This Sunday, Feb 24: Episode 3 – Gary Stager and Sylvia Martinez. We will be talking about Seymour Papert and Mindstorms. I can tell you that I’m re-reading Mindstorms and it’s as relevant and powerful today as it was when it was written. If you stare hard through Invent to Learn, you will see the imprint of Mindstorms like an X-ray image. (Update: Direct link to the recording)
Sunday, March 3 Episode 4 – Jim Cash, an Ontario Canada educator well-versed in constructionism.
Episode 1 – Carol Sperry. Carole was a teacher in the 80s entranced by the way Logo opened the door for her to teach (and better understand) math. Carol wrote the introduction to the second edition of Mindstorms and was the teacher who told Seymour about her student who said that Logo was “hard fun” – a phrase that has become synonymous with constructionism.
Episode 2 – Brian Silverman and Artemis Papert. Brian was at MIT when Logo was created, and has a hand in designing and programming many of the versions, including Scratch. Artemis is an artist and the daughter of Seymour Papert. Together, they designed and now support Turtle Art, a lovely representation of Logo with Scratch-like blocks.
The interviews are being conducted by Brenda Sherry and Peter Skillen, Canadian educators and long-time advocates of constructionism. The sponsoring project is Code To Learn, “…a project funded by the Canadian government’s CanCode initiative, brings you this Mindstorms book club. Code To Learn is based heavily in the work of Seymour Papert and provides the latest version of the all-Canadian MicroWorlds JR and MicroWorlds EX at no cost to all Canadians. These come in French & English and there is even a version of MicroWorlds JR in the Ojibwe language (with others to come)!”
We are excited to announce that a newly revised and expanded edition of Invent to Learn: Making, Tinkering, and Engineering in the Classroom has just been released.
It’s been five years since Gary Stager and I published the first edition of Invent to Learn. In that time, schools around the world have embraced making, makerspaces, and more authentic STEM/STEAM experiences for all children. It’s been fun to be a part of this worldwide phenomenon!
The brand new second edition includes a lot of new material reflecting how much has changed in a few short years. There are many new microcontrollers to choose from, and many more that are better for school use. The fabrication chapter has been updated to reflect how the design process has been streamlined by hardware and software progress. There is an entirely new section on laser cutters and CNC machines.
Programming options have expanded as well with software appropriate for students as young as four years old. Finally, there are some fantastic and accessible environments for programming microcontrollers. When we published the first edition, we were positive that a good block-based programming language for Arduino was just around the corner. Although new software environments emerged, they lacked the polish and stability required to make a difference in classrooms. Now things are different.
The additions and updates to the book go beyond mentions of new technology and fixing broken URLs. There are new examples from educators around the world who have embraced making in their classrooms. There is more context provided for the connections between project-based learning and making. We attempt to be clearer about the real reason that making matters—not to build a special room or purchase equipment, but to make schools a better place for ALL students and teachers to learn.
The second edition is now available in paperback, hardcover, and Kindle on the Amazon website and other online retailers. For volume sales, using a PO, or international sales, please contact firstname.lastname@example.org.
I’ve just returned from Lithuania where I attended and spoke at the Constructionism 2018 conference. Constructionism is a term that Seymour Papert used to describe how learning happens. It extends the Piagetian idea that knowledge is constructed inside the head of the learner, building on the existing knowledge and unique experiences of each learner. Papert added the idea that this knowledge construction is aided when the learner is involved in constructing personally meaningful things that can be shared with a community. More than just “hands on” or project-based learning, constructionism can be a subtle thing to explain.
In 1999, Seymour Papert embarked on his last ambitious institutional research project when he created the constructionist, technology-rich, multi-aged Constructionist Learning Laboratory inside of Maine’s troubled prison for teens, The Maine Youth Center. This project was the basis for Gary Stager’s dissertation. As Gary shares in our book, Invent To Learn: Making, Tinkering, and Engineering in the Classroom, Papert outlined “Eight Big Ideas” as a handout to help visitors understand constructionism as a living, practical approach to creating an optimal learning environment.
Korean translators Ungyeol Jung and Doyong Kim said, “We have felt the power of learning by doing again through translation, because it helped us understand much more than before.”
