Computerized embroidery in education: Difference between revisions

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== Embroidery for identity building ==
== Embroidery for identity building ==


[[image:Graphene-stitched.jpg|thumb|200|Chemistry is cool]]
[[image:Graphene-stitched.jpg|thumb|175px|Chemistry is cool]]
[[image:Evolution-embroidered-2.jpg|thumb|200|I believe in evolution]]
[[image:Evolution-embroidered-2.jpg|thumb|175px|I believe in evolution]]
In particular, younger students could create embroidery in (mostly) extra-curricalar classes that address societial isssues, like peace, envrionment, energy, migration etc. Creating wearable embroidery would engage learners in exposing views in public and not just the classroom.
In particular, younger students could create embroidery in (mostly) extra-curricalar classes that address societial isssues, like peace, envrionment, energy, migration etc. Creating wearable embroidery would engage learners in exposing views in public and not just the classroom.


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[[image:Mediawiki-logo-embroidered-test.jpg|thumb|200px|I like Mediawiki]]
[[image:Mediawiki-logo-embroidered-test.jpg|thumb|175px|I like Mediawiki]]
[[image:Elna-taxonomy-test-2.jpg|thumb|200px|Essential learning tasks]]
[[image:Elna-taxonomy-test-2.jpg|thumb|175px|Essential learning tasks]]
[[image:Lams-logo-embroidered-take-2.jpg|thumb|200|I use [[LAMS]] ]]
[[image:Lams-logo-embroidered-take-2.jpg|thumb|200|I use [[LAMS]] ]]


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[[image:Stitch-era-bezier-nodes-3.png‎|thumb|200|Bezier curve]]
[[image:Stitch-era-bezier-nodes-3.png‎|thumb|200|Bezier curve]]


[[image:Stitch-era-vector-csg-subtraction.png|thumb|200px|Constructive solid geometry]]
[[image:Stitch-era-vector-csg-subtraction.png|thumb|175px|Constructive solid geometry]]


Embroidery could awaken interest for IT in people who otherwise just stick to Word and Facebook. Vector graphics '''is''' difficult and may meet resistance. A study from Horgen and Lynch (2006) about using a VLE for teaching embroidery found that {{quotation|The participants also expressed fear of engagement with technology. Considering the age of the participants, this was as expected. What was unexpected was the enthusiasm with which they confronted their fear and stepped out of their comfort zone, to enhance their lifelong learning skills, albeit in an embroidery context in this VLE, but their acquired skills could be applied to their general computer literacy. Similarly, the participants vetted their frustration with the technology, but instead of giving up, they forged on and faced their techo-frustration. Again, the outcome of this determination was to confront their frustration, resulting in an improvement to their lifelong learning potential and computer literacy. It was interesting how the participants personified the computer as a 'monster' or 'thing'. However, they faced the monster and tamed it!}}
Embroidery could awaken interest for IT in people who otherwise just stick to Word and Facebook. Vector graphics '''is''' difficult and may meet resistance. A study from Horgen and Lynch (2006) about using a VLE for teaching embroidery found that {{quotation|The participants also expressed fear of engagement with technology. Considering the age of the participants, this was as expected. What was unexpected was the enthusiasm with which they confronted their fear and stepped out of their comfort zone, to enhance their lifelong learning skills, albeit in an embroidery context in this VLE, but their acquired skills could be applied to their general computer literacy. Similarly, the participants vetted their frustration with the technology, but instead of giving up, they forged on and faced their techo-frustration. Again, the outcome of this determination was to confront their frustration, resulting in an improvement to their lifelong learning potential and computer literacy. It was interesting how the participants personified the computer as a 'monster' or 'thing'. However, they faced the monster and tamed it!}}
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We reproduce a quoted section from our [[Fab lab]] overview: {{quotation|Two future forces, one mostly social, one mostly technological, are intersecting to transform how goods, services, and experiences—the “stuff” of our world—will be designed, manufactured, and distributed over the next decade. An emerging do-it-yourself culture of “makers” is boldly voiding warranties to tweak, hack, and customize the products they buy. And what they can’t purchase, they build from scratch. Meanwhile, flexible manufacturing technologies on the horizon will change fabrication from massive and centralized to lightweight and ad hoc. These trends sit atop a platform of grassroots economics—new market structures developing online that embody a shift from stores and sales to communities and connections.}} ([http://iftf.org/node/1766 Future of Making Map], retrieved 23 June 2009)
We reproduce a quoted section from our [[Fab lab]] overview: {{quotation|Two future forces, one mostly social, one mostly technological, are intersecting to transform how goods, services, and experiences—the “stuff” of our world—will be designed, manufactured, and distributed over the next decade. An emerging do-it-yourself culture of “makers” is boldly voiding warranties to tweak, hack, and customize the products they buy. And what they can’t purchase, they build from scratch. Meanwhile, flexible manufacturing technologies on the horizon will change fabrication from massive and centralized to lightweight and ad hoc. These trends sit atop a platform of grassroots economics—new market structures developing online that embody a shift from stores and sales to communities and connections.}} ([http://iftf.org/node/1766 Future of Making Map], retrieved 23 June 2009)
Being able to share designs overt the Internet through either close-circuit VLEs or open source repositories such as [http://www.thingiverse.com/ Thingiverse], may constitue an additional motivating factor. [http://ausweb.scu.edu.au/aw06/papers/refereed/lynch/paper.html Hordern and Lynch] (2006) in their study made the following findings: {{quotation|Embroidery is a rich and versatile art through which practitioners can express their creativity by coming together in social groups and sharing their embroidery skills. From the data collected and analyzed in this case study, the threads of the embroiderer and the threads of the Internet's web, have connected e-stitchers in an e-sewing circle, with the potential to remove geographic, spatial and temporal barriers to avail embroidery to the global village. The Connectivity of Threads VLE has made evident a juxtaposition of the traditional art of embroidery with the modern technology of the Internet, supporting an opportunity for learning and sharing embroidery and computer skills, and contributing to life-long learning, in general. }}


