This document discusses zines and their role in makerspaces. It defines zines as independently published booklets and explains that makerspaces provide a safe, collaborative environment for zine creation through workshops and resources. The document outlines equipment, tools, and materials needed for zine making. It also addresses issues like binding, attribution, and distribution. Overall, the document promotes zines as a way for makerspaces to encourage learning, sharing, and community building.
This document provides information about the South by Southwest (SXSW) conference and the Lib*Interactive movement. It describes what SXSW is, including its various components like SXSWedu, SXSWi, and networking events. It then discusses Lib*Interactive, a volunteer group that promotes libraries, archives, and museums at SXSW. Key partners that support Lib*Interactive's efforts are outlined. Trends observed at SXSW 2015 are summarized, along with takeaways for how they may impact libraries. The document encourages involvement and describes various ways to help support Lib*Interactive's work.
This document provides a three-step process for incorporating in-text citations and creating a works cited page when writing a research paper: 1) Take notes on sources with the author's last name and page numbers, 2) Write the paper inserting parenthetical citations, and 3) Create an alphabetized works cited page with properly formatted citations. An example is provided for each step.
Visual Resources Association Annual Conference
March 24-27, 2020, Baltimore*
Session: Incorporating Diversity in our Workplace: All are Welcome, but How Do We Get There?
Moderator: Andrew Wang
Presenters: Heidi Raatz, Cindy Frank, and Meghan Rubenstein
*Baltimore conference canceled. Presented as a webinar June 2, 2020
Bringing "A Universe of Stories" to Your LibraryNCIL - STAR_Net
Summer 2019 may feel like it’s far away, but the Collaborative Summer Library Program’s (CSLP) “Universe of Stories” reading theme will be here quicker than a photon traversing from the Sun to Earth.
“What space-themed programs will I do?”
“How will I partner with community organizations?”
“What if I don’t know anything about space?”
“How do I…STEM?”
If you find yourself asking these questions, then this is the webinar for you! Join the STAR Net team and Luke Kralik, Organizational Coordinator for CSLP, to learn more about the 2019 summer reading theme and ways that you can bring it to life in YOUR library. You don’t have to be a rocket scientist to celebrate this out-of-this-world theme!
This document is a presentation about Patrick Jones, a local YA hero and author. It summarizes that Patrick Jones is revered among librarians for his groundbreaking guides to YA books and services. It also notes that he has published YA novels for the past 8 years and received several awards for his work, including the Catholic Library Association Lifetime Achievement Award and the American Library Association / Scholastic Lifetime Achievement Award. The presentation provides biographical details and quotes from Patrick Jones about his career and focus on writing fiction that makes teens think critically.
From Library To Learning Commons.Ny.Slidesharevaleriediggs
Valerie Diggs discusses transforming a school library into a learning commons to better serve students' changing educational and technological needs. A learning commons is a collaborative space for teaching, learning, group work, creativity and community, rather than just a place for finding information. Diggs outlines building a program around teaching and learning, holding events like poetry slams, and getting input from students and faculty before renovating the physical space with an open design. The transformed learning commons has been successful in engaging the school community and supporting new forms of learning.
This document provides information about the South by Southwest (SXSW) conference and the Lib*Interactive movement. It describes what SXSW is, including its various components like SXSWedu, SXSWi, and networking events. It then discusses Lib*Interactive, a volunteer group that promotes libraries, archives, and museums at SXSW. Key partners that support Lib*Interactive's efforts are outlined. Trends observed at SXSW 2015 are summarized, along with takeaways for how they may impact libraries. The document encourages involvement and describes various ways to help support Lib*Interactive's work.
This document provides a three-step process for incorporating in-text citations and creating a works cited page when writing a research paper: 1) Take notes on sources with the author's last name and page numbers, 2) Write the paper inserting parenthetical citations, and 3) Create an alphabetized works cited page with properly formatted citations. An example is provided for each step.
Visual Resources Association Annual Conference
March 24-27, 2020, Baltimore*
Session: Incorporating Diversity in our Workplace: All are Welcome, but How Do We Get There?
Moderator: Andrew Wang
Presenters: Heidi Raatz, Cindy Frank, and Meghan Rubenstein
*Baltimore conference canceled. Presented as a webinar June 2, 2020
Bringing "A Universe of Stories" to Your LibraryNCIL - STAR_Net
Summer 2019 may feel like it’s far away, but the Collaborative Summer Library Program’s (CSLP) “Universe of Stories” reading theme will be here quicker than a photon traversing from the Sun to Earth.
“What space-themed programs will I do?”
“How will I partner with community organizations?”
“What if I don’t know anything about space?”
“How do I…STEM?”
If you find yourself asking these questions, then this is the webinar for you! Join the STAR Net team and Luke Kralik, Organizational Coordinator for CSLP, to learn more about the 2019 summer reading theme and ways that you can bring it to life in YOUR library. You don’t have to be a rocket scientist to celebrate this out-of-this-world theme!