Students in Mathias Wunderlich’s makerspace collaborated on the German translation with more enthusiasm than a school exercise because it connected with what they do everyday in the makerspace. Read more of this story here.
If you’d like to add another language, please comment here!
What is the connection between creativity and making? Is all “making” creative? Is creativity expressed solely through these types of experiences? Do maker experiences give kids the chance to be creative and a structure to be creative within? Are we just parsing words?
I don’t want to spend time with dictionary definitions, suffice it to say that in everyday English, while creating is a synonym for making, they aren’t the same. Creativity is about imagination and ideas, the ability to make and think about new things in new ways.
Interest in the maker movement by educators is about creativity, yes, but also about honoring how people really learn. We can look to giants of education like Piaget who said, “knowledge is a consequence of experience” or Maria Montessori, who honored the child’s intellect expressed through play, or hundreds of other really smart people from John Dewey to Mr. Rogers. We can make schools places where these powerful ideas come to life.
In recent years, we’ve ignored a lot of this simply because it’s more efficient and cheaper to ask kids to sit quietly while a teacher lectures. The problem is that’s not how people learn. And in a blind pursuit of the false goal of “rigor”, we’ve pushed this nonsense on younger and younger students, and then complain that kids aren’t creative!
I think the interest in the maker movement is hopefully a return to our senses that children learn best by doing, by diving deeply into ideas that interest them, exploring interesting things, and being surrounded by people who care about them and want to explore interesting ideas with them. Creativity and making are deeply intertwined. But simply having children touch things other than pencils is not what “making” should mean. When we talk about making in schools, hopefully creativity and learning are coming along for the ride.
Connecting creativity with making has multiple benefits for schools:
Rejecting the idea that creativity is something that happens after the “real work” is done, like decoration.
The ideal of “openness” is powerful and modern. Students can share designs, code, and ideas and remix into their own inventions. Modern creativity means understanding how to share things with the world.
The inexpensive yet futuristic tools and materials can be easily learned and used by students to make subjects come alive. The ease-of-use creates new opportunities for project-based learning and iterative design. Creativity can be expressed in lower risk, lower stakes ways.
The “get it done” ethos of the maker movement is extremely valuable for all students in all subjects. Constraints are not impediments to creativity, in fact the opposite is true. Creativity comes in making do, making it up, and making it happen.
The focus on “making” rather than planning or reporting is a breath of fresh air for students who are increasingly getting fewer opportunities for hands-on experiences. Students who are worried that they are not creative or artistic need more opportunities to show what they know.
The wealth of projects can invigorate classrooms, and also capture the imagination of teachers who are looking for real things for their students to do. Creativity is enhanced when the whole community is excited and engaged. Enthusiasm is contagious!
Creativity is about creating things, of course, but also about developing the mindset and confidence to trust yourself in the act of creation. We do kids a tremendous disservice when we overplan every bit of work that they do. I think the message of the maker movement is a reminder for teachers to allow for more student agency, including more time. We need to give students time to step back and look at their work (work that they care about) and think about what to do next, just like a painter steps back and looks at their painting. This is not celebrating “failure” – a painter is not fixing the painting, or failing and correcting, but absorbing, reflecting, and continuing on.
So if this connection between creativity, making, and learning isn’t new, why all the fuss? Part of this is human nature. We love new things and new ideas. It’s a terrific instinct to keep things fresh and enthusiastically embrace the future. However, that falls apart when the focus jumps from one shiny object to the next. Educators are rightly skeptical of the latest fad that comes and goes with the wind. A few meetings, plans that never get implemented, boxes of cool stuff that go directly from the loading dock to the supply closet… and then some other initiative careens into view and the process starts over again.
With the maker movement being seen as the “new new” thing in education, it’s a worry to think that this is simply part of the hype and hide cycle. I do see signs of this—teachers being told to “do maker” without any changes to schedules, materials, resources, or even time to collaborate with their colleagues about what this actually means. It’s human nature to believe that there is a magic wand out there that will make hard work unnecessary. One only has to look at the diet or beauty product industry to understand how desperately people want fast and easy change. Unfortunately, this is a shortcut to nowhere that will never result in real change.
