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Fiber Arts: Sewing with Gail Hale



A post by Sophia BenderTony PhonethibsavadsNaomi Thompson, and Anna Keune

This is the first in a series of blog posts about the Creativity Labs’ fiber arts summer workshops. Tucked away on the eastern side of Bloomington, the CL team attended a workshop to learn how to use the sewing machine by artist, self-acclaimed maker and innovative recrafter, Gail Hale. Gail worked with the Creativity Labs team several times in the past, including assisting the creation of a cosplay costume as part of the Re-Crafting Mathematics project. This project was the overall frame for our sewing workshop at her private makerspace. As an artist of the Discardia group, that repurposes discarded materials into refashioned wearables, our workshop project was in true discardia style: sewing a grocery bag out of sheer synthetic fabric, which was repurposed from curtains.

The wonder-filled studio, with painting and dried out beehives dangling from the ceiling right over mannequins wearing hats and dressed in fashion projects in progress and former Trashion Refashion outfits, a fridge covered with reused magnets and shelves stacked with fabrics for projects to come, we gathered around a large and heavy wooden table, eager to learn.

To get started, Gail laid out the metal pattern used to cut the bag-shaped cloth for the project. The sheer fabric was slippery, and Gail fastened the pattern tightly onto the fabric, using old metal irons and pieced of railroad tracks that she gathered and cut apart years ago from a former workshop. To prevent the fabric from fraying, Gail recommended to use a woodburning tool to cut the fabric along the metal pattern, neatly sealing the synthetic fabric’s edges.

Fiber Arts: Sewing with Gail Hale Fiber Arts: Sewing with Gail HaleFiber Arts: Sewing with Gail Hale

From left to right: Metal irons and railroad track pieces hold down the pattern. Kate practices her cutting skills. Kate adjusts the fabric before sewing.

Next, it was our turn. Rotating around the group, one by one, each of us carefully stepped towards the pattern and cut a small area. While this is a rather unconventional method for cutting fabric, it was an innovative use for old tools, underscoring Gail’s spirit of making. Moving forward, to save time, Gail provided each with pre-cut fabric pieces. 

Fiber Arts: Sewing with Gail Hale
Janis at Gail’s old Singer machine.

Ready to get our hands on the sewing machines, we all followed the same order to sew our shopping bags. First, we sewed up each of the sides, before moving on to the handles. Some of us decided to sew two “triangles” into the inside bottom of the bags to create a flat bottom and we learned a new term from our newest team members, Ed Gentry: We called this boxing it up. For the handles, Gail suggested a really neat trick to provide extra reinforcement and to flatten the seams so they would lie comfortably against your shoulder. This involved sewing along the handles once, then opening the seam and sewing each side down. However, some of us had sewed our seams too tiny to use this technique! She also said the sides of the triangles be sewn down to provide a more finished, secure look. Some of us opted to do that, and some didn’t.

Fiber Arts: Sewing with Gail Hale
The Creativity Labs team working hard

This fun workshop that kicked off the Creativity Labs summer series of fiber arts activities not only enriched our understanding of the intricate and fascinating craft of sewing, but also gave us a chance to learn more about each other, our past experiences and our interests moving forward as a research team. Thanks so much to Gail for helping us out!



Fiber Arts: Sewing with Gail Hale



A post by Sophia BenderTony PhonethibsavadsNaomi Thompson, and Anna Keune

This is the first in a series of blog posts about the Creativity Labs’ fiber arts summer workshops. Tucked away on the eastern side of Bloomington, the CL team attended a workshop to learn how to use the sewing machine by artist, self-acclaimed maker and innovative recrafter, Gail Hale. Gail worked with the Creativity Labs team several times in the past, including assisting the creation of a cosplay costume as part of the Re-Crafting Mathematics project. This project was the overall frame for our sewing workshop at her private makerspace. As an artist of the Discardia group, that repurposes discarded materials into refashioned wearables, our workshop project was in true discardia style: sewing a grocery bag out of sheer synthetic fabric, which was repurposed from curtains.

