangor Daily News. Bangor, ME. Bangor Daily News.
  • Create an account on Tinkercad
  • Create a 3D model of your name. Post a screenshot to Discord.

Resources:

Session 6: Scratch Story Hackathon

Sat, Jun 15, 10am-4pm

Scratch is the direct descendent of the Logo programming; the programming language developed by Seymour Papert and his colleagues at MIT in order to teach computer programming and mathematics. Scratch is often the first introduction to computer science and programming in U.S. schools. Although it can be used effectively by young children, it is a complete and powerful programming language. Berkeley’s Beauty and Joy of Computing course famously uses Snap! (a variant of Scratch) to teach computer science to non-majors at the college level. Many high schools use Scratch or Snap to teach the AP Computer Science Principles course.

Working in teams of 2, we are going to write our own unique Scratch story games. In this session you will learn how our story game platform works, and will have go through the entire game development cycle, including creating the narrative, learning content, art, code, and play testing/prototyping. By the end of the day, each team must have a fully working prototype. You will have until the end of the term for finish working on your game with your partner.

Goals:

  • Learn computer programming fundamentals
  • Design an original, creative story game
  • Understand elements of games and play for learning
  • Integrate educational content into a game
  • Write a compelling story
  • Design original art for a game
Morning   Afternoon  
10-10:30 Design Thinking 12:30-1:30 Lunch
10:30-11 Story Pitches and Teams 1:30-3 Studio
11-11:30 Scratch Basics 3-4 Play Testing
11:30-12:30 Game Design    

Due:

  • Read:
  • Gee, J. P. (2003). What video games have to teach us about learning and literacy. Computers in Entertainment, 1(1), 20. [adelphi libraries]
  • Play: Spend at least one hour playing a “story game.”
    Some will be text only or mostly text, some will be more visual (like comics/manga),
    others will play more like video games.
    Some of these games are free, some are cheap, some are more expensive.
    Some work on mobile, others require Windows or Mac (or a game console).
    Choose one that looks engaging to you and meets your budget, platform, and time requirements.
    Feel free to play more than one game!
    Here are some places to look:

Resources:

Session 7: Aesthetics & Politics

Mon, Jun 17, 4pm-7pm
computer vision highlights a triple chaser tear gas canister ©︎ forensic architecture

Integrating art into teaching and learning can make complex subjects more approachable; can welcome excluded groups into STEM fields; and can make learning more engaging.

Art, though, is more powerful than a more effective pedagogical approach. In this session we talk (more) about the interaction of art, politics, and aesthetics.

Due:

  • Read
    • Greene, M. (1977). The Artistic-Aesthetic and Curriculum. Curriculum Inquiry, 6(4), 283–296. [pdf]
  • Watch: Triple Chaser

Session 8: Final Studio

Thursday, Jun 20

Date change

It's our last class. We will have an open studio working session where you can finish projects, test your prototypes with others, get feedback from friends, instructors, and guests, and celebrate your work this summer.


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The Code of Academic Integrity prohibits behavior that can broadly be described as lying, cheating, or stealing. Academic dishonesty or violations of the Code of Academic Integrity include, but are not limited to, the following:

  1. Fabricating data or citations
  2. Collaborating in areas not approved by the professor
  3. Unauthorized multiple submission of one’s own work
  4. Sabotage of others’ work, including library vandalism or manipulation
  5. Plagiarism
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  7. The facilitation of dishonesty
  8. Tampering with or falsifying records
  9. Cheating
  10. Other forms of academic dishonesty

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If you are unsure about what plagiarism or another form of academic dishonesty are, please reach out to me to discuss it as soon as possible. An allegation of an academic integrity violation of this section may be referred for further review and could result in disciplinary action.

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