This document is a presentation about Patrick Jones, a local YA hero and author. It summarizes that Patrick Jones is revered among librarians for his groundbreaking guides to YA books and services. It also notes that he has published YA novels for the past 8 years and received several awards for his work, including the Catholic Library Association Lifetime Achievement Award and the American Library Association / Scholastic Lifetime Achievement Award. The presentation provides biographical details and quotes from Patrick Jones about his career and focus on writing fiction that makes teens think critically.
From Library To Learning Commons.Ny.Slidesharevaleriediggs
Valerie Diggs discusses transforming a school library into a learning commons to better serve students' changing educational and technological needs. A learning commons is a collaborative space for teaching, learning, group work, creativity and community, rather than just a place for finding information. Diggs outlines building a program around teaching and learning, holding events like poetry slams, and getting input from students and faculty before renovating the physical space with an open design. The transformed learning commons has been successful in engaging the school community and supporting new forms of learning.
The document summarizes the #sxswLAM event at SXSW for librarians. It provides background on SXSW and #sxswLAM, which is a volunteer group that organizes library participation at SXSW to evangelize libraries and connect with the technology community. The summary highlights that #sxswLAM provides opportunities for librarians to see and be seen at SXSW, hear important conversations, be heard through panels, and make new connections with startups and technology leaders while also strengthening connections within the library community.
Librarians and information professionals have had a growing presence at the annual South by Southwest (SXSW) technology conference in Austin, Texas since the early 2000s. In 2012, the #sxswLAM community was officially formed to connect libraries, archives, and museums to the SXSW technology community. #sxswLAM volunteers organize panels, events, and networking opportunities to showcase the roles of these institutions and discuss innovations. The 2014 conference saw increased participation from organizations like the Digital Public Library of America and Urban Libraries Unite, as well as sponsorships from vendors to help librarians connect and collaborate with attendees from the technology world.
Sharing is caring keynote 'Enriching cultural heritage collections through a ...Mia
Today I'd like to present both a proposal for something called the 'Participatory Commons', and a provocation (or conversation starter): there's a paradox in our hopes for deeper audience engagement through crowdsourcing: projects that don't grow with their participants will lose them as they develop new skills and interests and move on. This talk presents some options for dealing with this paradox and suggests a Participatory Commons provides a way to take a sector-wide view of active engagement with heritage content and redefine our sense of what it means when everybody wins.
[I was invited to Copenhagen to talk about my research on crowdsourcing in cultural heritage at the 3rd international Sharing is Caring seminar on April 1. I'm sharing my notes in advance to make life easier for those awesome people following along in a second or third language, particularly since I'm delivering my talk via video. My notes are at http://openobjects.blogspot.co.uk/2014/03/sharing-is-caring-keynote-enriching.html ]
Want to tinker with new technology at your library but don’t quite know where to start? The Maker Space Petting Zoo provides a 30 minutes overview of maker culture in libraries, followed by an hour of hands on experience with a variety of maker technology, including robots. You’ll complete this session with some hands-on experience that you can take back to your library, along with project ideas, to develop your own makerspace.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
This document provides an overview of the Storefront project by Olson Kundig Architects in Seattle, WA. The Storefront was an experimental space that hosted various exhibits, installations, and community programs over four years on a short timeline and small budget. It addressed topics like records, mushroom farming, homelessness, and empowering teenage girls. The Storefront aimed to be immediately responsive to current events and spark discussion through collaborative projects with local artists and organizations. It closed in 2013 and was followed by the Itinerant Projects series taking installations to new locations.
Web technologies & cultural communicationKate Stone
The document discusses how web technologies and cultural communication are changing how cultural institutions operate and engage with their audiences. It explores how the internet has led to cultural disintermediation by removing gatekeepers and giving more people a voice. Museums are shifting from being cathedrals that dictate authority to being more like town squares that facilitate participation and multiple voices. New forms of online engagement like crowdsourcing and user-generated content are becoming important strategies for cultural institutions.
Your digital humanities are in my library! No, your library is in my digital ...aneatrour
This document summarizes how libraries support and engage with digital humanities projects in three key ways:
1) Libraries offer resources like physical space, digitization services, server space, and librarian expertise to support digital humanities projects.
2) Case studies show specific digital humanities projects libraries have collaborated on, such as Chronicling America and a collaboration between UCLA and the Getty Research Institute.
3) Emerging trends in how libraries further support digital humanities are explored, such as through linked open data, digital library objects, multiple access points to data, and taking on roles in data management and curation.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
Steve and Social Tagging: Seeing Collections Through Visitors' EyesSteve Project
Brief introduction to Steve: The Museum Social Tagging Project, prepared for the RUSA Presidents' Program at the American Library Association's 2009 annual meeting.
The document describes a Maker Space Petting Zoo event being held by Courtney Brown of the Indiana State Library. The event will include a presentation about what maker spaces are and different types of hands-on, interactive technologies and projects like Makey Makey, Little Bits, and Sphero robots. Attendees will learn how maker spaces can support creativity and community in libraries, as well as ideas for incorporating maker projects into library programming for all ages.
