The under-used locative adverbs

A locative adverb tells you where something took place. Examples we all know and use commonly are ‘where’, ‘here’, and ‘there.’ Other such words can be constructed, like ‘homeward.’

But there are other locative adverbs that are so handy that it’s amazing that they aren’t used more often. ‘Where,’ ‘here’, and ‘there’ indicate the location at which something happens. What about actions moving toward or away from a location, like ‘homeward,’ but more general? In fact, there’s an equivalent for each of those three in each of these directions of motion:

At To From
Where Whither Whence
Here Hither Hence
There Thither Thence

Now, using these words may make you sound like you just stepped out of Shakespeare or Chaucer, but in fact they are nice, compact ways to express motion. The words in the second and third columns already have a preposition built in!

“Whither do they wander?” sounds better and is technically more correct than “Where do they wander?” since “where” has no “to” sense to it. “Whence did you come?” is more compact than “From where did you come?” or “Where did you come from?”

From this table we can see that “from whence” makes no sense, despite its rather common use.

So, next time you need to talk about where, here, or there something went to or from, consider using these nicely compact, already invented ways to express that notion!

The black Harry Potter

In Profiling a Book Collection, middle-school librarian Julia B. Chambers discussed a content survey she and some volunteers did of the school’s collection, along with some preliminary results. I wasn’t terribly surprised by her observation that

“Our protagonists are mostly Caucasian and more likely female, with only three in the entire collection demonstrating gender questioning or ambiguity. Two-thirds of our collection feature characters from middle- or high-income families (of which almost all are nuclear in structure). And most of our literary characters are straight (only 13 books featured LBGTQ characters.)”

I don’t know whether these demographics are representative of The Athenian School in Danville, California, where Julia serves as librarian, or whether it’s representative of the available books out there, or whether any of that really matters. Selecting books for a library collection is a non-trivial task, with any number of competing philosophies urging one heuristic or another.

But then she started talking about race. And race in the context of fantasy:

“At quick glance, most of our titles featuring African American characters are historical fiction with themes of slavery, Jim Crow segregation, or Civil Rights struggles. The black Harry Potters are simply not there.”

Who *are* the black Harry Potters? I racked my brain to try to come up with any non-Caucasian wizard-type protagonists in any books I’ve ever read. I came up with two, neither of whom are black:

Do magic-wielding youth from other cultures and ethnicities truly not exist? Or are they chronicled in books written in other languages, enjoyed by those with the ability to read them, but locked away from those who can fluently read only English, until the glittering hand of some translator should set them free?

Do share the non-Caucasian wizarding books I’ve overlooked, forgotten, or not yet encountered.

What I Learned about Maker Spaces

In my class this semester on Maker Spaces, we covered topics that ranged from how kids and teens use media to interact and learn from their increasingly digital world to how to create a physical space that invites participation and increases in value and interest as more people interact with it. What stood out to me was the variety of ways to make learning hands-on, interactive, and participatory. Hanging Out discussed how kids (and people) spontaneously seek out resources and guidance to improve their skill at a favorite hobby, and the Internet provides that access with historically unprecedented ease. Invent to Learn provides pedagogical motivation for hands-on learning and covers today’s new tools and technologies that enable easy physical prototyping of ideas and inventions.

The biggest gold mine of new ideas, for me, was The Participatory Museum. I thoroughly enjoyed reading about all of the creative and interactive exhibits people had designed for a wide variety of topics, from native cultures to a voyage to Mars. This book opened my eyes to what is possible, going beyond the interactive style of exhibits to those that enable new kinds of participation. The primary difference is that a participatory exhibit changes as visitors interact with it; they leave some trace. This might be a vote, an opinion, a comment, a creation, an artifact, or some other tangible evidence of their interaction. Further, as more people use, it becomes more interesting and informative. Visitors gain something by seeing what other visitors have contributed. As Simon notes, not every exhibit needs to have these properties. But I have found this idea to expand my sense of what is possible.

I also found the course assignments to be fascinating and challenging. They really made me stretch. In the first project, I had to choose a type of game that I’ve never played before, then play it for a few hours and analyze my learning experience.

In the second project, I sought out a social media conversation and analyzed the structure of the conversation as well as participant behaviors. It felt like I got to put on a sociologist’s hat and study a native population.

In the third project, I took a trip to the Science Center and analyzed their interactive displays from the perspective of The Participatory Museum.

In the fourth project, I had to find a maker project that gave me the chance to make something I’d never made before. The cardboard automata I made was a lot of work but very rewarding!

The final project for the class asked us to design our own maker space, using everything we’d learned over the course of the semester. I had a lot of fun designing a creative space for the Monrovia Public Library that integrates a topic of local interest (the Gold Line Metro extension) and computational thinking principles. The project had us write this up as a proposal, so the space isn’t yet a reality — but I’d love to discuss it for real with the library.

Overall, this class was a lot of work, in terms of reading and doing, but it also provided a lot of learning. And that’s why I’m here taking these classes in the first place!

