A representation of a future inside or outside earth.
More advanced societies (although some stories take place a long long time ago).
Are these future and alien societies egalitarian?
Do filmmakers try to offer female roles?
A presentation on Alfred Hitchcock, a film maker also known as the master of suspense. This presentation is useful for students of film studies, mass communication, gender studies, cultural studies and other related subjects.
This document discusses gender identities and how they are socially constructed through various agents of socialization. It addresses the concepts of sex versus gender and outlines different types of femininities and masculinities. Several agents that influence gender socialization are explored, including family, media, peers, education, religion, and workplace. Learners are provided discussion questions and activities to better understand how gender identities develop and are reinforced through these socializing institutions.
The document discusses Joseph Campbell's concept of the "hero's journey" and how it relates to students from non-dominant groups entering STEM fields. It describes the hero's journey as having three stages - (1) the hero receives a call to adventure into an unknown world, (2) the hero crosses the first threshold and undergoes a series of tests with obstacles, and (3) the hero returns to share the knowledge gained. For students from non-dominant groups, entering a STEM classroom or makerspace can feel like the unknown world of the hero's journey, but providing mentors and tools can help reassure students as they embark on their academic adventure.
This document discusses vernacular science knowledge and technology, including biomimicry, computational thinking, and culturally situated learning and design. It explores how STEAM education can be used to teach these concepts through design fiction and by merging fictional worlds with creative design. Students would learn about biomimicry by designing new products inspired by nature, computational thinking by formulating problems that computers can solve through algorithms, and culturally situated design by using indigenous artifacts and practices with STEM principles. The document lists various tools, concepts, and practices that could be used in STEAM learning, such as 3D modeling, coding, fabrication, worldbuilding, and design fiction.
Afrofuturism explores liberation through a combination of technology and nature. Octavia Butler's work suggests that technology alone does not ensure survival, but combining it with nature preserves life. True freedom requires a symbiotic relationship between technology, nature, and community. The document discusses using Afrofuturism to introduce children to ideas of the future and having them create projects combining technology and nature to share with the public.
A representation of a future inside or outside earth.
More advanced societies (although some stories take place a long long time ago).
Are these future and alien societies egalitarian?
Do filmmakers try to offer female roles?
A presentation on Alfred Hitchcock, a film maker also known as the master of suspense. This presentation is useful for students of film studies, mass communication, gender studies, cultural studies and other related subjects.
This document discusses gender identities and how they are socially constructed through various agents of socialization. It addresses the concepts of sex versus gender and outlines different types of femininities and masculinities. Several agents that influence gender socialization are explored, including family, media, peers, education, religion, and workplace. Learners are provided discussion questions and activities to better understand how gender identities develop and are reinforced through these socializing institutions.
The document discusses Joseph Campbell's concept of the "hero's journey" and how it relates to students from non-dominant groups entering STEM fields. It describes the hero's journey as having three stages - (1) the hero receives a call to adventure into an unknown world, (2) the hero crosses the first threshold and undergoes a series of tests with obstacles, and (3) the hero returns to share the knowledge gained. For students from non-dominant groups, entering a STEM classroom or makerspace can feel like the unknown world of the hero's journey, but providing mentors and tools can help reassure students as they embark on their academic adventure.
This document discusses vernacular science knowledge and technology, including biomimicry, computational thinking, and culturally situated learning and design. It explores how STEAM education can be used to teach these concepts through design fiction and by merging fictional worlds with creative design. Students would learn about biomimicry by designing new products inspired by nature, computational thinking by formulating problems that computers can solve through algorithms, and culturally situated design by using indigenous artifacts and practices with STEM principles. The document lists various tools, concepts, and practices that could be used in STEAM learning, such as 3D modeling, coding, fabrication, worldbuilding, and design fiction.
Afrofuturism explores liberation through a combination of technology and nature. Octavia Butler's work suggests that technology alone does not ensure survival, but combining it with nature preserves life. True freedom requires a symbiotic relationship between technology, nature, and community. The document discusses using Afrofuturism to introduce children to ideas of the future and having them create projects combining technology and nature to share with the public.