The wonder-filled studio, with painting and dried out beehives dangling from the ceiling right over mannequins wearing hats and dressed in fashion projects in progress and former Trashion Refashion outfits, a fridge covered with reused magnets and shelves stacked with fabrics for projects to come, we gathered around a large and heavy wooden table, eager to learn.

To get started, Gail laid out the metal pattern used to cut the bag-shaped cloth for the project. The sheer fabric was slippery, and Gail fastened the pattern tightly onto the fabric, using old metal irons and pieced of railroad tracks that she gathered and cut apart years ago from a former workshop. To prevent the fabric from fraying, Gail recommended to use a woodburning tool to cut the fabric along the metal pattern, neatly sealing the synthetic fabric’s edges.

Fiber Arts: Sewing with Gail Hale Fiber Arts: Sewing with Gail HaleFiber Arts: Sewing with Gail Hale

From left to right: Metal irons and railroad track pieces hold down the pattern. Kate practices her cutting skills. Kate adjusts the fabric before sewing.

Next, it was our turn. Rotating around the group, one by one, each of us carefully stepped towards the pattern and cut a small area. While this is a rather unconventional method for cutting fabric, it was an innovative use for old tools, underscoring Gail’s spirit of making. Moving forward, to save time, Gail provided each with pre-cut fabric pieces. 

Fiber Arts: Sewing with Gail Hale
Janis at Gail’s old Singer machine.

Ready to get our hands on the sewing machines, we all followed the same order to sew our shopping bags. First, we sewed up each of the sides, before moving on to the handles. Some of us decided to sew two “triangles” into the inside bottom of the bags to create a flat bottom and we learned a new term from our newest team members, Ed Gentry: We called this boxing it up. For the handles, Gail suggested a really neat trick to provide extra reinforcement and to flatten the seams so they would lie comfortably against your shoulder. This involved sewing along the handles once, then opening the seam and sewing each side down. However, some of us had sewed our seams too tiny to use this technique! She also said the sides of the triangles be sewn down to provide a more finished, secure look. Some of us opted to do that, and some didn’t.

Fiber Arts: Sewing with Gail Hale
The Creativity Labs team working hard

This fun workshop that kicked off the Creativity Labs summer series of fiber arts activities not only enriched our understanding of the intricate and fascinating craft of sewing, but also gave us a chance to learn more about each other, our past experiences and our interests moving forward as a research team. Thanks so much to Gail for helping us out!



Where did the kids go? Exploring Interaction at a Science Museum Exhibit

A post by Naomi Thompson

Hello! My name is Naomi Thompson and I’m entering my 3rd year in the Indiana University Learning Sciences program. Dr. Kylie Peppler is my advisor. I’m interested in intersections between art/making/play and STEM, especially in informal spaces. Lately, I’ve become increasingly interested in museums, such as science centers, as really interesting places for these intersections to thrive. Science centers and museums especially can provide many opportunities to redefine what comprises STEM, and provide young children with powerful hands-on experiences. Museum exhibits for children are generally designed to provide whole-body, interactive learning experiences. Observing these interactions can provide meaningful insight into how children engage and learn across various kinds of settings.

Where did the kids go? Exploring Interaction at a Science Museum Exhibit

A Child Playing with Water Works at Wonderlab, photo by Chris Higgins

For a graduate seminar titled Knowing, Designing, and Learning with Dr. Sean Duncan, I got a chance to spend a few hours observing The WonderLab Museum of Science, Health, and Technology in Bloomington, IN. It’s a popular space where children and their families often spend considerable amounts of time playing with and learning about a wide array of scientific concepts. I found myself hovering around the Water Works water table, fascinated by the children’s play with water and toys there. This exhibit is part of various clusters of activities through the museum meant to uncover “how things work.”  It entailed a large, cylindrical container that was partially raised above the surface of the shallow pool in the table, I called this the vortex. Water inside was constantly spinning in a downward spiral, sucking along anything small that was placed inside, and sending the objects back out into the general pool. The majority of the visitors playing were small children, mostly younger than 5 years old. As young children often do when they learn about something new and exciting, they tended to repeat their actions, picking up brightly colored plastic balls and dropping them into a water vortex over and over, fascinated by the results each time. Alternatively, the children could toddle to the far end of the table, which was full of pipes, fountains, and faucets, and send the balls down a ramp that allowed them to be shot into the air by a strong fountain. The balls would then roll down a guide wire and plop back into the water vortex. These children seemed to be having so much fun, I wish I had gotten up to play with them. I was curious to see what might happen as this activity evolved over time.

