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from Make: DIY Projects and Ideas for Makers http://ift.tt/2eVeEFF
The post Quick Tip: Know Your Screwdrivers (Hint: It’s Not Called a “Flathead!”) appeared first on Make: DIY Projects and Ideas for Makers.
This Trick-or-Treater Tracker can look right through your front door, track the costumed kids approaching your home, and then automatically accost them with different scary sounds and customized messages.
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If you’re a woodworker and what you’d really like to make are things that make it easier for you to be a better woodworker, then Suso Caamanho’s YouTube channel Paoson WoodWorking is for you. The projects and tutorials tend to be utilitarian, focusing on projects that either show you how […]
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Arc Attack has held a special place in our hearts for a long time. There isn’t much that beats high voltage blasting through the air to make awesome music. Every time I’ve seen them I’ve been blown away, and I’ve learned something. If you’ve only seen their youtube videos, you […]
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by Laura Damon-Moore
Over the next several months we’ll be sharing a program from the Community Engagement team at Madison Public Library in Madison, Wisconsin. Inspired by an original idea from Apples & Snakes and Half-Moon Theatre (you can read all about that program on the LAIP!), Library Takeover at Madison Public Library is designed to be a platform for community members (in this case, adults rather than teens) to dream up, plan, and host their own events using library resources.
Library Takeover Description:
Library Takeover is designed to encourage the community to TAKEOVER the library by providing space, time, and resources for community members to host their own events, helping to set the stage for future library programming that involves and reflects all of Madison.
How it’s working at MPL:
Questions? Feel free to send me a note and I’ll respond as quickly as possible! Email: email@example.com with a subject of Library Takeover Q.
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This feature first appeared on the LAIP in October 2015.
We are very pleased to welcome artists Elisa Lee and Adam Hinshaw to the site today. Elisa and Adam were the 2014 artists-in-residence at the University of Technology Sydney Library (check out our writeup on Chris Gaul, UTS Library’s 2012 artist-in-residence), where the duo’s work investigates the Library Retrieval System. ~Laura
From the UTS Library website:
The LRS is UTS Library’s state-of-the-art underground storage system, which stores books, journals and objects in 11,808 steel storage bins, hidden five stories below Alumni Green.
The artists posed some exciting questions. What happens when you visualise the interaction between organic human behaviour and a rigid mechanical storage system? What narratives and patterns are formed or imagined? What behaviours and insights can be deduced? The outcomes are constantly in flux, determined by the users of the LRS and the items contained within it.
Both a visual and an audio work were created.
11-808 is a playful visualisation of the movements of books and objects requested and returned from the LRS. Each time an item is moved we see its “catalogue card” fly in or out of the bin where it’s located, with the bin adopting the colour of the subject area that the item belongs to. For example, books in the social sciences are blue. The colours are inspired by the Collection Ribbon in the Library Catalogue.
The colours build up on the sides of the display, showing the accumulation and order of all transactions for the time period. Current LRS activity is overlaid in real-time, as items are requested and returned.
Over sixty minutes, you can witness the LRS activity across the last three hours, twenty-four hours, three days, one week, two weeks and four weeks, with the vantage point shifting every four minutes.
By viewing the title of objects, their subject category and the time in which they are requested, we can build an intriguing picture of how the LRS is being used.
Read and hear more about Elisa and Adam’s works on the UTS Library website.
Library as Incubator Project (LAIP): What initially attracted you to the residency at the UTS Library?
Elisa Lee and Adam Hinshaw (EL & AH): The opportunity to learn from and to collaborate with library staff, to have the creative space and time to explore a project thoroughly, and finally, to investigate the innovative Library Retrieval System and the context in which it is used.
LAIP: Logistically, how did you go about “investigating” the library retrieval system?
EL & AH: We had great discussions with key library staff about the roles of libraries within universities, why the LRS was introduced and how it was integral to the vision of what a library is and can provide for its ‘clients’.