In any implementation of new practices to make schools better, there are always a wide range of results. When you’ve been around a while, you’ve seen it all – every extreme and combination of intention, implementation, context, logistics, and luck. But the patterns often remain the same.
In the best of all worlds, students are doing challenging and creative work on authentic problems with lots of materials, time, and guidance from engaged and empowered educators. However, this requires time and trust that teachers can learn to create these experiences, and trust that students are learners with good ideas of their own.
The most important part of creativity is trust in the creative process and the creative instincts of humans of all ages. That should be a fundamental part of making as well.
The Canadian newspaper Globe and Mail interviewed me for an article about schools and the Maker Movement in Vancouver. The Maker Movement in schools has students learning by doingby Anne Casselman and Paul Attfield really captures the excitement of many different classrooms integrating design, technology, and making.
“We want to turn little kids into little creative minds,” says interim head of school Susan Groesbeck. “This is the opposite of rote learning.”
“We want to be one of the schools that has this, not as a frill or as an add-on, but really integrates it into the curriculum. The children are going to be excited and so super challenged.”
Ever since the Maker Movement got going in the early 2000s, it was a matter of time before the tech-oriented DIY movement’s philosophies were adopted into the classroom, as teachers and librarians saw the value of creating dedicated tinkering spaces, known as makerspaces, for students.
“For a lot of the history of school, we’ve kind of done this rote memorization and standardized testing as a means of providing an efficient [education] system, all the while ignoring the fact that it’s not how most people learn,” says Sylvia Libow Martinez, co-author of the book Invent To Learn: Making, Tinkering, and Engineering in the Classroom.
“What’s good about the Maker Movement is it’s helping teachers find their own voice and be able to articulate what’s right about education in a way that makes sense in the modern world.”
“We really want kids to leave here feeling that they are problem finders and problem solvers. We don’t know what the problems are going to be in the future. We don’t know the technology these students are going to be using, so it’s not about coding for the sake of coding, or teaching saw skills for the sake of being able to saw,” says Andrea Ryan, the school’s learning specialist for design integration. “It’s that sense of empowerment to be able to go forth and be and do.”
“Strong research suggests that messing around is not wasted time and that it’s actually what the brain needs to both relax and concentrate on important aspects,” says Ms. Martinez, who stresses the difference between handing children a bunch of app-laden tablets and what happens in educational makerspaces, where children are in charge of technology.
“If you’re just going to replicate the most rote, the most boring parts of school on a computer screen, that’s not what I’m talking about.”
Ms. Martinez explains that the technology unto itself is not equivalent to teaching. The distinction between having children in charge of the technology, and children passively consume it is key, as identified by the late Seymour Papert, pioneer of educational technology and MIT Media Lab professor.
“One of [Dr.] Papert’s seminal questions is: Does the child program the computer or does the computer program the child,” she says. “And you have to know which side you’re on.”
In Part 1 of this two part series, I shared four attributes of ideas about education that successfully become common knowledge. In this post, Part 2, the topic is whether making and makerspaces in education are here to stay or whether they will fade in popularity.
The current interest in schools in making and makerspaces has many parallels to these examples. Looking at each one of these attributes under a “maker” microscope is an interesting exercise!
People have to hear about it and believe it’s important. It has to address a timely, significant issue on teacher’s minds. It also has to come from a place that inspires believability. (To be blunt on this last point, prestigious university credentials matter.)
The maker movement came at an opportune time for the resurgence of the idea that children learn through hands-on, minds-on experiences. Having popular media create a widespread acceptance that DIY and crafts are modern and futuristic helps with the adoption of this idea.
Having multiple, prestigious universities like Stanford, MIT, and Harvard doing research that supports making in education is important. The intellectual pedigree may be seen as elitist, but there is no doubt that it works as shorthand for establishing credibility.
It jigsaws nicely with two contemporary, but contradictory, concerns without really taking a side:
The current interest in STEM/STEAM education driven by a perceived lack of preparation of today’s youth for jobs in important industries.
The concern that young people do not see school as relevant to their real passions, including wanting to make the world a better place as opposed to making money.
Educators often complain that scholars don’t have any idea what happens in real classrooms. Scholars complain that educators rely on folk wisdom and tradition rather than research. But when scholarship validates what teachers feel, it has a special resonance.