This document summarizes a workshop for high school students about experiencing history through various mediums. The workshop covered topics like World War II propaganda posters, letter writing from the war, trying on authentic WWII uniforms, examining coins and stamps over time, preserving wedding dresses and other fabrics, listening to oral histories, and discussing the importance of preserving various artifacts and media for historical study. Students participated in activities like creating their own posters, dressing up in uniforms, interviewing partners, and providing hands-on access to artifacts in the library's collection. The goal was to bring history to life for students and teach them about the value of preservation.
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
Seduction of the Innocent: PCA/ACA 2013 presentationSteveAmmidown
Slides and speaking notes from my presentation at the National PCA/ACA Conference on March 28, 2013 in Washington, D.C. It was part of the "Increasing Access, Awareness and Usage" panel (#2701) in the Libraries, Archives, Museums and Popular Research section. I describe the process of re-cataloguing the comic book collection at the University of Maryland, Baltimore County and the subsequent exhibit I helped create. I argue that archives and special collections can increase awareness and access to underused collections by giving license to their employees to make meaning of those collections. (speaking notes for each slide are in notes below)
Your digital humanities are in my library! No, your library is in my digital ...Rebekah Cummings
A presentation on the intersection of libraries and digital humanities presented at the Utah Digital Humanities Symposium at Utah Valley University on February 26, 2016.
The document summarizes a session from the Visual Resources Association Annual Conference on making collection content more openly accessible while respecting copyright. It discusses various strategies that libraries and museums are using, including systematic digitization of public domain works, fair use of thumbnails, and partnerships with organizations like ARTstor to share images. The Brooklyn Museum project to clear copyrights on its collection is presented as a case study, outlining their process of educating staff, defining workflows, and partnering internally and externally to research over 24,000 works and 800 artists. Considerations for fair use and working with external partners like Google Art Project are also addressed.
The Museum as Agora: Identity and collaboration in the 21st century museumNancy Proctor
The document discusses the changing role of museums in the digital age. It describes how museums are becoming more collaborative spaces through various online initiatives that engage audiences. These initiatives include user-generated content on sites like Flickr, Wikipedia projects, mobile apps, podcasts, and games. The museum is transforming from a traditional "Acropolis" model to a more open "Agora" model that facilitates collaboration with other institutions, partners, and audiences.
🔥🔥🔥🔥🔥🔥🔥🔥🔥
إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
1- مُترجمة ترجمة تُناسب جميع المستويات
2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
واخيراً هذهِ الملزمة حلالٌ عليكم وإتمنى منكم إن تدعولي بالخير والصحة والعافية فقط
كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
🔥🔥🔥🔥🔥🔥🔥🔥🔥
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The document summarizes the #sxswLAM event at SXSW for librarians. It provides background on SXSW and #sxswLAM, which is a volunteer group that organizes library participation at SXSW to evangelize libraries and connect with the technology community. The summary highlights that #sxswLAM provides opportunities for librarians to see and be seen at SXSW, hear important conversations, be heard through panels, and make new connections with startups and technology leaders while also strengthening connections within the library community.
Librarians and information professionals have had a growing presence at the annual South by Southwest (SXSW) technology conference in Austin, Texas since the early 2000s. In 2012, the #sxswLAM community was officially formed to connect libraries, archives, and museums to the SXSW technology community. #sxswLAM volunteers organize panels, events, and networking opportunities to showcase the roles of these institutions and discuss innovations. The 2014 conference saw increased participation from organizations like the Digital Public Library of America and Urban Libraries Unite, as well as sponsorships from vendors to help librarians connect and collaborate with attendees from the technology world.
Sharing is caring keynote 'Enriching cultural heritage collections through a ...Mia
Today I'd like to present both a proposal for something called the 'Participatory Commons', and a provocation (or conversation starter): there's a paradox in our hopes for deeper audience engagement through crowdsourcing: projects that don't grow with their participants will lose them as they develop new skills and interests and move on. This talk presents some options for dealing with this paradox and suggests a Participatory Commons provides a way to take a sector-wide view of active engagement with heritage content and redefine our sense of what it means when everybody wins.
[I was invited to Copenhagen to talk about my research on crowdsourcing in cultural heritage at the 3rd international Sharing is Caring seminar on April 1. I'm sharing my notes in advance to make life easier for those awesome people following along in a second or third language, particularly since I'm delivering my talk via video. My notes are at http://openobjects.blogspot.co.uk/2014/03/sharing-is-caring-keynote-enriching.html ]
Want to tinker with new technology at your library but don’t quite know where to start? The Maker Space Petting Zoo provides a 30 minutes overview of maker culture in libraries, followed by an hour of hands on experience with a variety of maker technology, including robots. You’ll complete this session with some hands-on experience that you can take back to your library, along with project ideas, to develop your own makerspace.