We asked lots and lots of questions and were taken through in detail how the system worked from a client user experience, operations and technical point of view, how items were chosen to be stored there, how the content was accessed through the online database, how the book was physically located by the robots… All of this informed our understanding of the system and allowed us to imaginatively explore this space.
LAIP: Based on your experience at UTS Library, what do you think libraries offer for artists in residence? What did UTS do to make this a positive experience for you?
EL & AH:
Libraries are a rich repository of knowledge through the contents they contain and the people who work with and use the collections. It is wonderful for artists to have the chance to play in this area and to give their own insights.
UTS made this a positive experience by being very open to collaboration. For us to complete this project, we needed to liaise with staff members, in particular the IT department who facilitated analysis of the database and then provided us with a data feed of content required.
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Name: Jesse Stone Home: Springfield, Missouri Day Job: Lewd Linens Facebook | Website | Instagram | Etsy How’d you get started making? Growing up in a very closed off church and a family in poverty were great motivators for creativity! Without television or toys (okay, I had a few), I have been making for as long […]
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by Michael Cherry, Teen & Youth Librarian Evansville Vanderburgh Public Library
3D printed bookmarks are a fun and easy project for librarians interested in 3D printing. They are a great way to introduce patrons to computer-aided design (CAD) and don’t require as many light years to 3D print. Their quirkiness will appeal to technophobes and gadget enthusiasts alike. Moreover, they are a unique, outside-the-box project that will engage teenagers, while making a fun Teen Read Week or teen book club activity.
To create a 3D printed bookmark your library will obviously have to own or have access to a 3D printer. If your library does not currently own a printer but is shopping around, one of the best resources available is Make Magazine’s annual review of 3D printers.
In addition to the printer, program participants will need to have access to computer-aided design tools. Many of these tools are free and tutorials can be found online. Open source software tools include Autodesk 123D and Sketchup Make.
Autodesk’s Tinkercad provides the best introductory platform for 3D design. Tinkercad is a browser-based 3D design and modeling tool. Users can set-up an account via the Tinkercad website and design online. All of the designs are stored in the user’s Tinkercad account.
Prior to having patrons design in Tinkercad, it is best to screen the “Tinkercad Tutorial Video” by Autodesk Tinkercad. This video can be accessed via YouTube or by following the link here:
In order to design the bookmark, program participants have several options. There is the mashup technique whereby they could search for open source designs using Tinkercad’s search bar. For example, patrons might search for a face that they could then attach to a body which they design. They may also modify open source designs by changing a character’s face or adding additional features. The beauty of the 3D printed heads is that they will pop out the top of the book, while the body remains flat marking the reader’s page.
Another option is to have participants create the entire bookmark from scratch. The shape of the bookmark can be made by stretching and flattening a few solids. The head can introduce beginning users to negative shapes, such as an eye or mouth cavity, as well as grouping and stacking objects. The latter technique will require repositioning the picture plane as one builds upwards. This technique is demonstrated with the boat example in the “Tinkercad Tutorial Video.”
Lastly, participants do not have to design a face but could try other shapes, figures, and symbols to their delight. When patrons are finished with their bookmarks it is wise to have them set their creations to “public” under the properties setting. This will make their design open source so that it can later be retrieved. Staff can search for it by title and copy the design into a staff account before printing. Otherwise, it would require knowing the username and password of each individual account.
Additional resources about this fun and simple 3D design project can be found in the library program toolkit below. Happy making!
Download the a How-To Kit with instructions, materials lists, and ideas for enhancing the program and tailoring it to your community.
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It’s time to do the roundup of the best of the web this week at the intersection of libraries + creativity. As always, we’re glad you’re here!
If you’re an artist, maker or other creative person who uses the library to further your creative goals, or if you work in a library that supports creative practice, we’d love to hear from you.