== Embroidery as motivator and post-production ==
== Embroidery as motivator and post-production ==
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[[image:plant_002_growing_truesizer.png|thumb|200px|Embroidery for intellectual growth]]
[[image:plant_002_growing_truesizer.png|thumb|175px|Embroidery for intellectual growth]]


According to [[Constructionist learning object|Zuckerman's taxonomy]] there are three kinds of constructionist learning objects
According to [[Constructionist learning object|Zuckerman's taxonomy]] there are three kinds of constructionist learning objects
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* Wenger, Etienne. (2000), Communities of Practice and Social Learning Systems, Organization, Volume 7(2): 225-246  
* Wenger, Etienne. (2000), Communities of Practice and Social Learning Systems, Organization, Volume 7(2): 225-246  
* Wenger, E., McDermott, R. and Snyder, W. M. (2002). Cultivating Communities of Practice. Massachusetts, Harvard Business School Press.


* Zuckerman, Oren (2006, in preparation), Historical Overview and Classification of Traditional and Digital Learning Objects MIT Media Laboratory, 20 Ames Street, Cambridge, MA 02139. [http://llk.media.mit.edu/courses/readings/classification-learning-objects.pdf PDF] - [http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.94.7899 CiteSeer Abstract].
* Zuckerman, Oren (2006, in preparation), Historical Overview and Classification of Traditional and Digital Learning Objects MIT Media Laboratory, 20 Ames Street, Cambridge, MA 02139. [http://llk.media.mit.edu/courses/readings/classification-learning-objects.pdf PDF] - [http://citeseerx.ist.psu.edu/viewdoc/summary?doi=10.1.1.94.7899 CiteSeer Abstract].

Revision as of 15:58, 19 June 2011

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Introduction

Computerized embroidery also called Computer-controlled embroidery is a kind of Computer-aided design and manufacturing. An embroidery machine executes computer numerical control (CNC) files that are generated from the design software.

“Embroidery has been a part of our social fabric for hundreds of years. It has been a medium for historical commentary; for homage to ceremonial and religious occasion; for expression of creativity; for utilitarian purposes; or simply for leisure activity and social contact.” (Hordern, 2006:Abstract). We believe that computer-controlled embroidery may have a more prominent place in education and for many different reasons.

For now, just a few ideas that I will expand with some theory - Daniel K. Schneider 14:24, 17 June 2011 (CEST)


Embroidery for identity building

Chemistry is cool
I believe in evolution

In particular, younger students could create embroidery in (mostly) extra-curricalar classes that address societial isssues, like peace, envrionment, energy, migration etc. Creating wearable embroidery would engage learners in exposing views in public and not just the classroom.

Co-workers in an outfit that has such a machine could create identity-building designs.

Wenger defines identity as what we know, what is foreign and what we choose to know, as well as how we know it. Our identies determine with whom we will interact in a knowledge sharing activity, and our willingness and capacity to engage in boundary interactions (Wenger 2000, p.239). Billet (2006:66) adopts the stance that “the individual can be seen as being socially shaped ontogenetically, albeit in ways rendered unique by their personal histories of self-construction [..] relations between the individual and the social world might best be understood as those between ontogeny and history are understood, as operating in parallel and through negotiation, where the immediate and premediate coalesce and shape the postmediate experience. It is these relations that are continually engaged in remaking and reproducing cultural and social practice, as in vocational practice and learning.”