The document discusses Robert Stein's role as Deputy Director for Research, Technology, and Engagement at the Indianapolis Museum of Art. It provides details about Stein's background and experience in various roles at universities and museums. It also outlines the IMA's strategic plan, with a focus on establishing the museum as a leader in research areas like art history, conservation science, and visitor studies. The document advocates for an approach of audience engagement over education and discusses various models and theories around maximizing visitor experience.
This document provides an overview of the Storefront project by Olson Kundig Architects in Seattle, WA. The Storefront was an experimental space that hosted various exhibits, installations, and community programs over four years on a short timeline and small budget. It addressed topics like records, mushroom farming, homelessness, and empowering teenage girls. The Storefront aimed to be immediately responsive to current events and spark discussion through collaborative projects with local artists and organizations. It closed in 2013 and was followed by the Itinerant Projects series taking installations to new locations.
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The document discusses how web technologies and cultural communication are changing how cultural institutions operate and engage with their audiences. It explores how the internet has led to cultural disintermediation by removing gatekeepers and giving more people a voice. Museums are shifting from being cathedrals that dictate authority to being more like town squares that facilitate participation and multiple voices. New forms of online engagement like crowdsourcing and user-generated content are becoming important strategies for cultural institutions.
Your digital humanities are in my library! No, your library is in my digital ...aneatrour
This document summarizes how libraries support and engage with digital humanities projects in three key ways:
1) Libraries offer resources like physical space, digitization services, server space, and librarian expertise to support digital humanities projects.
2) Case studies show specific digital humanities projects libraries have collaborated on, such as Chronicling America and a collaboration between UCLA and the Getty Research Institute.
3) Emerging trends in how libraries further support digital humanities are explored, such as through linked open data, digital library objects, multiple access points to data, and taking on roles in data management and curation.
The document discusses the concept of Relational Aesthetics, an artistic movement from the 1990s that focused on human interaction and social contexts. It examines works by artists like Rirkrit Tiravanija who created social situations in galleries through serving food. Other examples include Christine Hill's Volksboutique pop-up shops and Ben Kinmont's Waffles for an Opening project. The document explores how these works used human relationships and social frameworks as their medium rather than traditional art objects. It analyzes how Relational Aesthetics reflected issues of communication systems and consumerism in the late 20th century.
Steve and Social Tagging: Seeing Collections Through Visitors' EyesSteve Project
Brief introduction to Steve: The Museum Social Tagging Project, prepared for the RUSA Presidents' Program at the American Library Association's 2009 annual meeting.
The document describes a Maker Space Petting Zoo event being held by Courtney Brown of the Indiana State Library. The event will include a presentation about what maker spaces are and different types of hands-on, interactive technologies and projects like Makey Makey, Little Bits, and Sphero robots. Attendees will learn how maker spaces can support creativity and community in libraries, as well as ideas for incorporating maker projects into library programming for all ages.
This document summarizes a workshop for high school students about experiencing history through various mediums. The workshop covered topics like World War II propaganda posters, letter writing from the war, trying on authentic WWII uniforms, examining coins and stamps over time, preserving wedding dresses and other fabrics, listening to oral histories, and discussing the importance of preserving various artifacts and media for historical study. Students participated in activities like creating their own posters, dressing up in uniforms, interviewing partners, and providing hands-on access to artifacts in the library's collection. The goal was to bring history to life for students and teach them about the value of preservation.
Here are some tips for analyzing images:
- Describe what you see without making inferences. Focus on details.
- Note the composition - where is the subject located, angles, lighting, etc.
- Consider when and where it was created to understand context.
- Think about the intended audience and purpose. Was it meant to educate, persuade, etc.
- Compare and contrast images on the same topic from different eras or cultures.
- Identify any symbols and consider their meaning both originally and how meanings can change over time.
- Discuss how the image makes you feel and what message or ideas it conveys. Support with evidence from the image.
- Analyze the
Seduction of the Innocent: PCA/ACA 2013 presentationSteveAmmidown
Slides and speaking notes from my presentation at the National PCA/ACA Conference on March 28, 2013 in Washington, D.C. It was part of the "Increasing Access, Awareness and Usage" panel (#2701) in the Libraries, Archives, Museums and Popular Research section. I describe the process of re-cataloguing the comic book collection at the University of Maryland, Baltimore County and the subsequent exhibit I helped create. I argue that archives and special collections can increase awareness and access to underused collections by giving license to their employees to make meaning of those collections. (speaking notes for each slide are in notes below)
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Similar to Supporting Zine Creation in Makerspaces (20)
🔥🔥🔥🔥🔥🔥🔥🔥🔥
إضغ بين إيديكم من أقوى الملازم التي صممتها
ملزمة تشريح الجهاز الهيكلي (نظري 3)
💀💀💀💀💀💀💀💀💀💀
تتميز هذهِ الملزمة بعِدة مُميزات :
1- مُترجمة ترجمة تُناسب جميع المستويات
2- تحتوي على 78 رسم توضيحي لكل كلمة موجودة بالملزمة (لكل كلمة !!!!)