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We’re posting this on behalf of the NEA Big Read, a program through Arts Midwest. This continues to be a great platform for engaging communities around a common read (p.s.–check out the NEA Big Read’s teacher resources to find some hands-on creative projects to incorporate into your Big Read programming!). ~Laura
Application deadline: January 26, 2017
NEA Big Read is accepting applications from non-profit organizations to develop community-wide reading programs between September 2017 and June 2018. NEA Big Read is a national program that broadens our understanding of our world, our communities, and ourselves through the joy of sharing a good book.
A Big Read is a month-long series of programs centered around one NEA Big Read book. Programs should include a kickoff, a keynote, book discussions, and other artistic events to foster engagement with the selected title and encourage reading.
Organizations selected to participate in the program receive a grant, educational and promotional materials, and access to online training resources and opportunities. Approximately 75 organizations from across the country will be selected.
Funding ranges from $5,000 to $20,000
We are proud to announce the addition of 13 new titles to the Big Read list this year!
Visit http://ift.tt/1sL5J7o for more information.
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Name: Tracy Gray Home: Brooklyn, New York Makerspace: Sankofa Global Brings S.T.E.A.M. Makerspaces to YOU! Day Job: Education Consultant How’d you get started making? I became a Maker when I was a classroom teacher. Inquiry and project based learning was integral to all curricula. Whether we were studying butterflies, birds, the […]
This post originally appeared on the LAIP in October 2015.
RMIT University in Melbourne, Australia gets serious bonus points from the LAIP on the name of their fabulous arts festival, which is deliciously library-nerdy: the 700s Arts Festival! This late night kickoff event and ongoing celebration of the arts in the library is an inspiration for academic and public libraries alike, and reveals how one can make the most of the “temporary spaces” generated during a library renovation. ~Laura
By Adam Browne and Doreen Sullivan
On 13 August this year, RMIT University Library wasn’t as quiet as you’d expect a library to be – and strangely, the librarians weren’t doing anything to keep the noise down. In fact, they were contributing to it.
It was the launch of the 700s Arts Festival.
The party was an extravagant night to open an extravagant event. It was a spectacle, a hoot. The Library almost didn’t recognise itself. A crowd of 300 filled the normally hushed spaces, sampling vegan canapés and cheerful tipples, enjoying performances and chuckling at the witty talk on “The Art of Browsing (and the Browsing of Art)’ from Professor Paul Gough–all of this presided over by a giant dewy-eyed mural of Melvil Dewey.
The celebration was well-deserved. The Festival was characterised as a sort of pop-up event, and was the result of a short period of intensive organisation and labour, where talented and passionate people around the University had rolled up their sleeves to create something both beautiful and inspiring.
As the name suggests, the 700s Arts Festival was a celebration of the 700s of the Dewey Decimal System–the largest part of the collection at RMIT Swanston Library, a fascinating place to browse–and our way of embracing the temporary spaces made available through preparations for the current renovations, known as the Swanston Library Transformation.
There were art exhibitions, among them ‘Art against the Grain’, curated by RMIT Gallery–a rare opportunity to see some of the prestigious art the gallery owns. ‘Grazing the 700s’ had works from students and staff of RMIT School of Art, and ‘Referencing Artists’ featured art by students, alumni, and staff; this show surprised many with its first-class works by library staff, a demonstration of how talented librarians so often are.
There was a Screen Arts programme, digital media and a workshop in direct 16mm film animation. There was a practical class on collage, and another on ‘designing hypersounds for ultradirectional, parametric loudspeakers’; there was a session on cartooning from the respected graphic novelist Mandy Ord; and a workshop run by Simmone Howell, a novelist and feature article writer.
There was art everywhere, wherever you turned. In all, 150 people contributed to the Festival. In this alone, it was a triumph, bringing various schools and people together, and making the Library into a vibrant hub of the arts.