This document discusses using algorithms and Afrofuturism themes in relation to the musical "The Wiz". It explores how algorithms could be used to enhance the audience experience before and during the show through interactive displays and animations linked to elements of the story, such as lighting up Dorothy's silver slippers when mentioned or animating signs. The document also references a Lewis Mumford quote about the intermediate role of magic between fantasy and knowledge in driving technological advancement.
This document discusses culturally responsive education in makerspaces. It explains that STEAM (Science, Technology, Engineering, Art, and Mathematics) teaching integrates multiple disciplines. Components of equity in makerspaces are access, diversity, and inclusion. The document then discusses underrepresented groups in STEM and strategies for making makerspaces more culturally responsive, such as re-appropriation, remixing, and improvisation. Specific examples are provided like using lowrider culture in robotics or MIDI controllers in music. The goal is to design culturally situated learning experiences and curriculum.
Dr. Nettrice R. Gaskins presented on using public art to teach STEAM concepts such as basic circuits and soldering. The presentation covered fundamentals of circuits, prototyping ideas through testing, and exhibiting the work. Examples of public art involving science, technology, and mathematics were provided, along with links to brainstorm new ideas and contact Dr. Gaskins for more information.
STEAM (Science, Technology, Engineering, Art and Mathematics) involves teaching and learning using multiple disciplines. A STEAM Lab allows students to explore concepts across subjects in a creative space centered around art. The document outlines various STEAM concepts and techniques students may explore such as creating idea maps, learning to solder, creative coding, and exhibition of student work. It also provides an example of how to structure project-based STEAM learning using objectives focused on gaining student attention, relevance, confidence, and satisfaction.
Self-determination and STEAM allow communities to define the world through their own interests and cultures and place their history at the center. Afrofuturism gives artists agency to repurpose existing works to create new worlds and navigate social realities. The STEAM lab focuses on fundamentals like circuits and soldering, as well as design, prototyping, and exhibition to present projects like board games and robotic puppets created from new ideas.
This document outlines the steps in a STEAM project-based learning plan, including fundamentals, prototyping, and exhibition. It suggests focusing students' attention on making a STEAM project, showing the importance of STEAM skills for artists, helping increase confidence in STEAM skills through workshop requirements, and rewarding students for learning new STEAM skills.
From the West and Central African cosmogram to virtual 3D space and sound-generated graphics, the work of Dr. Nettrice R. Gaskins crosses the boundaries between science fact and science fiction.
The document discusses metaphysics of presence and how being exists within frameworks or states, with definitions of presence and absence relying on these states. It also discusses urban metaphysics as a deconstruction of Western ideas through street art and technology. Additionally, it mentions black futurism or Afrofuturism as a discourse centered on absence and presence, involving constructions or deconstructions of self, as seen in works engaging valuations of images and presentations.
The Electrofunk Mixtape: Illuminus Edition is a collaboration between the STEAM Lab at Boston Arts Academy, sculptor Brian Browne, and music producer Hank Shocklee to create an interactive 3D art installation. Electronics, music, and video projections will be layered on Brian Browne's 3D sculptures, which will hang or be worn by performers. Visitors will experience and participate in a responsive art installation combining music, movement, light, and projections.
Nettrice Gaskins, Ph.D., STEAM Director, Boston Arts Academy, will join Brides of Anansi artists Saya Woolfalk and Xenobia Bailey in conversation to look at how contemporary women artists look at nature and natural systems for inspiration.
This document discusses techno-vernacular creativity (TVC), which refers to cultural art and technology created by underrepresented groups for creative expression. It provides examples of artists like Sanford Biggers who incorporate circles/mandalas from different cultures in their work. The document also describes how mapping, diagramming, and remixing are important aspects of TVC, and how culturally-situated design arts can engage informal science learning through exploration of concepts like rotation and translation.
This document provides an overview of biomimicry and 3D printing for a workshop. It defines biomimicry as modeling design and production on biological entities and processes. It describes the key steps to 3D printing as modeling an object, fixing any errors, slicing it into layers, and printing. It also explains that 3D printers use materials like plastic instead of ink to create solid, three-dimensional objects. The workshop will include a live demo and discussion of biomimicry examples as well as the components of 3D printers.