#فهم_ماكو_درخ
3- دقة الكتابة والصور عالية جداً جداً جداً
4- هُنالك بعض المعلومات تم توضيحها بشكل تفصيلي جداً (تُعتبر لدى الطالب أو الطالبة بإنها معلومات مُبهمة ومع ذلك تم توضيح هذهِ المعلومات المُبهمة بشكل تفصيلي جداً
5- الملزمة تشرح نفسها ب نفسها بس تكلك تعال اقراني
6- تحتوي الملزمة في اول سلايد على خارطة تتضمن جميع تفرُعات معلومات الجهاز الهيكلي المذكورة في هذهِ الملزمة
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كل التوفيق زملائي وزميلاتي ، زميلكم محمد الذهبي 💊💊
🔥🔥🔥🔥🔥🔥🔥🔥🔥
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1. Picture: small print zine exhibition/Angela Carter/Creative Commons
By S . M edi na
Libr. 281, Building Learning Commons, Dr. D. Loertscher, May 2015
2. What is
a zine?
Why in a
makerspace?
Safe space
for zine
creation
Workshops &
support
Financing &
Resources
Sharing
the zines
Issues to
consider
Makerspace
Projects
Equipment,
Tools, &
Materials
Zines in
Makerspaces
3. Zines are independently produced and published,
photocopied booklets.
Picture: zine 004/Lola Lullaby /Creative Commons
Picture: Zine Symposium - Russell Square London
2006/szczel/Creative Commons
4. WHY CREATE ZINES IN MAKERSPACES?
Picture: Zine library and zine making lab/Chattanooga Public
Library/Creative Commons
Make,
Shar e,
Give, &
Lear n
5. Picture: Zine workshop-Making zines/Barnard Library Zine Collection/Creative
Commons
S u p p o r t i v e ,
c o l l a b o r a t i v e ,
a n d
c o m f o r t a b l e
e n v i r o n m e n t
6. Picture: Workshops, Discussions & Panels/Jessie Lynn
McMains/Creative Commons
• E v e r y o n e t e a c h e s &
e v e r y o n e l e a r n s
• S h a r i n g s k i l l s &
s t r a t e g i e s
• E v e n t s & t h e m e s
7. • Introductions to Zines (Zine reading
exploration, Zine History, compare
and contrast to other formats)
• Narrative styles
• Themes and Genres
• Writing Exercises
• Text (Word Processing, Handwriting)
• Art (Collaging, Appropriating
Images, Illustration)
Slideshare: A Short History of Zines/Sardonicsmile
8. • Size
• Shape
• Paper Type
• Binding
• Collating
• Folding
• Mailing
• Creating the master/original
• Photocopying
• Adding Objects
PDF: “The Secret to Making Zines”/Kevin/Creative Commons
9. Zine Makers, Librarians, Paraprofessionals, Writers,
Students, and anyone interested in zine creation!
Picture: Zine instruction
and making/Chattanooga
Public Library/Creative
Commons
Picture: Homeschool Homeboys Collating/Chattanooga
Public Library/Creative CommonsPicture: Comunicalango 2006/Festival Calango/
Creative Commons
10. EQUIPMENT, TOOLS, & MATERIALS
Picture: Zine making tools/Lindsay
Kinkade/Creative Commons Picture: Portrait of Zine
tools/Trade&Row/Creative Commons
Picture: Library Journal Directors
Summit/Chattanooga Public
Library/Creative Commons
Picture: Zine making
folio/Mcld/Creative Commons
Picture: Milton’s Stapler/JD
Hancock/Creative CommonsPicture:Computer/StopMangoHome/Cre
ative Commons
11. ISSUES TO CONSIDER
• Binding (type of)
• Signing a zine (Creator identity)
• Contact information (for creator/s)
• Numbering pages
• Dating
• Attribution of sources used
• Allowances on what others can do with your zine (digitize, copy, distribution,
trade, copyleft/anti-copyright)
• Margins, copy quality
• Trading/swapping guidelines (money, postage, other zine)
• Postage
Picture: binding detail of Sofia Arnold's zine/Chattanooga Public
Library/Creative Commons
12. Picture: Spring Thing
Zine/Bazaar Bizarre
Boston/Creative Commons
Picture: Zine library/Laura Crossett/Creative Commons
Picture: Zine making workshop 1/Gavin Burrows/Creative
Commons
Picture: Roboto Community zine/artnoose/Creative
Commons
ZINE EVENTS & PROJECTS
Picture: Make a zine table/Chattanooga Public
Library/Creative Commons
15. Z
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M
A
K
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S
P
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C
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S
Picture: Sherrill Library Paper Makerspace
Picture: Chattanooga Public Library Makerspace
Picture: Moonee Valley Library Makerspace
Moonee Valley Library
Makerspace
Sherrill Library Paper
Makerspace
Chattanooga Public Library
Makerspace
Double Union Hacker/
Makerspace
17. ZINES IN
MAKERSPACES
Picture: Makerspace Wall/Friends’ Central
School/Creative Commons
Picture: Visualization on wall/Katie Day/Creative Commons
Picture: Makerspace_Cart_Cynthia/Gwyneth A. Bronwynne/Creative Commons
18. Z
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B
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Barnard College. (2014). Barnard zine library blog. Barnard Zine Library [website] Retrieved from
http://zines.barnard.edu/blog
Freedman, J. (2009, Autumn). Comparative perspectives symposium: Feminist zines grrrl zines in the library. Signs,
35(1), 2-8.