Making is an obvious backlash to the standards and accountability movements of the last 30 years. It gives teachers a concrete way to put their beliefs–-or at least an answer to their nagging doubts–-into practice.
The maker movement can be seen through a number of lenses: personal accountability, a new economic engine, techno-centrism, globalism, practical skills, community involvement, ecology, etc. These attributes transfer to making in education, creating a chameleon that takes whatever shape educators and the community desire.
Like Bloom’s Taxonomy, the vagueness of “maker education” might be an asset in more widespread adoption.
The idea has to be easily put into use. It must not require extensive training or major changes to existing structures and practices.
This is an ongoing issue for making in education. If it requires a wholesale shakeup in the way a school is run, the subjects that are taught, and the way teachers teach, that is a big lift. It may, like the project method, become an add-on practice.
Seymour Papert often compared the way school reacts to big ideas like the computer as an immune system response. School identifies a foreign idea, overwhelms it, and neutralizes it.
“Previously teachers with a few computers in the classroom were using them to move away from the separation of subject matters, and the breakup of the day. When the administration takes over they make a special room, and they put the computers in that room and they have a computer period with a computer teacher. Instead of becoming something that undermines all these antiquated teachings of school, computers became assimilated. It is inherent in school, not because teachers are bad or schools are bad, but in all organisms that have come to a stable equilibrium state in the world, that they have a tendency to preserve the inertia they have. So school turned what could be a revolutionary instrument into essentially a conservative one. School does not want to radically change itself. The power of computers is not to improve school but to replace it with a different kind of structure.” http://www.papert.org/articles/SchoolsOut.html
Re-read the paragraph above replacing “computer lab” and “computer” with “makerspace” and “3D printer” (or your favorite maker technology). Has anything changed?
It was certainly a good thing that children got access to computers. But in many schools, students only learned to use computers to take notes, write reports, and look things up–-hardly new ways to learn. Computer labs and computer classes instead resulted in schools being satisfied that they were using modern technology without having to actually change the content or pedagogy of any “regular” class. The computer lab became a misdirection, an excuse for the status quo, rather than a driver of change.
How will it feel, if two years or twenty years from now we look back and say exactly the same thing about makerspaces? That we built them, we tried to integrate making into the curriculum, we thought it would change everything–but nothing happened.
When schools insist that making fit into existing curriculum and subjects, it’s reasonable to agree and to try to create materials that help teachers do that. The risk is twofold: 1. If this doesn’t happen and making is not in the curriculum, it will always be on the outside, not a core need or intent of school and not impacting most students. 2. If we do make it work in the curriculum, it will simply be muted, and gradually absorbed as the school creates a new stable equilibrium without really making any change to the lived experiences of the students.
Either of these choices ends up with nothing really changing.
The other option, as Papert points out, is to replace school with a “different kind of structure.” Is that giving up… or facing reality?
Can educators have their feet pointed in two directions at once–both working to drastically change the system and at the same time, assisting students in the current system to have a better experience? Is “occupational realism” a death sentence for ideas that are truly revolutionary?
The research and terminology must be easily understood. It must have both a big idea that can be quickly expressed, and simple parts that support the whole.
The good thing about “making” is that it’s an easy word to understand. Students need to do things, and educators can visualize that happening at every grade level, and perhaps with a little help, in every subject area.
It embodies the commonly understood ideals of the project method, plus embraces more modern versions like PBL. To that it adds a bundle of futuristic and cool tools to work with.
A note about independent schools
Private independent schools have been early and enthusiastic adopters of making in education. While it is easy to point to these schools having the financial resources to purchase expensive technology, there are deeper reasons that making resonates with independent schools. This was also true of the theory of Multiple Intelligences. In his book, Schneider makes the case that independent schools, primarily elite, non-parochial schools were primary drivers for the popularity of MI.
Independent schools are typically more progressive than public schools. MI provided new support for these ideals and scientific language to communicate these progressive ideals to parents and staff.
Independent schools are typically freer than public schools to try new approaches and curriculum than public schools. Using MI to recalibrate activities in the classrooms was seen as part of the school mission, not as disruptive.
At a time where schools were being called failures and under duress to teach in a more rigorous, standardized way, MI gave independent schools a way to push back on this trend and claim that their progressive methods were scientifically based.