Part of identity building definitions imply that identity can, is and should being expressed.



I like Mediawiki
Essential learning tasks
I use LAMS

Embroidery for communication

Academics and others could create embroidery to wear at events like conferences and that express a strong viewpoint, part of a theory or research.

Such embroidery could:

  1. Display figures and diagrams, turn a person into some kind of walking poster
  2. Make strong statements
  3. Display logos of favorite projects, software etc.

1) Walking posters

Various matching technology and concepts does exit e.g. for business speed dating or as part of CSCL scripts in education.

Location-based matchmaking can be implemented with various specialized devices (i.e. some kind of bracelet), through cell phones or any other wireless device. Research and development in this is area is conducted under the label of location-based (or context-aware) mobile applications. The principle is the same: It should raise the awareness of the presence of others that share similar interests within a reduced spatial area, e.g. a conference building.

A first attempt was made, i.e. believe that I probably was one of the first trying to embroid a power point slide.

2) Making strong statements through cloth is of course and old tradition, but it mostly done through printing on T-shirts. Also, probably not that many people create their own personal statements.

3) Displaying logos is a similar idea. Why not having a pretty MediaWiki on a shirt pocket instead of a lame polo player or crocodile ? That is also something that has quite a tradition, mostly in comportate world, where T-shirts and other items are created in order to promote a new product line.

Embroidery design for learning vector graphics

Modern embroidery design often starts from "ordinary" vector graphics and between actual stitches, so-called embroidery objects are also represented as vector graphic objects.

We found that most of our students that enter our master's program in educational technology are not familiar with technical drawing, i.e. people feel lost in more complex programs such as Flash Professional or InkScape. Not being able to create or at least to manipulate technical drawings is a handicap that will make learning any multimedia, gaming designn or CAD/CAM program much more difficult. We feel that embroidery is nice way to start learning vector graphics since learners will produce tangible and (hopefully) movitating artifacts.

Bezier curve
Constructive solid geometry

Embroidery could awaken interest for IT in people who otherwise just stick to Word and Facebook. Vector graphics is difficult and may meet resistance. A study from Horgen and Lynch (2006) about using a VLE for teaching embroidery found that “The participants also expressed fear of engagement with technology. Considering the age of the participants, this was as expected. What was unexpected was the enthusiasm with which they confronted their fear and stepped out of their comfort zone, to enhance their lifelong learning skills, albeit in an embroidery context in this VLE, but their acquired skills could be applied to their general computer literacy. Similarly, the participants vetted their frustration with the technology, but instead of giving up, they forged on and faced their techo-frustration. Again, the outcome of this determination was to confront their frustration, resulting in an improvement to their lifelong learning potential and computer literacy. It was interesting how the participants personified the computer as a 'monster' or 'thing'. However, they faced the monster and tamed it!”

Embroidery as introduction to design

Having students create designs will train them in design and in using design software. Design is important for our societies and should be taught more. In the UK, Embroidery and Cad/Cam is now a part of the curriculum since 2000. According to CAD/CAM in Schools (PDF, retrived July 17,2011), “There are primarily six main types of CNC systems in use in schools: knife cutting systems, milling/routing systems, laser cutters, 3D printers, computerised embroidery systems and Image Transfer systems.”

According to the CAD/CAM in Schools report in which 23 UK schools were surveyed, the most interesting results were:

  • The quality of pupils' work has improved by using CAD/CAM.
  • Pupils enjoy using CAD/CAM.
  • CAD/CAM should be seen as an enhancement to and not a replacement for traditional skills.
  • Successful adoption of the use of CAD/CAM by teachers and their pupils requires the investment of time in INSET.

An other but connected reason for teaching design is that micro-fabrication based on sharable open-source and commercial designs will gain importance in the future and we should be ready for that.