Craftivism and DIY politics

Elena Solomon wrote a paper titled “Homemade and Hell Raising Through Craft, Activism, and Do-It-Yourself Culture”. This paper, published in the Journal of PsychNology (that is not a typo), begins with the interesting claim that while crafters and DIY-ers tend to take pride in the self-sufficiency demonstrated by their crafts and projects, this stands in seeming contradiction to their common dependence on DIY gathering spaces (real or virtual). In most cases, we learn to craft from others (in person, from tutorials, from examples, from books, from videos…), and even after gaining skill, we seek to share the results with other people, or sell them to other people, or get feedback from other people… Witness,, etc. Do It Yourself might in some cases be better phrased as Do It Yourself With Others.

Or at least that’s the argument I think the author wanted to make. While this was the teaser, and that’s what the article claimed to be focusing on, the paper then veers off into an analysis of “craftivism,” which I gather is when you use crafts to make political statements.

My first thought was, of course, of Madame Defarge.

Solomon first describes existing craft websites as “jarringly apolitical” (I am not sure what she expected to find), a phenomenon she attributes to “the DIY movement’s highly political ties with consumerism.” I think this is trying to say that craft sites are not political because they are created? controlled? motivated by? businesses selling craft supplies. It’s not quite clear.

The same sentence then asserts that

“the apolitical masquerade reveals, upon closer analysis, neoliberal ties to a more conservative capitalist agenda.”

I read that excerpt at least five times before admitting defeat. I have no idea what this is saying.

The paper then meanders into “retrograde postfeminism” and makes some actually plausible statements that a lot of crafting and DIY projects are marketed toward white, middle-class folk, who may participate without even seeing it as so. It guess that group of people would include me, but I don’t think I’d go as far as ascribing it to “the underlying political force that actively works to maintain a racialized and middle class market of consumerist individuals.”

Much more entertaining is the list of “craftivist” activities in this article. While Defarge doesn’t make an appearance, Chilean women who were imprisoned and oppressed do. These women sewed arpilleras to tell their stories and ask about missing loved ones, while living in fear of punishment.

Barb Hunt knitted a series of anti-personnel land mines to protest their use worldwide.

Kirsty Robertson designed a knitting pattern that encodes the Code Red Virus and made it freely available. Anyone can knit this computer virus (purl = 0, knit = 1) and transport it anywhere in the world… or encode their own favorite program into a new scarf. (Of course, the scarf-code is only meaningful if associated with an interpreter, compiler, or a computer that can run it.)

I can’t claim to have performed any acts of craftivism myself. What’s your favorite example?

Cardboard automata

Cardboard automata are machines made out of cardboard. They are often operated by a hand crank or dial to initiate the motion. As the primary axle turns, cams attached to it cause cam followers to rise, fall, or spin, depending on their geometry.

Just based on that description, who could resist diving in immediately to make one?

Not me.

Plus, I had an assignment from my Maker Space class to “make something you’ve never made before.” Bingo!

I discovered an excellent set of instructions, with pictures, created by The PIE (Play – Invent – Explore) Institute. I decided it would be a fun challenge to make as much of the project as possible out of “found” (available) items in my home.

box-cornersI cut a cardboard box in half, then reinforced the corners to prevent it from collapsing sideways. I cut a hole in each side of the box to connect an axle across it. The instructions suggested using skewers for the axle and cam shafts, but since I didn’t have any, I instead used some wooden dowels I had lying around. I thought they might create a more sturdy result. However, I didn’t have a dowel long enough to span the box, so I temporarily taped three dowels together to build my first prototype. I cut out some cams out of craft foam and slid them onto the axle at different positions.

cam-followersI also created three cam followers by cutting circles out of the foam and inserting more dowels into their centers. Then I cut three holes in the top of the box for the cam followers and connected everything together.

I chose three different cam designs for my three units. The middle cam is round and centered, which generates rotation in the cam follower. The left cam is egg-shaped, which generates rotation and vertical motion. The two right cams are round but off center, and they are positioned to be 180 degrees out of phase. Therefore, they alternate in their contact with the cam follower, which goes up and down and alternates between clockwise and counter-clockwise rotation.

tubesAt this point, when I turned the axle, the dowels wiggled back and forth and sometimes moved themselves off their cams. I consulted the instructions, which advised inserting drinking straws into the top holes so the skewers have a strong guide to keep them aligned. My dowels were far too thick for straws, so I cut up a cereal box to get a firm yet shapeable cardboard sheet. I rolled this cardboard to create tubes that were just slightly larger than the cam shaft dowels. The machine’s performance improved dramatically, and I decided it was time to glue everything down: the tubes in their holes, the cam followers to their shafts, and the cams to the axle. And it worked!

Once I had a working machine, I was free to add whatever design elements I wanted. Extending the cardboard design theme, I found instructions for how to make flowers from toilet paper rolls as well as a sprout/palm-like plant for the middle cam shaft. I glued green paper and brown felt onto the top to give it a nature-inspired look, added some paper flowers, and cut out a paper backdrop of twisting grass shapes to accentuate the feeling of motion. Finally, I used colored markers to decorate the cam followers so that their motion (and its direction) is more visually evident, since the mechanism is a focal point of the project.

Here is a longer video that explains the parts of the machine.

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