I am always uncomfortable identifying myself as a maker. I am uncomfortable with any culture that encourages taking on an entire identity rather than expressing a facet of my own identity (“maker” rather than “someone who makes things”).
Making Things and Drawing Boundaries: Experiments in the Digital Humanities, ed. Jentry Sayers, Debates in the Digital Humanities (University of Minnesota Press, 2017).
While reading Debbie Chachra’s article Beyond Making, this particular passage stood out to me because I have never considered the negative aspects of labeling oneself as a “maker” and how one’s identity is discounted when using these labels. As a Studio Art major, this quote resonated with me due to the fact that my education is based on the things I make. In every art class I have taken, the coursework is focused on producing items such as sketches, pottery, and sculptures. If you do not make these things, you will not fulfill the requirements. That is not to say there isn’t an emphasis on learning and experimentation, but the end goal is always creation. In the article, Chachra explores the notion that by not being a maker, one is less valuable as a person. In the case of art, if you do not create things, you are not an artist. It is also worth exploring the difference in notions of what constitutes making for individuals in different disciplines. For someone in the field of sciences, they may not traditionally count those who draw or sculpt as “makers.” This is likely due to, as Chachra explains, our gendered history regarding the roles of men and women.
Within the vast field of Digital Arts and the Humanities, I am most eager to pursue the techniques of 3D modeling. I do not have any experience creating digital objects, but the skill could be very beneficial to my art. 3D modeling requires detailed observation and forces one to explore how objects work. By training myself to look closely, I will have a greater sense of form and perspective. I am also looking forward to exploring how artifacts are preserved digitally. Items of cultural heritage are not typically accessible to a broader population, so the use of online collections is crucial.