As a market-driven organization, independent schools constantly need new things to prove to parents that they are worth the money. MI was an understandable concept, and validated by the Harvard pedigree, an easy sell to parents.
Independent schools have traditionally valued the arts, MI provided a way to say that the arts were not detracting from academics.
Independent schools catered to parental expectations that their child would be treated as an individual. MI provided clarity that personalization could be scientifically based, not just left to chance.
There are certainly noteworthy parallels between MI and the adoption of making and makerspaces in independent schools. It is good to note that in many cases, the adoption of MI in independent schools created examples of practice that made their way into public schools. MI supporters were found in many communities, working to make all schools happier and more humane.
Is “Making” going to stick?
Will making in education have a lasting effect on education, or will it become just another “new new thing” that is overtaken by some newer new thing? It certainly has the perceived significance. Both academic credentials and cultural trends are working in its favor. It has philosophical compatibility with many teachers and parents too. They see children starving in a desert of worksheets and tests and know there must be a better way.
There may be more to worry about in other areas. In some cases it has transportability, especially when using simplified models like Design Thinking. The problem is that simplified models and canned lesson plans are a double-edged sword. As they help teachers with operational realities, they remove agency from the teacher. Is it inevitable that creating a version of making in education that is widely acceptable will by its nature create unacceptable compromises?
It may be that countries other than the United States hold the answer. American teachers have the least amount of professional preparation time in the world. They participate in less professional development, have less time to plan lessons, and spend less time with colleagues. The US is a large country with a fractured educational governance and dissemination path for educational information. US teachers are underpaid, overworked, and given all these realities, may simply not be in a position to undertake changes.
While educational theorists often talk about wanting to scale good practice, there may be such a thing as “too big to scale,” especially when it comes to complex ideas.
For proponents of making in education, the longevity and widespread adoption of ideas like Multiple Intelligences offers hope that making will become a long-term trend in schools.
Tracking the history of these ideas as they journeyed from research to practice is a fascinating look not just at education, but also politics, culture, personalities, and pure luck. Contrasting each these ideas with four similar ones that did not receive the same attention makes the case even more compelling.
1 – Perceived significance:People have to hear about the idea multiple times and believe it’s important. It has to address a timely, significant issue on teacher’s minds. It also has to come from a place that inspires believability. (To be blunt on this last point, prestigious university credentials matter.)
For example, Multiple Intelligence theory helped teachers explain that students who don’t do well in school aren’t simply unintelligent. At a time when school was becoming more standardized (1980s), it was a big picture explanation of how teachers could still meet student needs without really changing curriculum. Coming from Howard Gardner, a respected Harvard professor, meant that it would be listened to, talked about, and taken seriously.
2 – Philosophical compatibility:Educators often complain that scholars don’t have any idea what happens in real classrooms. Scholars complain that educators rely on folk wisdom and tradition rather than research. But when scholarship validates what teachers feel, it has a special resonance.
At the turn of the 20th century, rote learning and recitation were the primary modes of schooling. Many teachers felt that there was more to learning, but were powerless to change the system. William Kilpatrick, on the faculty of Columbia University’s Teachers College wrote about what he called “the project method.” It validated teachers’ feelings that something was wrong. It offered an explanation that made sense, and a way to operationalize that in a classroom.
3 – Occupational realism:The idea has to be easily put into use. It must not require extensive training or major changes to existing structures and practices.
Both Bloom’s taxonomy and MI had occupational realism in that teachers didn’t have to change very much to feel like they were using these scientific methods in their classroom.
In the book’s discussion of “the project method,” the practical application in the classroom was its weakest point. It wasn’t clear how to do it, and even if it was possible, seemed to call for a complete overhaul of school structures and curriculum. Therefore it was mostly adopted as something that happened every once in a while as an add-on to the curriculum. As time went on, widespread adoption of formulaic projects subverted the power and promise of the idea. The book discusses the spread of the “California Mission Project” as an example. (For those of you not in California, every fourth grader in California builds a model of a Spanish mission, and has for decades.) The poor implementation of the project method on its way to occupational realism was the price paid for its widespread acceptance and endurance.