This document discusses the connections between West African cosmology and Afrofuturist art. It explores how Afrofuturist artists reimagine history and the future of the African diaspora through science, science fiction, and technology with their own worldviews. The Kalunga line under the Atlantic Ocean, representing the threshold between the living and dead, is referenced. Crossroads have complex patterns in West African cultures and are simplified in Afrofuturist art. Works aim to position viewers in a sense of completeness or utopia, referenced as Funkentelechy in P-funk music.
This document discusses the history and concepts of Afrofuturism across multiple artistic disciplines such as music, literature, visual art, and film. It provides early examples of Afrofuturism in literature from the early 20th century depicting advanced African societies and black scientists. It also discusses how jazz musician Sun Ra incorporated music, myth, and performance to present a unified vision of space that influenced later generations. The document explores how Afrofuturist artists create new conceptions of race, gender, and culture through technology to envision possible futures for the African diaspora.
Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethni...Nettrice Gaskins, Ph.D.
The document summarizes a dissertation that examines techno-vernacular creativity (TVC) in underrepresented ethnic communities and its potential to increase interest and motivation in STEAM fields. Key points:
1) The dissertation includes a literature review on TVC, prior research, and theoretical frameworks related to culturally situated learning and design.
2) A professional workshop at Georgia Tech brought together experts to explore how TVC can engage underrepresented groups in STEAM. Workshops were also conducted with middle school students.
3) Results found that the professional workshop helped bridge disciplines and cultural differences. Student workshops found expression and art were most engaging and increased interest in STEAM topics.
4) The dissertation examines
This document provides information about a vision mapping workshop. It defines a vision map as a collage of images and affirmations representing one's dreams and happiness. The document discusses how quilts can convey messages through geometric patterns and how artists use math concepts like rotation in their quilt designs. Examples of historical quilts that tell stories or add symbols are presented, as are artworks that create new languages or remix an artist's previous work. Lukasa boards, which are used to tell personal stories, are also mentioned. The workshop instructions ask participants to make a paper quilt by cutting and arranging shapes, then finish their vision map by adding cutouts and writing about their design.
Black Futurism explores how race can be viewed as a technology or tool rather than something fixed or defined by history. The presentation discusses works by artists like Ellen Gallagher and Kara Walker that depict human identity and race as mutable. It also references the idea of "black repetition" where collage, sampling and remixing in works from the African diaspora show signs of cyclical change. By removing race from its historical roots, the presentation suggests it can then be engaged as a productive and creative tool.
This document outlines a workshop exploring how culturally situated arts and design can engage underrepresented ethnic students in STEM. The workshop agenda includes presentations on culturally situated design strategies in science, technology, engineering and math. It also covers arts-based research methods like personal meaning maps, portraiture and concept maps. Participants will brainstorm arts-based learning activities and projects. The goal is to develop recommendations for new culturally situated arts-based research directions that can engage more students in STEM through informal science education.
This document discusses vision maps, which are collages that represent one's dreams and goals. Vision maps can take the form of quilts, as done by artist Harriet Powers, who used quilts to tell stories and depict historical events. Quilts often use shapes and rotation of shapes in their designs. The document instructs on how to make a paper vision map quilt by cutting out shapes, arranging them on a grid, and adding images from magazines. It discusses the artist Sanford Biggers' use of collage and remixing in his quilts, as well as Romare Bearden's remixing of Homer's Odyssey in his collage works. The document prompts questions about personal storytelling through quilts and
This document discusses how culturally situated arts-based learning can enhance STEM education. It involves integrating cultural art and design with STEM principles to create simulations of artifacts. This allows students to tap into their intrinsic learning styles through creative expression. Digital media also plays a role, including use of mobile devices. The document poses questions about how culture and the arts enhance STEM understanding and how this approach can bridge formal and informal learning.
This document discusses using algorithms and Afrofuturism themes in relation to the musical "The Wiz". It explores how algorithms could be used to enhance the audience experience before and during the show through interactive displays and animations linked to elements of the story, such as lighting up Dorothy's silver slippers when mentioned or animating signs. The document also references a Lewis Mumford quote about the intermediate role of magic between fantasy and knowledge in driving technological advancement.