During my second day of observation, just about all the brightly colored plastic balls had gotten stuck at the top of the fountain, unable to roll down the wire into the water vortex. One boy with brown hair, a little older than some of the others, sent the last ball up, apparently to see if it could jog the others loose. He watched to see what would happen, and when this ball got stuck as well, he played with other parts of Water Works briefly before walking away. By this time, very few children were left at the table – only three slightly older children compared to the usual six to eight young ones – and parents had noticed that all the balls were stuck. Some parents around tried using sticks and toys to knock them down, and briefly saved a few that promptly got stuck again. Finally, a parent went to get a staff member who used a broom to knock them all down. Moments later, almost without my noticing, there were six young children playing at the table again with the colored balls circulating nicely along their paths.

It was really interesting to witness what changed with children’s interactions, when a breakdown in the exhibit occurred. Whether it was a temporary flaw, or it was purposely created to occasionally “break,” there are interesting implications here for what engages young children, and what learning opportunities exist when things break. When do children try to fix the problem, and when do they decide to move on to something else? It would be really interesting to study these moments of accidental and on purpose “breaking,” and look into how different children in different settings respond to these setbacks. Is there something about informal settings that lets kids feel like they can try a new activity if something isn’t working for them? Or since the stakes are lower, do they feel more able to work through problems if they want? What roles do adults play in these situations? I’d be interested to hear ideas and suggestions from others about this line of thought!

Where did the kids go? Exploring Interaction at a Science Museum Exhibit

A post by Naomi Thompson

Hello! My name is Naomi Thompson and I’m entering my 3rd year in the Indiana University Learning Sciences program. Dr. Kylie Peppler is my advisor. I’m interested in intersections between art/making/play and STEM, especially in informal spaces. Lately, I’ve become increasingly interested in museums, such as science centers, as really interesting places for these intersections to thrive. Science centers and museums especially can provide many opportunities to redefine what comprises STEM, and provide young children with powerful hands-on experiences. Museum exhibits for children are generally designed to provide whole-body, interactive learning experiences. Observing these interactions can provide meaningful insight into how children engage and learn across various kinds of settings.

Where did the kids go? Exploring Interaction at a Science Museum Exhibit

A Child Playing with Water Works at Wonderlab, photo by Chris Higgins

For a graduate seminar titled Knowing, Designing, and Learning with Dr. Sean Duncan, I got a chance to spend a few hours observing The WonderLab Museum of Science, Health, and Technology in Bloomington, IN. It’s a popular space where children and their families often spend considerable amounts of time playing with and learning about a wide array of scientific concepts. I found myself hovering around the Water Works water table, fascinated by the children’s play with water and toys there. This exhibit is part of various clusters of activities through the museum meant to uncover “how things work.”  It entailed a large, cylindrical container that was partially raised above the surface of the shallow pool in the table, I called this the vortex. Water inside was constantly spinning in a downward spiral, sucking along anything small that was placed inside, and sending the objects back out into the general pool. The majority of the visitors playing were small children, mostly younger than 5 years old. As young children often do when they learn about something new and exciting, they tended to repeat their actions, picking up brightly colored plastic balls and dropping them into a water vortex over and over, fascinated by the results each time. Alternatively, the children could toddle to the far end of the table, which was full of pipes, fountains, and faucets, and send the balls down a ramp that allowed them to be shot into the air by a strong fountain. The balls would then roll down a guide wire and plop back into the water vortex. These children seemed to be having so much fun, I wish I had gotten up to play with them. I was curious to see what might happen as this activity evolved over time.

