This report applies a practice-based approach to learning and making in the context of a museum makerspace (The Makeshop at the Children's Museum of Pittsburgh). This perspective draws upon theories of cultural and social learning, which assert an understanding of learning as fundamentally tied to the social and cultural contexts in which it occurs and focuses on the "practices" that define learning communities. The practices identified in this report are observable and/or reportable evidence of learners' engagement in making as a learning process.
Situated in the shade of palm trees in the Miami, FL area, the REM Learning Center serves children aged 12 months to nine years. By having two dedicated Maker Corps Members during the summer, they could increase the number of visits children had to the "Play, Make, Share" studio, continue to experiment with different materials and facilitation strategies, and begin to build the expertise of their staff.
In addition to books, the Millvale Community Library hosts programming for all ages, a tool lending library, and a small makerspace. The space is meant to be a resource for the community in all the ways residents need. The Maker Corps program seemed like a good fit for the library; it would provide more staff during the busy summer months, continue the maker programming it had previously received from the Children’s Museum’s Mobile MAKESHOP, and hopefully provide momentum for establishing programs like the tool lending library.
Long known for its interactive exhibits and extensive educational programming, the Science Museum of Minnesota has also established itself as a place to build and experiment with classic and emerging technology. Specifically during their Activate Saturday afternoons, a special volunteer cohort facilitates hands-on activities that visitors of all ages can access to practice an engineering-design continuum: play, tinker, make, engineer. In the summer of 2013, SMM hosted four Maker Corps Members, three of whom continue to be a part of Activate.
Based on work in media studies, new literacy studies, applied linguistics, the arts and empirical research on the experiences of urban youths’ informal media arts practices we articulate a new vision for media education in the digital age that encompasses new genres, convergence, media mixes, and participation. We first outline the history of how students’ creative production has been used to meet the goals of media educators and highlight new trends in media education that are instructive for creative production. Our goal is to introduce and situate the new ways in which youth are
Media Arts within primary and secondary education is a relatively new avenue of research. Within the context of the arts classroom, rarely is learning to program emphasized despite its importance for creative expression in a digital medium. We present outcomes from an extensive field study at a digital studio where youth accessed programming environments emphasizing graphic, music and video. Learning the language of creative coding is essential to expression in a digital medium — one with increasing importance for youth and society at large. Here, we argue that it’s not just in the viewing or