We reproduce a quoted section from our Fab lab overview: “Two future forces, one mostly social, one mostly technological, are intersecting to transform how goods, services, and experiences—the “stuff” of our world—will be designed, manufactured, and distributed over the next decade. An emerging do-it-yourself culture of “makers” is boldly voiding warranties to tweak, hack, and customize the products they buy. And what they can’t purchase, they build from scratch. Meanwhile, flexible manufacturing technologies on the horizon will change fabrication from massive and centralized to lightweight and ad hoc. These trends sit atop a platform of grassroots economics—new market structures developing online that embody a shift from stores and sales to communities and connections.” (Future of Making Map, retrieved 23 June 2009)

Being able to share designs overt the Internet through either close-circuit VLEs or open source repositories such as Thingiverse, may constitue an additional motivating factor. Hordern and Lynch (2006) in their study made the following findings: “Embroidery is a rich and versatile art through which practitioners can express their creativity by coming together in social groups and sharing their embroidery skills. From the data collected and analyzed in this case study, the threads of the embroiderer and the threads of the Internet's web, have connected e-stitchers in an e-sewing circle, with the potential to remove geographic, spatial and temporal barriers to avail embroidery to the global village. The Connectivity of Threads VLE has made evident a juxtaposition of the traditional art of embroidery with the modern technology of the Internet, supporting an opportunity for learning and sharing embroidery and computer skills, and contributing to life-long learning, in general.”

Embroidery as motivator and post-production

Subject-specific designs could be motivators in project-oriented classes (nature, science, political). I.e. the idea is to have students create designs that represent knowledge in various forms.

Currently, in such mostly extra-curricilar activities, learners will produce posters, sometimes pictures or clips, rarely exhibitions. I.e. artifacts that very likely will go away and that will not remain in the possession of the createor. Embroidery can create souvenirs of an activity that may last.


Embroidery as contructionist learning object

Embroidery for intellectual growth

According to Zuckerman's taxonomy there are three kinds of constructionist learning objects

  1. Construction & Design (Froebel tradition) and its modern digital variants (Papert and Resnick)
  2. Conceptual Manipulation (Montessori)
  3. Reality Role Play (Dewey)

1 ) See embroidery for learning design and 2D drawing (above)

2) ?

3) Embroidered cloth or bands could help to organize role plays


Links

Matchmaking
People
  • Rose Sinclair, a UK academic who publishes papers on textiles and embroidery in the classroom


Bibliography

  • Billett, S. (2006) Relational Interdependence Between Social and Individual Agency in Work and Working Life, Mind, Culture, And Activity, 13(1), 53-69. PDF
  • Bracey, Nancy (1993). Why It Might Be More Important to Teach Young Females Embroidery than More Conventional Art Practices as Part of Their Core Art Education, Australian Art Education, v16 n2 p25-31 Aut 1993
  • Breckon, A. (2001) 'DfEE/DATA CAD/CAM in Schools Initiative The Designing and Making Revolution in Design and Technology Education'. The Journal of Design and Technology Education, Vol 6 (2) 161-166
  • Dewey, J. (1938) Experience and Education, New York: Collier Books.
  • DFEE and QCA (1999) The National Curriculum for England
  • Fröbel, F. (1826) On the Education of Man (Die Menschenerziehung), Keilhau/Leipzig: Wienbrach
  • Fullwook, Jonathan, CAD/CAM in Schools, The Journal of Design and Technology Education, 7 (1).
  • Hordern, P, Lynch, K (2006). Developing a virtual learning environment for embroidery,4 th Annual Hawaii International Conference on Education: pp2689-2699, Abstract/
  • Montessori, M. (1916) The Montessori Method, New York: Schocken Books (1964 edition)
  • Resnick, M., Martin, F., Sargent, R., and Silverman, B. (1996). Programmable Bricks: Toys to Think With. IBM Systems Journal 35, 3, 443-452.
  • Sinclair Rose, Software to Softwear, Paper Presentation -HEIA Biennial Conference Sydney Australia
  • Sinclair, Rose, Extra-Ordinary Embroidery –Paper Presentation and Workshop Exploring relationship between CAD and Computerised Embroidery. Aberdeen University National Home Economics Conference, Scotland
  • Thomas, V. (1996) 'CAD/CAM It!' The Journal of Design and Technology Education Vol 1 (2) 166-171
  • Wenger, Etienne. (2000), Communities of Practice and Social Learning Systems, Organization, Volume 7(2): 225-246
  • Wenger, E., McDermott, R. and Snyder, W. M. (2002). Cultivating Communities of Practice. Massachusetts, Harvard Business School Press.
  • Zuckerman, Oren (2006, in preparation), Historical Overview and Classification of Traditional and Digital Learning Objects MIT Media Laboratory, 20 Ames Street, Cambridge, MA 02139. PDF - CiteSeer Abstract.
  • Zuckerman, Oren (2010). Designing digital objects for learning: lessons from Froebel and Montessori, International Journal of Arts and Technology 3 (1) 124-135. (Access restricted).
To sort out

Description Logic based Matchmaking on Mobile Devices