During my second day of observation, just about all the brightly colored plastic balls had gotten stuck at the top of the fountain, unable to roll down the wire into the water vortex. One boy with brown hair, a little older than some of the others, sent the last ball up, apparently to see if it could jog the others loose. He watched to see what would happen, and when this ball got stuck as well, he played with other parts of Water Works briefly before walking away. By this time, very few children were left at the table – only three slightly older children compared to the usual six to eight young ones – and parents had noticed that all the balls were stuck. Some parents around tried using sticks and toys to knock them down, and briefly saved a few that promptly got stuck again. Finally, a parent went to get a staff member who used a broom to knock them all down. Moments later, almost without my noticing, there were six young children playing at the table again with the colored balls circulating nicely along their paths.

It was really interesting to witness what changed with children’s interactions, when a breakdown in the exhibit occurred. Whether it was a temporary flaw, or it was purposely created to occasionally “break,” there are interesting implications here for what engages young children, and what learning opportunities exist when things break. When do children try to fix the problem, and when do they decide to move on to something else? It would be really interesting to study these moments of accidental and on purpose “breaking,” and look into how different children in different settings respond to these setbacks. Is there something about informal settings that lets kids feel like they can try a new activity if something isn’t working for them? Or since the stakes are lower, do they feel more able to work through problems if they want? What roles do adults play in these situations? I’d be interested to hear ideas and suggestions from others about this line of thought!

Summer 2015 Service Kick-Off!

 
Summer 2015 Service Kick-Off!Summer 2015 Service Kick-Off!

This past Friday, we hosted a hands-on exploratory workshop at Clifty Creek Elementary School’s STEM Fair in Columbus, IN. Given the drop-in and walk-by atmosphere of a fair, we wanted to offer a project that is easy to create but at the same time offers all of the circuitry learning benefits of the electronic textiles toolkit. We offered one of the many e-textiles activities documented in our colleague Leah Buechley’s book Sew Electric, the light-up bookmark, and another project we made up on the fly while preparing for the workshop, a light-up bow. However, much of the preparation was done in coordination with the Clifty Creek Elementary School teachers, who also provided materials for the workshop, including electronic components and crafting supplies.

E-textiles are electronics embedded into clothing, accessories, or other wearables. In the Creativity Labs, we like to use the LilyPad Arduino toolkit, which includes sewable LEDs, battery holders, and microcontrollers that can all be connected with conductive thread. This provides opportunities to combine both high- and low-tech, both crafting and electronics, and represents an unusual and very powerful approach to learning circuitry and programming that tends to be more inviting to girls. The Creativity Labs is always happy to share e-textile workshops with our partners!
 
The Clifty Creek STEM Fair was an informal after-school field day, kind of like an open house, for families and people of all ages to enjoy the pre-Memorial Day Friday. Throughout the fair, barbecue grills, face painting, and moonbounces gave the festival a true Mini Maker Faire vibe, that was sprinkled with science explorations at every corner of the schoolyard and house. The focus of the Fair was many science-themed activities, such as our e-textiles workshop.
Summer 2015 Service Kick-Off!
E-sewers hard at work!
 
Our workshop was set up in Ms. Lucas’s 3rd-grade classroom. To create light-up bookmarks, we provided various materials to the visitors of our table. These included fabric strips, felt stickers, bows, conductive thread, sewable LEDs, sewable battery holders, and batteries. Many children gathered at various tables with their parents and embarked on highly imaginative creations, which included various patterns with stripes, hearts, and happy animals. The children were captivated by the lights sewn into the fabric, but naturally, many lacked experience with sewing and needed assistance from adults. Thus, parents were highly involved; while children focused on the imagination, decoration, and connectivity of the circuits, any parents who were present primarily helped with the stitching and knot-tying.
 

Summer 2015 Service Kick-Off!
The classroom setup
The drop-in nature of the workshop provided many interesting facilitation challenges. For instance, our workshop was very popular and attracted more youth than the two facilitators could address at the same time. Many participants were excited by the prospect of bookmarks that lit up, so they got ahead of themselves before one of the facilitators could provide instructions on the next step, and even made some mistakes when connecting the circuits. Backtracking was necessary, but this simply led to even deeper circuitry learning. Excited about the decorative possibilities, but confronted with limited time towards the end of the day, some of the children did not finish their e-textiles projects at the table. We provided them with little take-home bags filled with samples of conductive thread, a battery and some decorative craft materials. One of the mothers said that this might be a fun evening at home finishing the project together with her children. We hope to further explore how to improve facilitation of drop-in e-textile workshops.
 