Officially, the Festival ended on 25 September, but continues to fizz and spark in the form of the 700s Arts Festival Zine, currently being edited by Simmone Howell.
And as generally happens when something is a big success, there’s talk of doing it all again.
The follow-up event will be a consultative workshop that draws upon what we achieved and asked what else might we like to consider, especially in our fancy new Library.
Is another Dewey number on our radar? The 020s? The AV section? The Folios or the databases?
We’ll have to wait and see.
So how did we go about it? Here’s some insight from Amanda Kerley, who directed the festivities and is from the Library’s communications team.
How and why did the idea for the Festival arise?
Well, it began with a problem: we were facing the possibility of big empty spaces in the Library, for two months between the relocation of parts of our collection and when renovations were to begin. The University Librarian, Craig Anderson, and I discussed ways to utilise this space in a meaningful way for students. The first priority was maximising seating – so the Library brought in as much disused furniture as we could locate. The second priority was making it a comfortable and attractive study environment. This is where the idea of a temporary exhibitions came from, which also sits nicely with one of the communications team’s objectives: to promote and engage users with our collections.
Our University has a strong arts, design, media and architecture focus and our collection analyses have shown these students are heavy browsers; it’s often a part of their arts practice and research methodology. So when we had to relocate low-use parts of our physical collections, we made sure browsing data was considered in assessing the use of our 700s, which our now our largest onsite section. And so, a quip in response to this fact: “let’s have a festival of the 700s!” very soon became a reality.
So what happened between the quip and the festival: how was it implemented?
With the generosity of a lot enthusiastic and talented people! As well as engaging people with the Library, we saw this as an opportunity to foster relationships across the University and to also experiment with ideas we might like to develop further in the future: for example creative workshops allowed us to consult with students about the concept of makerspaces, something we are considering for the new Library. We’ve also noted the Library provides significant – and unofficial – pastoral care to students; it’s a space in which many students feel guided and supported. Conversations at the workshops allowed us to further consider this phenomenon.
So to achieve this, we first needed to the secure the support of Library managers, by first demonstrating how the festival addressed the Library’s strategic objectives and then by also demonstrating how it would be achievable. A staffing plan was needed and while the communications team was driving the festival, we’re very small, so we created secondments of staff from other Library units to work on discrete parts of the Festival such as exhibitions coordination and opening night coordination.
Next we cast a wide net across the University, asking for participation in exhibitions and the presentation of talks and workshops that we would host, program and promote: we were amazed and overwhelmed by the response! A lecturer from the art school, Phil Edwards, curated an entire exhibition of student and staff works. We also benefitted by established relationships Library staff had across the University and within the arts. For example, Susan Wyers, who coordinated the exhibitions and also curated one of the art shows, shared her extensive professional network which ensured a strong representation of the artworks of alumni.
We were so overwhelmed by interest that we were then faced with an unexpected dilemma: how to facilitate this level of participation. It didn’t take long to fill the empty spaces of the Library with art, but it did take a lot of work to coordinate this amount of interest. Of course we eventually had to decline works and in some cases this was due to our technical limitations: we weren’t very well equipped to exhibit projection and sound based works, but because we didn’t want to lose the opportunity to engage with people who had approached us, we tried to find other ways for them to participate, by inviting them to give workshops or participate in our consultative events to learn what we’d need to do to be technically prepared in the future.
How did Library users respond to having that much art in the Library?
From our surveys and conversations, we discovered most students were very enthusiastic about artworks in the Library. A significant trend was the comment that studying amongst art was an inspiration and that it stimulated their thoughts. The only repeated concern was that some artworks obscured access to powerpoints desired for charging laptops. One person was a little exasperated because they had been distracted from their study by the allure of the artworks!
What are your five top tips for people interested in running something similar?
Further reading: http://ift.tt/1HameTm
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|LED leads poking out from under the holder|
|view from the top with LED lead wrapped in conductive thread|
|view of battery holder from inside the hood|