In this article, we introduce the case of a makerspace program that provides a systemwide approach to making rather than a singular face-to-face or online place. This makerspace, called Bubbler, extends across a public library system of a mid-sized Midwestern city (Madison, Wisconsin) and incorporates nine neighborhood libraries and numerous community spaces. Since 2011, Bubbler has come to be known as a physical place, a series of programs, and an approach to working with patrons of all ages. We aim to chronicle the development of Bubbler, describe its core features, provide examples of these features in action, and discuss victories and challenges associated with designing a systemwide makerspace in public libraries. We conclude by asserting that the library now includes making as a core service based on a model of diversity and inclusion that aligns with the basic tenets of public libraries.
Climate change is a critical global problem that requires immediate action to mitigate its effects. In recent years, youth climate activists have mobilized worldwide protests to demand action, using social media platforms to communicate and broadcast their message. This study examines Greta Thunberg's rise to global prominence through an analysis of her first year and a half of Instagram posts from June 2018 to January 2020, including visual and textual elements. First, we explore how climate change is communicated on social media by youth activists, and then examine these concepts through the unique case of Thunberg’s Instagram. Then, through qualitative content analysis, this study elucidates her communication strategy by applying the concept of framing to unpack how she frames climate change as a moral and ethical issue, uses an emotional appeal of hope, and visually frames motivational collective action to mobilize her audience. Finally, we discuss the implications of our findings to explore the complexities of communicating climate change through social media and how Thunberg's activism on Instagram may provide an example for future generations.
The maker movement has found a home in public libraries. Field leaders including public libraries in Chicago, Chattanooga, Houston, Louisville, and Toronto have built robust makerspaces, developed maker programming for a diverse range of patrons, connected community experts with library users for the purpose of sharing information, and fostered communities of practice. Characterized by open exploration, intrinsic interest, and creative ideation, the maker movement can be broadly defined as participation in the creative production of physical and digital artifacts in people’s day-to-day lives. The maker movement employs a do-it-yourself orientation toward a range of disciplines, including robotics, woodworking, textiles, and electronics. But the maker ethos also includes a do-it-with-others approach, valuing collaboration, distributed expertise, and open workspaces. To many in the library profession, the values ingrained in the maker movement seem to be shared with the aims and goals of public libraries. However, critiques of the maker movement raise questions about current iterations of makerspaces across settings. This article highlights critiques and responses regarding the “democratic” nature of the maker movement, and in particular, the article analyzes ways librarians involved in a prominent public library maker program discursively construct making and maker programming in relation to the maker movement more generally.
In recent years, the concept "making" has been claimed by "The Maker Movement." While making offers great potential (and resources) for art integration in informal learning sites, maker discourse is often intertwined with a neoliberal mission. For example, movement leaders glorify Steve Jobs and hark on the myth that hobbies can be transformed into wealth-generating endeavors. As art-making activities in informal learning setting across the U.S. intersect with the maker movement, prominent learning theories that contradict this neoliberal philosophy may be repurposed or disremembered. Constructionist learning will require a continued commitment to a notion of learning by doing, "rather than acquiring theoretical precepts for subsequent application" (Ingold, 2013, p. 52). This article examines research from a multi-year empirical study of a Public Library system's arts-based maker program. It provides a rich example of how discourse around making fits into learning in arts education, showcasing instances when neoliberal ideology collides with contradictory theories regarding how and why people learn and make. First, this paper will introduce the reader to the maker movement in education and review literature on making, learning, and neoliberalism. Secondly, I analyze the discourse of public librarians who implement the arts programming and suggest possible implications for how learning through the arts can be undermined by neoliberalism. And, finally, this article proposes a view of making that does align with arts education that embraces dispositional, constructionist, and post-modern/new materialist approaches to learning: Making as the reciprocal relationship between maker, material, tools, skill, and intention. This article draws on a three-year empirical study of a Public Library system's arts-based maker program called Bubbler. I will introduce the Maker Movement and review literature on making and learning. I will use discourse analysis of interviews and workshops with public librarians to highlight how neoliberal ideology collides with educational theories incongruent with this economic vision for how and why people learn and make. Finally, I will suggest possible implications for how learning through the arts can be undermined by, and move away from, these neoliberal logics. I present a view of making oriented around responsiveness and connection that aligns with learning theories towards an anti-neoliberal arts education. This study contributes to conversations about learning through art making in educational settings across the U.S. Artists have always considered themselves makers; visual artists are makers of artifacts (paintings, sculptures, etc.), while performing artists are makers of experiences (dances, plays, concerts). Per the National Arts Education standards, a core component of learning is: "Conceiving and developing new artistic ideas and work" (i.e. making; www.nationalartsstandards.org). In recent years, the term making has been claimed by what is coming to be known as "The Maker Movement"...
For many, the Anthropocene foreshadows the apocalypse: a fertile terrain to speculate about the future, which can displace the now. We aim to reconceptualize this era, drawing inspiration from those working to imagine possible eras for the post-Anthropocene—imaginaries that do not deny the material histories and urgencies of the present. In particular, we seek to transform the ways children are figured in this epoch. In this conceptual essay, we (re)consider the Anthropocene, explore how figurations of the child tap into environmental futurism, and call for a pedagogy of the post-Anthropocene which rejects future-orientations that negate children as bearers of their own experience and agents of their own purpose.
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