This document discusses culturally responsive education in makerspaces. It explains that STEAM (Science, Technology, Engineering, Art, and Mathematics) teaching integrates multiple disciplines. Components of equity in makerspaces are access, diversity, and inclusion. The document then discusses underrepresented groups in STEM and strategies for making makerspaces more culturally responsive, such as re-appropriation, remixing, and improvisation. Specific examples are provided like using lowrider culture in robotics or MIDI controllers in music. The goal is to design culturally situated learning experiences and curriculum.
Dr. Nettrice R. Gaskins presented on using public art to teach STEAM concepts such as basic circuits and soldering. The presentation covered fundamentals of circuits, prototyping ideas through testing, and exhibiting the work. Examples of public art involving science, technology, and mathematics were provided, along with links to brainstorm new ideas and contact Dr. Gaskins for more information.
STEAM (Science, Technology, Engineering, Art and Mathematics) involves teaching and learning using multiple disciplines. A STEAM Lab allows students to explore concepts across subjects in a creative space centered around art. The document outlines various STEAM concepts and techniques students may explore such as creating idea maps, learning to solder, creative coding, and exhibition of student work. It also provides an example of how to structure project-based STEAM learning using objectives focused on gaining student attention, relevance, confidence, and satisfaction.
Self-determination and STEAM allow communities to define the world through their own interests and cultures and place their history at the center. Afrofuturism gives artists agency to repurpose existing works to create new worlds and navigate social realities. The STEAM lab focuses on fundamentals like circuits and soldering, as well as design, prototyping, and exhibition to present projects like board games and robotic puppets created from new ideas.
This document outlines the steps in a STEAM project-based learning plan, including fundamentals, prototyping, and exhibition. It suggests focusing students' attention on making a STEAM project, showing the importance of STEAM skills for artists, helping increase confidence in STEAM skills through workshop requirements, and rewarding students for learning new STEAM skills.
From the West and Central African cosmogram to virtual 3D space and sound-generated graphics, the work of Dr. Nettrice R. Gaskins crosses the boundaries between science fact and science fiction.
The document discusses metaphysics of presence and how being exists within frameworks or states, with definitions of presence and absence relying on these states. It also discusses urban metaphysics as a deconstruction of Western ideas through street art and technology. Additionally, it mentions black futurism or Afrofuturism as a discourse centered on absence and presence, involving constructions or deconstructions of self, as seen in works engaging valuations of images and presentations.
The Electrofunk Mixtape: Illuminus Edition is a collaboration between the STEAM Lab at Boston Arts Academy, sculptor Brian Browne, and music producer Hank Shocklee to create an interactive 3D art installation. Electronics, music, and video projections will be layered on Brian Browne's 3D sculptures, which will hang or be worn by performers. Visitors will experience and participate in a responsive art installation combining music, movement, light, and projections.
Nettrice Gaskins, Ph.D., STEAM Director, Boston Arts Academy, will join Brides of Anansi artists Saya Woolfalk and Xenobia Bailey in conversation to look at how contemporary women artists look at nature and natural systems for inspiration.
This document discusses techno-vernacular creativity (TVC), which refers to cultural art and technology created by underrepresented groups for creative expression. It provides examples of artists like Sanford Biggers who incorporate circles/mandalas from different cultures in their work. The document also describes how mapping, diagramming, and remixing are important aspects of TVC, and how culturally-situated design arts can engage informal science learning through exploration of concepts like rotation and translation.
This document provides an overview of biomimicry and 3D printing for a workshop. It defines biomimicry as modeling design and production on biological entities and processes. It describes the key steps to 3D printing as modeling an object, fixing any errors, slicing it into layers, and printing. It also explains that 3D printers use materials like plastic instead of ink to create solid, three-dimensional objects. The workshop will include a live demo and discussion of biomimicry examples as well as the components of 3D printers.
This document discusses the connections between West African cosmology and Afrofuturist art. It explores how Afrofuturist artists reimagine history and the future of the African diaspora through science, science fiction, and technology with their own worldviews. The Kalunga line under the Atlantic Ocean, representing the threshold between the living and dead, is referenced. Crossroads have complex patterns in West African cultures and are simplified in Afrofuturist art. Works aim to position viewers in a sense of completeness or utopia, referenced as Funkentelechy in P-funk music.