Guerrilla Makerspace. (n.d). What is GMS? [website] Retrieved from
https://guerrillamakerspace.squarespace.com/#what- is-gms
Hamilton, B. (2012, August 13). Library as makerspace: Creating and nurturing communities of teen writers.
National Writing Project: Digital Is [Web log post]. Retrieved from http://digitalis.nwp.org/site-blog/library-
makerspace-creating-and-nurturin/4155
Herrada, J., Aul, B., Smith, A., Basinski, M. & Trusky, T. (1995). Zines in libraries: A culture preserved. Serials
Review, 21(2), 79-88. http://dx.doi.org/10.1016/0098-7913(95)90033-0
Koh, R. (2008). Alternative literature in libraries: The unseen zine. Collection Building, 27(2), 48-51. doi:
10.1108/01604950810870182
MCTC Library. (2013, March 9). Publishing to the people: Libraries, zines, maker spaces and diy publishing on
Saturday March 30, 2013 [Web log post] Retrieved from
https://mctclibrary.wordpress.com/2013/03/09/publishing-to-the-people-libraries-zines-maker-spaces-
and-diy-publishing/
19. MKE ZL(u)C. (2011, July 8-9). Gatekeepers and the Zine Community. [Web log post]. Retrieved from
http://mkezluc.wikispaces.com/Gatekeepers+and+the+Zine+Community
Queer Zine Archive Project. (2014). Fair use info. [website]. Retrieved from http://qzap.org/v7/index.php/about-
qzap/fair-use-info
Roberts Street Social Centre. (2014). Zine thesaurus of subject terms. [Web log post]. Retrieved from
http://www.robertsstreet.org/thesaurus/out.htm
Stoddart, R. A. & Kiser, T. (2004). Zines and the library. Library Resources & Technical Services, 48(3), 191-198.
Retrieved from
http://libaccess.sjlibrary.org/login?url=http://search.ebscohost.com/login.aspx?direct=true&db=ofm&AN=50293
1080&site=ehost-live
Zine Libraries Info. (2014). Zine libraries info interest group. [website]. Retrieved from http://zinelibraries.info/
Zinelibrary+info. (2014). How to scan zines and make pdf files. [website]. Retrieved from
http://zinelibrary.info/how-scan-zines-and-make-pdf-files
ZineWiki. (2014, January). History. [website]. Retrieved from http://zinewiki.com/Zine
Z
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20. Creative Commons License
This work is licensed under the Creative Commons
Attribution-NonCommercial-NoDerivatives 4.0 International
License. To view a copy of this license, visit
http://creativecommons.org/licenses/by-nc-nd/4.0/ or send
a letter to Creative Commons, PO Box 1866, Mountain
View, CA 94042, USA.
Editor's Notes
Hi, my name is Sisi and today I’m going to talk about Supporting Zine Creation in Makerspaces.
The topics I will cover include:
What a zine is
Why they belong in makerspaces
Designing an environment that is inspirational and supportive for making
What types of teaching, learning, and support can be offered for making zines
The materials, tools, and equipment necessary to make zines
How to extend zine making into zine sharing, trading, collaborating and distributing
Locating a variety of grants and local resources to financially support a zine makerspace
Considerations for zine creation before, during, and after production of a zine
Types of events and projects in which to create, skill share, read, distribute, and interact with the zine and maker community
A summary of why zines are a wonderful intersection of literacy, art, DIY, self expression, learning & teaching that fit well into the maker/innovation landscape
What is a zine? Zines are independently produced and published, photocopied booklets. They are created and then distributed in small numbers and often traded for other zines. Zines range in size, artistry, color, and production cost. Most employ a collage technique; often cutting and pasting from different text and image sources. Zines focus on many themes and issues. They have their own genres and sub genres.
The picture on the left is a zine master that was created using a cut and paste collage technique with handwriting, appropriation of a magazine image, stickers, illustration and typed text. It still needs to be photocopied for distribution.
The picture on the right is a collection of a variety of zines of different sizes, shapes, colors and cost of production.
Why create zines in makerspaces? Because through zines we practice the recursive process of making, sharing, giving, and learning. As Mark Hatch, CEO and cofounder of TechShop states in his book, The Maker Movement Manifesto, (2014), making, sharing, giving and learning are at the crux of what makerspaces are all about.
People enjoy zines because they help to engender human connections and build community bonds between readers and creators. Green & Taormino (1997) describe zines as, “…sites for communication, education, community, revolution, celebration, and self-expression.”
