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Nettrice R. Gaskins - Techno-Vernacular Creativity and Innovation: Culturally Relevant Making Inside and Outside of the Classroom

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A novel approach to STEAM learning that engages students from historically marginalized communities in culturally relevant and inclusive maker education.
The growing maker movement in education has become an integral part of both STEM and STEAM learning, tapping into the natural DIY inclinations of creative people as well as the educational power of inventing or making things. And yet African American, Latino/a American, and Indigenous people are underrepresented in maker culture and education. In this book, Nettrice Gaskins proposes a novel approach to STEAM learning that engages students from historically marginalized communities in culturally relevant and inclusive maker education. Techno-vernacular creativity (TVC) connects technical literacy, equity, and culture, encompassing creative innovations produced by ethnic groups that are often overlooked.
TVC uses three main modes of activity: reappropriation, remixing, and improvisation. Gaskins looks at each of the three modes in turn, guiding readers from research into practice. Drawing on real-world examples, she shows how TVC creates dynamic learning environments where underrepresented ethnic students feel that they belong. Students who remix computationally, for instance, have larger toolkits of computational skills with which to connect cultural practices to STEAM subjects; reappropriation offers a way to navigate cultural repertoires; improvisation is firmly rooted in cultural and creative practices. Finally, Gaskins explores an equity-oriented approach that makes a distinction between conventional or dominant pedagogical approaches and culturally relevant or responsive making methods and practices. She describes TVC habits of mind and suggests methods of instructions and projects.

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Techno-Vernacular Creativity and Innovation

Culturally Relevant Making Inside and Outside of the Classroom

Nettrice R. Gaskins

foreword by Leah Buechley

afterword by Ruha Benjamin

The MIT Press

Cambridge, Massachusetts|London, England

2021 Massachusetts Institute of Technology

All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means (including photocopying, recording, or information storage and retrieval) without permission in writing from the publisher.

The MIT Press would like to thank the anonymous peer reviewers who provided comments on drafts of this book. The generous work of academic experts is essential for establishing the authority and quality of our publications. We acknowledge with gratitude the contributions of these otherwise uncredited readers.

Library of Congress Cataloging-in-Publication Data

Names: Gaskins, Nettrice R., author. | Buechley, Leah, author of foreword. | Benjamin, Ruha, author of afterword

Title: Techno-vernacular creativity and innovation : culturally relevant making inside and outside of the classroom / Nettrice R. Gaskins ; foreword by Leah Buechley; afterword by Ruha Benjamin.

Description: Cambridge, Massachusetts ; London, England : The MIT Press, 2021. | Includes bibliographical references and index.

Identifiers: LCCN 2020041263 | ISBN 9780262542661 (paperback)

Subjects: LCSH: Maker movement in education. | Culturally relevant pedagogy.

Classification: LCC LB1029.M35 G37 2020 | DDC 371.33--dc23

LC record available at https://lccn.loc.gov/2020041263

d_r0

For my mother and the brave ones who came before her.

Contents

List of Illustrations

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Foreword
Leah Buechley

When I first saw Nettrice Gaskinss artwork, it took my breath away. I was especially dazzled by her series of algorithmically generated portraits. They are reminiscent of Chuck Closes paintings but less staticfull of movement, vibrance, and blunt cultural weight. In them, iconic images of figures like Ella Fitzgerald, Marvin Gaye, and Colin Kaepernick have been remixed into swirling fields of color to communicate something new, alive, and urgent. These works, a collaboration between Gaskins and a machine learning algorithm, blend a lush and distinctive visual style with technical mastery and a quiet but sharp social-technical critique. They are, quite simply, stunning.

The power of Gaskinss work is also a painful reminder of the rarity of African American new media artists. Her images leave you with a feeling of excitement and also a stinging sense of absence. They are so unusual, so distinctive, that they make you wonder why you have never seen anything like them before. Her work makes it clear that there is so much creative territory that has not yet been explored. There are so many perspectives that have not yet been expressed or examined with computational media. There is so much yet to be done, so much yet to be seen.

Gaskinss work with young people is equally unique and impressive. Her carefully designed classes help diverse young people make connections between their cultural heritage and STEM (science, technology, engineering, and mathematics). She introduces programming and STEM in expressive and relevant contexts to youth who rarely get the opportunity to incorporate their identity into schoolwork. She appropriately honors history, culture, and the arts as much as STEM. Her educational efforts are broadening our conception of what maker education can be and, more importantly, whose work is seen and valued by the maker movement and traditional educational institutions.

In this book, Gaskins presents the theoretical framework that has grown out of her integrated scholarly, artistic, and educational career. It distills her working practices, experiences, and perspective into an inspiring and useful guide for researchers and practitioners. It provides an excellent overview of scholarship in culturally relevant educational practices, a clear structure to help educators recognize and value different cultural traditions, and a series of thought-provoking anecdotes that will be concretely useful to fellow artists and educators. There is so much to learn from her!

I hope that this volume can help those of us who wield power and influence in mainstream art, technology, and education circles to broaden the culture of STEM and STEAM (science, technology, engineering, art, and mathematics) so that new, transformative voices have the space and support they need to grow. And I hope that it will help us simply see and celebrate some of the vast creative territories that we havent noticed before.

Acknowledgments

I dedicate this book to my late mother, Sharon Lee Gaskins, who, along with two other students, was the first to integrate Centre College in Danville, Kentucky, in 1964. When I was growing up, she was the only Black woman I knew who made a living as a computer programmer. Although I surely would not have believed it if someone told me then, I would one day learn computer programming as an undergraduate art student at Pratt Institute. My mother loved that I was an artist, and she recognized that I had other interests besides art. On my Christmas list in the third grade was a chemistry set and rock polishing kit. Writing this book reminded me of why Ive been hopping around from discipline to discipline for such a long time. However, I have been and will always be the artist my mother wanted me to be and what I always wanted for myself.

This book would not have been possible without the encouragement and support of my teachers over the years. My high school art teacher, Susan Sidebottom, introduced me to computer graphics at a time when I had no interest in computers. Im still not entirely sure why Mrs. Sidebottom decided to set up a computer lab and teach her students how to make art on computers. Were still friends, so maybe one day I will ask her. A host of people encouraged me to stay the course, including my grandmother Virginia Gill, Judyie and Shahid Al-Bilali (my early artist-mentors), my sister Tamboura, Audrey Bennett, Sheri Davis, Ron Eglash, Bettina Love, Nancy Nersessian, Celia Pearce, Juan A. Ramrez, and Jacqueline Royster. Without my book editors, Susan Buckley and Ronnie Lipton, this book would not have been completed. I thank both of them for their time, consideration, and encouragement. Im also thankful for the commentary by Leah Buechley and Ruha Benjamin in this book.

It was Hank Shocklee who triggered the Aha! moment when I realized there was a connection between hip-hop music production and maker culture. It was my love of hip-hop culture, specifically graffiti art, that led to my discovery that artists were being intentional about using or referring to STEAM (science, technology, engineering, art and mathematics) concepts in their work. Many of these artists reflect the communities of the students Ive taught, especially from African American, Latino/a, and Indigenous groups. Support from the National Science Foundation and the Georgia Institute of Technology in 2014 helped me create a workshop to bring together artists, learning scientists, educators, and other experts to explore and discuss methods for increasing participation of underrepresented ethnic groups in STEM through cultural art and design and digital media.

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