 
Summer 2015 Service Kick-Off!Summer 2015 Service Kick-Off!Summer 2015 Service Kick-Off!




 
Given this great start to the Creativity Labs' summer service activities, we are excited about the other upcoming opportunities to interact and share our learning with the local community in and around Bloomington, IN, and, in fact, throughout the country. Here is a list of some of the events we are looking forward to:

Brief Reflection about Using a Text Mining Approach in a Design-Based Research

A post by Alejandro Andrade

After having the opportunity to explore the use of a text mining approach to analyze information in a design-based research project about using video to support pre-service teachers’ ability to notice (Van Es & Sherin, 2002), I have three major ideas to share. First, these data-mining techniques are flexible and powerful tools, and yet one should be aware of several of their limitations. For instance, the stemmed words in a text document are but proxies of participants’ conceptual engagement, but these might be a rather distal than proximal type of evidence. The bag-of-words approach, the one used in my analysis, overlooks a great deal of information that might have been relevant to help tease apart more nuanced hypotheses. Nonetheless, the approach, however distal it might have been, did provide relevant evidence given the context of the present study, for instance, the relationships between the learning theories and the student analytics, and these latter and the experts’ analytics.

Brief Reflection about Using a Text Mining Approach in a Design-Based Research

Brief Reflection about Using a Text Mining Approach in a Design-Based Research

Second, while the bag-of-words is one text mining approach, it is not the only computerized technique available. Indeed, other more powerful tools can supplement or replace such an approach. For instance, some computerized linguistic analyses exist that can provide measures of coherence and cohesion in text documents. One of such techniques is the Coh-Metrix (Graesser, McNamara, Louwerse, & Cai, 2004), a free online tool that provides more than a hundred different indices with text characteristics. Among others, Coh-Metrix provides information about text easability, referential cohesion, content word overlap, connective incidence, passivity, causal verbs and causal particles, intentional particles, temporal cohesion, etc. With this tool one can supplement the findings about differences and similarities between the students’ and experts’ analytics, for instance.

Third, I believe that the incorporation of computational techniques to the researcher’s toolkit is bound to gain traction in the learning sciences. In particular, as researchers adopt design-based research methodologies (Cobb, Confrey, Disessa, Lehrer, & Schauble, 2003; W. Sandoval, 2014; W. A. Sandoval & Bell, 2004) that demand a sequence of test and refine iterations, they might consider having tools in their belts that can allow swift and reliable understanding of their results. Unlike other slow qualitative coding-scheme-based approaches that require inter-rater reliability, content analytic tools such as the bag-of-words are much faster and consistent. Also, these quantitative tools are useful with only a small group of students or with larger samples of various hundreds or even several thousands of participants. This doesn’t mean that traditional coding schemes are not good, or that we should stop caring about them. On the contrary, I believe that both approaches can work in tandem, where computational techniques provide a first glance at the data for a quick and dirty pass of analysis that can inform the research team on how to adapt and refine the design, and then, when resources allow, researchers can go deep into the data and examine the nuances of student learning interactions.

References

Cobb, P., Confrey, J., Disessa, A., Lehrer, R., & Schauble, L. (2003). Design experiments in educational research. Educational Researcher, 32(1), 9.

Graesser, A. C., McNamara, D. S., Louwerse, M. M., & Cai, Z. (2004). Coh-Metrix: Analysis of text on cohesion and language. Behavior Research Methods, Instruments, & Computers, 36(2), 193-202.

Sandoval, W. (2014). Conjecture mapping: an approach to systematic educational design research. Journal of the Learning Sciences, 23(1), 18-36.

Sandoval, W. A., & Bell, P. (2004). Design-based research methods for studying learning in context: Introduction. Educational Psychologist, 39(4), 199-201.

Van Es, E. A., & Sherin, M. G. (2002). Learning to Notice: Scaffolding New Teachers’ Interpretations of Classroom Interactions. Journal of Technology and Teacher Education, 10(4), 571-596.