References
Green, K. & Taormino, T. (1997). Foreword: Zinestresses of the world unite! Notes on girls taking over the world. In K. Green & T. Taormino (Eds.), A girl’s guide to taking over the world (pp. x-xiv). New York, NY: St. Martin’s Griffin.
Hatch, M. (2014). Rules for innovation in the new world of crafters, hackers and tinkerers: The maker movement manifesto. Retrieved from
http://www.techshop.ws/TheMakerMovementManifesto.html
How do we nurture a safe space for zine creation? We design a supportive, collaborative and comfortable environment that is conducive to creation.
Mutually accepted agreements are discussed and reinforced. Everyone is as supportive as possible. People collaborate when they feel comfortable. The space is intimate and safe. Individuals are equals, with everyone sharing their expertise. There is accessibility for many ages, abilities, and literacies.
References
Mashurova, N. (2013, November 1). Making safer spaces. The Media [article]. Retrieved from http://www.fvckthemedia.com/issue23/making-safer-spaces
Workshops and Support
Everyone teaches and everyone learns from one another by sharing skills and strategies. Everyone can be a teacher. All can learn to critically question in order to elicit ideas and challenge assumptions.
A variety of curriculums are available to assist with teaching zine making. Taking turns to lead workshops and teach specific skills and strategies will generate additional trust and respect in the makerspace. These activities can take place in the makerspace and can be supplemented with visits to zine libraries, zine fests and other field trips. These experiences will enrich and inspire zine writing and strengthen relationships and trust in the group. Zine groups can be created for different age groups to allow for greater freedom of expression and creativity. For example, there can be separate groups to address the interests of children, teens, young adults and mixed age adult users.
References
Grrrl Zines A Go-Go. (n.d.). Here are a few tips and tricks on how you can start a zine workshop group yourself. Grrrl Zine Network [web log post]. Retrieved from http://grrrlzines.net/workshopguide.htm
Teaching and content. To immerse the group in the spirit of zines, read them and learn about their rich history. Zines can be acquired through distributors and at zine fests. Explore the internet for zine histories and invite zine writers in your city to come share their experiences. Design writing events that are fun. Create zines with a specific themes and practice different narrative styles. Discuss language and play with text. Practice illustration and collage. Make partner zines and compilation zines. The instruction can be designed around the needs and interests of the group.
References
SMS Art. (n.d.). Zine curriculum plan. [Website]. Retrieved from http://smsart.weebly.com/
Whitney, E. (n.d.). Zine Workshop. Zine Workshop - Booklyn [Pdf file]. Retrieved from https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0CB4QFjAA&url=http%3A%2F%2Fwww.booklyn.org%2Feducation%2Flppamphlet.pdf&ei=FVxNVandNIqoog S5r4GIAQ&usg=AFQjCNFZuPtPHNaZdfqZHRV5FbY7Ddqstg&sig2=WObs2qdfOS45J_oPRXptIg
Wirth, P. (n.d.). Teaching zines. We Make Zines [Discussion forum]. Retrieved from http://wemakezines.ning.com/group/teachingzines/forum
Layout and design of zines is another means of being creative and individualizing the work. Makers have to consider the following aspects: size, shape, paper type, binding, collating, and folding. After the master is made and the maker decides to publish and distribute, they need to decide how many copies to make. Adding accessories to zines (stickers, buttons, patches, small works of detached art) is another fun activity. Individualizing zines with color, paint, yarn, and floss is another possibility.
References
ABC Open South West Victoria. (2012). Whadyaknow? Zines. Vimeo [video]. Retrieved from https://vimeo.com/25960817
Creative Bloq. (2014, January 17). The beginner’s guide to making your own zines. [Web log post]. Retrieved from http://www.creativebloq.com/print-design/make-your-own-zines-11410390
Dajska, E. (2012, May 1). How to make a zine. Rookie [Web log post]. Retrieved from http://www.rookiemag.com/2012/05/how-to-make-a-zine/
Sabalu, N. (2011). How to make a zine. Vimeo [video]. Retrieved from https://vimeo.com/18312616
The zine lab can be managed by a variety of people. Anyone who has an interest and passion for zines and wants to work with a variety of people can start a zine makerspace. This includes zine makers, librarians, teachers, paraprofessionals, writers, and students.
References
Fayetteville Free Library. (2014). 21 questions about FFL makerspaces. Retrieved from https://fflib.org/make/makerspace-faqs
Equipment, tools and materials to create zines
Here is a list of what you may consider purchasing or borrowing for your zine makerspace: notebooks, file folders, paper, magazines, old books, scissors, exacto knives, paper cutters, tape, glue, pens, pencils, markers, paint, staplers, yarn, twine, needles, thread, grommet tools and accessories, hole punchers, cameras to create original images, computers with word processing and publishing software, typewriters, a copier, a file cabinet, tables, chairs, and portable plastic bins. Many of these things are optional.