The review of why Direct Instruction became so widespread is especially interesting. It violates the second principle of “philosophical compatibility” because many teachers do not believe in scripted curriculum. However, at the time (late 1960s), political pressure for accountability and cost reductions required a curriculum that did not need a highly trained professional, yet produced increased standardized test scores. Despite complaints that students were being treated like trained animals, politics and budget cuts overwhelmed that objection.
DI solved multiple problems. It made it easier to spend less on teacher training and teacher salaries, increased test scores, allowed larger class sizes, and satisfied the “back to basics” movement all at the same time. The occupational realism of Direct Instruction was above all, institutional and political, rather than classroom centered.
4 – Transportability:The research and terminology must be easily understood. It must have both a big idea that can be quickly expressed, and simple parts that support the whole.
Bloom’s Taxonomy started off as an assessment scheme, a way to be more objective by defining different kinds of questions for students to answer. It quickly leaked out of assessment, as educators applied the structure to every part of the educational process from planning onwards, taking Bloom’s into a whole new area for which it had not been intended.
As time went on, the original complex definitions were simplified and recast as a pyramid that implied a progression from bottom to top. Teachers started seeing the drawing of the pyramid everywhere in their professional lives, and every instance reinforced the idea that it was reliable. This cycle of positive reinforcement-–of exposure validating reliability, and so in turn creating more exposure–-is typical of ideas that gain traction.
Fifty years before Bloom, MI, and DI, “the project method” found its way to millions of teachers. It had a persuasive and tireless advocate in William Kilpatrick, from Columbia University’s Teachers College. He was an ambitious academic who wanted more than just scholarly fame. He convinced the publication Teachers College Record to publish his article, “The Project Method” and give it away for free to teachers. Sixty thousand copies were printed and distributed nationwide. Thousands of subsequent papers and articles were written about the project method and its application to all grade levels and subjects.
Although not a new idea, Kilpatrick wrote in a clear and less formal manner than many academics, including his teacher and mentor John Dewey. Kilpatrick was also genuinely interested in real classrooms. While some of his colleagues complained that he was a self-promoter tarnishing the reputation of academia, the results spoke for themselves.
The project method made such an inroad into teacher education in the first half of the 20th century that it became a part of every teacher’s classroom practice up to this day. The resurgence of various project methods in the 1960’s and 70’s (PBL, The Project Approach, etc) simply built on the collective consciousness of this idea from a half century earlier.
The project method became so popular that “project” became a term of art, not a specific method tied to one person. One can only assume that Professor Kilpatrick would be a bit miffed by this.
Ideas make their way into the world
The book creates a case that one of the reasons that most of these ideas took hold was that they were both specific and general at the same time. They also had a wide variety of interpreters and promoters who helped spread the message.
Bloom’s Taxonomy gave teachers a new way to look at classroom practice, yet didn’t require any particular belief or theory of pedagogy to implement. If you were progressive, it matched your understanding that growth is at least as important as learning specific facts. If you were more of a traditionalist, it provided a path from content to deeper understanding. The lack of opposition was an opportunity for it to spread widely. Everyone saw what they wanted reflected in an idea from a highly respected source. Schneider says the taxonomy was, “… an idea that somehow had the power to generate multiple constituencies without sparking opposition.”
Various providers of professional development created materials that further examined Bloom’s Taxonomy and provided specific curriculum and lesson planning advice. For the time, Bloom was remarkably open about supporting various groups, authors, and companies to interpret his work. These satellite disseminators made it easier to access the work, and even though some complained that it was misinterpreted or diluted, it was widely spread. These providers helped the idea gain the operational realism that it lacked in earliest incarnations. They answered the question — What would a teacher DO exactly, in a classroom where Bloom’s Taxonomy was a driving idea?
What does this mean for today’s ideas about making in education?
She spoke about love, beauty, and respect for children (of all ages) and their learning process. She showed some photos and videos of children learning together and how teachers have the opportunity to make small decisions in this process. To watch or intervene; to ask a question or remain quiet; to suggest an expansion of the complexity of the children’s investigation or to help them simplify their ideas.
What struck me is how quietly these moments happen. These momentous moments are the heart and art of teaching. Not only is this skill too often devalued and disrespected, but the time it takes to listen is dismissed as “wasted.”