This document discusses the history and concepts of Afrofuturism across multiple artistic disciplines such as music, literature, visual art, and film. It provides early examples of Afrofuturism in literature from the early 20th century depicting advanced African societies and black scientists. It also discusses how jazz musician Sun Ra incorporated music, myth, and performance to present a unified vision of space that influenced later generations. The document explores how Afrofuturist artists create new conceptions of race, gender, and culture through technology to envision possible futures for the African diaspora.
Techno-Vernacular Creativity, Innovation & Learning in Underrepresented Ethni...Nettrice Gaskins, Ph.D.
The document summarizes a dissertation that examines techno-vernacular creativity (TVC) in underrepresented ethnic communities and its potential to increase interest and motivation in STEAM fields. Key points:
1) The dissertation includes a literature review on TVC, prior research, and theoretical frameworks related to culturally situated learning and design.
2) A professional workshop at Georgia Tech brought together experts to explore how TVC can engage underrepresented groups in STEAM. Workshops were also conducted with middle school students.
3) Results found that the professional workshop helped bridge disciplines and cultural differences. Student workshops found expression and art were most engaging and increased interest in STEAM topics.
4) The dissertation examines
This document provides information about a vision mapping workshop. It defines a vision map as a collage of images and affirmations representing one's dreams and happiness. The document discusses how quilts can convey messages through geometric patterns and how artists use math concepts like rotation in their quilt designs. Examples of historical quilts that tell stories or add symbols are presented, as are artworks that create new languages or remix an artist's previous work. Lukasa boards, which are used to tell personal stories, are also mentioned. The workshop instructions ask participants to make a paper quilt by cutting and arranging shapes, then finish their vision map by adding cutouts and writing about their design.
Black Futurism explores how race can be viewed as a technology or tool rather than something fixed or defined by history. The presentation discusses works by artists like Ellen Gallagher and Kara Walker that depict human identity and race as mutable. It also references the idea of "black repetition" where collage, sampling and remixing in works from the African diaspora show signs of cyclical change. By removing race from its historical roots, the presentation suggests it can then be engaged as a productive and creative tool.
This document outlines a workshop exploring how culturally situated arts and design can engage underrepresented ethnic students in STEM. The workshop agenda includes presentations on culturally situated design strategies in science, technology, engineering and math. It also covers arts-based research methods like personal meaning maps, portraiture and concept maps. Participants will brainstorm arts-based learning activities and projects. The goal is to develop recommendations for new culturally situated arts-based research directions that can engage more students in STEM through informal science education.
This document discusses vision maps, which are collages that represent one's dreams and goals. Vision maps can take the form of quilts, as done by artist Harriet Powers, who used quilts to tell stories and depict historical events. Quilts often use shapes and rotation of shapes in their designs. The document instructs on how to make a paper vision map quilt by cutting out shapes, arranging them on a grid, and adding images from magazines. It discusses the artist Sanford Biggers' use of collage and remixing in his quilts, as well as Romare Bearden's remixing of Homer's Odyssey in his collage works. The document prompts questions about personal storytelling through quilts and
This document discusses how culturally situated arts-based learning can enhance STEM education. It involves integrating cultural art and design with STEM principles to create simulations of artifacts. This allows students to tap into their intrinsic learning styles through creative expression. Digital media also plays a role, including use of mobile devices. The document poses questions about how culture and the arts enhance STEM understanding and how this approach can bridge formal and informal learning.
The construction and re-construction of black femininity through games and the social psychology of the avatar.
1. The construction and re-construction of
black femininity through games and the
social psychology of the avatar.