A plastic storage bin can be used to facilitate a portable zine makerspace.
References
Becker, D. (n.d.). Zine workshop. Texas State Library and Archives Commission. [Website]. Retrieved from https://www.tsl.texas.gov/ld/projects/ttr/2009/manual/zine.html
Issues to consider before during and after zine creation
The type of binding to use
Whether to sign the work or use a pseudonym.
Providing contact information for people to correspond via mail, email, blog, or social media.
Numbering pages and dating the zine
Providing attribution to sources used if appropriating images or text.
Specifying allowances on what others can do with your zine (including whether they are allowed to digitize, copy, distribute, or trade)
Whether or not to apply a copyright license to your work (creative commons, copy left, anti-copyright)
Leaving room for margins and care in the copy quality
What type of trading guidelines to create. If the makerspace is in a library, trading but no purchasing is allowed on the premises.
References
Krissy PonyBoy Press (2008, October 4). What not to do in a zine [Online discussion]. Retrieved from
http://wemakezines.ning.com/forum/topics/2288844:Topic:13550?id=2288844%3ATopic%3A13550&page=1#comments
Wooten, K. (2009, September 21). Why we’re not digitizing zines. Duke Libraries Digital Collections Blog. Retrieved from
https://blogs.library.duke.edu/digital-collections/2009/09/21/why-were-not-digitizing-zines/
There are a variety of zine events and projects that groups can participate in.
Examples include: trades and swaps,, fast deadline creation (make in a day or a number of hours), open houses, zine library or archive visits, and pop up makerspaces in unlikely spaces like: public transportation, parks, schools, or private homes.
References
Wrekk, A. (n.d.). Zine event listings around the world. Stolen Sharpie Revolution [Web log post]. Retrieved from https://stolensharpierevolution.wordpress.com/zine-event-listings-around-the-world/
An important component of zine creation is the sharing of the work created. These can be trades if both people have zines. This can happen through a salon type event. It can be a celebration of the completion of a zine. People can read from a portion of their zine. Future collaborations can be born here. All in the spirit of sharing art, emotion, and knowledge. It is a community that can be created through sharing zines. This can bring a new found attention to the library and the learning commons or makerspace. Zine fests are also wonderful avenues for sharing, trading, learning, and promotion. Zines can be sent to distribution houses, zine libraries, and zine makerspaces.
References
Kelley. (n.d.). Swap-Bot users. We Make Zines [Discussion forum]. Retrieved from http://wemakezines.ning.com/group/swapbotusers
Some sources for financing include: Donors Choose, Institute of Museum and Library Services Grants, The Meemic Foundation Grants, Techsoup for donation of technology, Kickstarter and IndieGogo for crowdfunding, The Library Grants blog which compiles grant opportunities, and local organizations which may provide small donations.
References
http://www.donorschoose.org/about
http://www.imls.gov/applicants/detail.aspx?GrantId=20
https://www.meemic.com/the-meemic-foundation/grant-opportunities.aspx
https://www.kickstarter.com/learn?ref=nav
https://www.indiegogo.com/campaigns/new
http://librarygrants.blogspot.com/
http://www.fontichiaro.com/activelearning/2014/09/29/makerspace-funding-ideas/
Here are a few makerspaces that offer zine making.
References
Sherrill Library Paper Makerspace: http://research.lesley.edu/zines
Double Union: https://www.doubleunion.org/
Moonee Valley Library Makerspace: https://www.facebook.com/mooneevalleylibraries/photos/a.405175374833.180165.300933194833/10152083868904834/?type=1&fref=nf
Chattanooga Public Library Makerspace: http://chattlibrary.org/4th-floor
Here are a combination of Zine Libraries and Archives in the United States. Denver Zine Library and ABC No Rio are community run libraries. Barnard Zine Library and Bingham Center Zine Collections are housed in academic libraries. Salt Lake City Public Library Alternative Press Collection and San Francisco Public Library’s Little Maga/zine Collection are in public libraries. There are over 100 zine libraries in the United States. Zine Librarian, Jenna Freedman provides a comprehensive list of zine libraries around the world on Barnard Library’s website.
References
http://denverzinelibrary.org/
http://www.abcnorio.org/facilities/zine_library.html
http://zines.barnard.edu/
http://library.duke.edu/rubenstein/findingdb/zines/
https://slcplaltpress.wordpress.com/zine-catalog/
http://sfpl.org/index.php?pg=2000001101
Why are zines a good fit for makerspaces? Zines offer an excellent opportunity to explore a creative process that is iterative and rewarding. They offer community and a sense of empowerment for participants. Zines provide a wonderful medium for self expression. They also, down the line, can become cultural and historical artifacts. Zine makerspaces that are housed by libraries offer the added opportunity to house and circulate zines. This provides the public with a means of participating in library material curation. These are some of the reasons zines are ideal for makerspaces.
This is a short list of helpful zine resources that you can find online, in libraries, and in academic databases.
This is a short list of helpful zine resources that you can find online, in libraries, and in academic databases.