Momentous is a word that is usually associated with BIG EVENTS, but the heart of the word is moment — a fleeting second of time where teachers make decisions that are not simple or fleeting.
Too often overlooked and underestimated, the moment occurs only when listening is valued, when respect exists between all the participants, and there is time to slow down and think hard about what to do in that moment.
When we talk about making, there is a tendency to overlap our terms, like saying we’re going to “do makerspace”. I think unpacking these terms help uncover underlying assumptions, especially when designing new spaces and learning opportunities. I see this as four distinct aspects that work together:
Place – Makerspace, hackerspace, Fab Lab, Techshop, shop, science lab, open classroom, studio
By looking at these four aspects, we can untangle some of the confusion about what “making” in education is. These can combine in interesting ways – you can have a Design Thinking program that is strongly teacher directed in a makerspace that has a green eco-streak that permeates the projects. The place doesn’t dictate the process, which is good and bad.
Many times, when designing new learning opportunities or spaces it is assumed that their current culture will transform as well. Space planning doesn’t magically transform pedagogy. You can’t assume that just because you build a flexible space with terrific materials, it will magically be filled with wonderful student-centered, open-ended projects.
Here’s a “cheat sheet” for the four aspects.
Both formal (credit-bearing courses, primarily at schools) and informal (extra-curricular activities, clubs, libraries, museums, community organizations, commercial spaces)
Hackerspace – “Hacking” indicates both an activity and political belief that systems should be open to all people to change and redistribute for the greater good. (roots in the 1960’s). More prevalent in Europe than US.
Makerspace – MAKE magazine (2005 – present). Popular Science for the 21st century. DIY and DIWO. Maker Faires. Adopted as a softer, safer alternative to hackerspace. Can be a separate room or integrated into classrooms.
Fab Lab – Spaces connected to the MIT Center for Bits and Atoms (565 worldwide) with a common charter and specific requirements for space and tools. Fablab also used as a generic nickname for any fabrication lab.
TechShop (and others) – non-profit or commercial organizations offering community tool sharing, classes, or incubation space.
Shop, science lab, classroom, studio – traditional names for school spaces for learning via hands-on activities.
Maker movement – technology-based extension of DIY culture, incorporating hobbyist tools to shortcut a traditional (corporate) design and development process, and the internet to openly share problems and solutions. Maker mindset – a positive, energized attitude of active tinkering to solve problems, using any and all materials at hand.
Hacker/hacking – Essential lessons about the world are learned “..from taking things apart, seeing how they work, and using this knowledge to create new and even more interesting things.” – Steven Levy
Green – values of ecology, conservation, and respect for the environment.
Citizen/amateur science – participation of non-professional scientists in gathering and interpreting data or collaborating in research projects.
Artisanal/craft movements – engaging in mindful and ethical practices to humanize activities, products, and production.
Making – the act of creation. “Learning by making happens only when the making changes the maker.” – Sylvia Martinez
Tinkering – non-linear, iterative approach to reaching a goal. “messing about” with materials, tools, and ideas. “Making, fixing, and improving mental constructions.” – Seymour Papert
Design Thinking – customer-centered product design and development process popularized by IDEO and the Stanford d.school
Design – “to give form, or expression, to inner feelings and ideas, thus projecting them outwards, making them tangible.” – Edith Ackermann
Genius Hour – specific classroom time devoted to tinkering and open-ended projects. Patterned after companies (Google and FedEx, primarily) that allow employees to work on non-company projects on company time, thereby boosting morale and possibly resulting in products useful to the company.
Project-based Learning (PBL) – Projects are…“work that is substantial, shareable, and personally meaningful.” – Martinez & Stager
Beliefs about teaching and learning
Instructionism – Belief that learning is the result of teaching. Lecture, direct instruction.
Behaviorism – Belief that behavior is a result of reinforcement and punishment. Rote learning, worksheets, stars/stickers, grades.
Constructivism – Piagetian idea that learning is a personal, internal reconstruction—not a transmission of knowledge. Socratic method, modeling, manipulatives, experiments, research, groupwork, inquiry.
Constructionism – Seymour Papert extended constructivism with the idea that learning is even more effective when the learner is creating a meaningful, shareable artifact. PBL, making, citizen science.