Nettrice R. Gaskins, Digital
Media Ph.D. candidate
School of Literature, Media
& Communication,
Georgia Tech
In 2010Tate Liverpool presented Exhibiting Bodies that focuses on contemporary responses to the ways in which the black body has been positioned and represented in colonial imagery, modernist art and the mass media. This includes early twentieth-century art forms that frequently portrayed the black female body in particular as exotic or ‘other’. The image on the left shows African American Kara Walker's use of the silhouette as an abstracted, fictional Negress. The image on the right is from Berlin-based South African artist Candice Breitz's Ghost Series.Walker is the author of her own character’s narrative but refers to Thomas Dixon's narrative of the "negress" from "The Clansman". The Negress doesn't have to have real characteristics. She simply has to have a body (e.g. dark, tawny, swarthy). In Dixon's book she is understood to be a bad influence on the direction of the country. Breitz appropriates photographs and visual fragments and recontextualizes them. The artist uses white-out to reconstruct the spectacle of racially marked gendered bodies on display in ethnographic postcards, which would ordinarily circulate in a predominantly white tourist market. 'Ghost Series' foregrounds and acknowledges the violence of whiting-out as a process at social and political levels.
Avatars offer their creators different possibilities for constructing or re-constructing self. The virtual avatar plays a major part in many social interactions and has been used to bring about social change, as well as a need to develop new social techniques and devices. Advances in communications extend the need for creative people to find appropriate social mechanisms to explore the self or the essential being of a person, whether he or she is physical or virtual – as avatars which are complex, capable of movement, allowed personalities, and referred to as ‘she’ or ‘her’ or something else entirely.
In the wide, wide world of gaming women, in general, are highly sexualized and made to fit into the violent worlds of game boys’ fantasies. With the creation of virtual 3D worlds like Second Life and alternative, serious gaming new types of characterizations have emerged.
In virtual worlds, creators can release or extend perceptions of self beyond material, superficial, or traditional ideas. For example:In The Matrix Reloaded and The Matrix Revolutions Niobe is a supporting character and one of the main characters of the video game Enter the Matrix.Within the virtual world of the Matrix, Niobe is one of Zion's most gifted martial artists. In the real world, she is the most skilled pilot among the rebel forces.
The player controls Nilin, an amnesiac 'memory hunter', through the streets of Neo-Paris in the year 2084. This dystopian future features a surveillance state. Nilin's former employer, Memoreyes, erases her memories to neutralize her and she must discover why and how to restore them. The game introduces the mechanic of 'memory remixing': entering and rearranging a target's memories to manipulate them. Players accomplish this by replaying a memory and modifying details to change the target's recollection of the outcome.
HERadventure by artist AyokaChenzirabegins when HER, a warrior woman and inhabitant of Earth’s sister planet, comes to Earth to investigate why it is causing her native planet to freeze and slowly die. HER discovers that the auras of Earth’s women are diminishing. Consequently, Earth and other parts of the universe are negatively impacted. HER enlists a corps of “superheroes in training” (HERadventure users) to take meaningful action and offer solutions to issues such as negative self-esteem, discrimination, eating disorders, and depression, which are causing women’s auras to suffer. These issues are dealt with through visual metaphors in a 3-D environment. HERadventure users “teleport” through various levels of the gaming experience by using social networking sites like Twitter and Facebook, with a goal of helping the superhero save her planet and ultimately serve as catalysts for positive change in the virtual and real world.
The Apparition Series (2005 - present) is an on-going multi-media project by artist Camille Norment in which an apparition or ghost, appears as an African-American woman in an ironic combination of historical attire and hair-dress that would be unlikely for a black woman during the period the clothing itself suggests. Her pristine white ‘Southern Belle’ dress of the Civil War era stands in contrast to the body it covers and the tuft of dreadlocks that spill out over the head. Throughout the series, the formal qualities of the apparition as an image create a linkage between historical and contemporary representations of the body through its combinatory use of references to black and white portraiture and photomontage, and to the surreal cybernetic qualities of avatars in virtual reality environments.
The virtual avatar represents the human or a fantasy-based representation of self that can constantly be altered or changed. Creators explore these representations in their work, often using their avatar as an object to affect agency, or as part of an artwork, adding to it, or using it to perform. Thus, Niobe and avatars like her challenge what Alondra Nelson refers to as the "raceless future paradigm" or what Gary Zabel calls ‘ambiguity of identity.’ Although avatars and the names that uniquely identify them, can be altered, multiplied, discarded, or exchanged at the will of the user they can also be used to create an enhanced mirror image of a person’s identity, circle of influence, and perceived worlds or realities.