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My son has always been fascinated by how things work, so I knew I had to try out this cardboard automaton with him. I love that it's a fun way for him to play with simple machines; and it also creates a really cool art piece!

1. Pinterest

2. Email

Ages:

7 - 16

Est. Time:

<1 hour

How we did it:

1. cardboard

2. shoe box

3. scissors

4. skewers - (we used 2)

5. paper cup - (or plastic cup)

6. school glue - (or hot glue)

7. drinking straws - (we used 2)

8. construction paper

9. markers - (optional)

10. tape - (optional)

1. Use a large plastic cup and trace four circles on the cardboard. Cut the four circles out.

2. Use school glue to glue two of the circles together to create a thicker cam. For faster results, let an adult apply hot glue.

3. To make the axle, poke one of the cams with a skewer in the center. Don't worry if it's not quite perfectly centered, it will still work. Apply school glue to attach the skewer. For faster results, let an adult apply hot glue.

4. With the end of your scissors, poke a hole about an inch in from the top edge of your shoebox. Cut the straw in thirds and poke one piece through the hole.

Tip: Use school or hot glue to to secure the straw with the shoebox. The straw allows the skewer to spin freely.

5. Poke the second skewer through the center of the second cam. Then, use your scissors to poke two more holes through the sides of the box for the straws.

Tip: Make sure the second cam doesn't touch the back side of the box when it is assembled. If it does, poke new holes to move the skewer a bit more forward.

With the cams in place, I had my son help me test out the motion. He was delighted to discover that rotating the horizontal skewer rotated the vertical skewer!

6. Use your construction paper and markers to make some monsters! You can also use a paper cup to create your monster. Once you are finished, tape or glue it on the vertical axle. Let your monster fly!

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monster automaton machine construction robot 5 to 9 years old arts and crafts ideas for kids

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Gifts for young scientists, artists and makers

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My son has always been fascinated by how things work, so I knew I had to try out this cardboard automaton with him. I love that it's a fun way for him to play with simple machines; and it also creates a really cool art piece!

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How to make a Cardboard Safe use Letter Combinations

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Show and Tell: Cardboard Kinetic Creatures

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Introduction: Robotic Arm From Cardboard

In this Instructable ill show you how to make a robotic arm from cardboard

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Step 1: Video Tutorial

Missing out something? This video shows how to make a robotic arm from cardboard..Continue reading...

Step 2: Gathering Materials

Cardboard

Plastic tubes(i used empty pencil refills)

Cutter

Step 3: Getting Shape

To get the shape of the arm,hand is placed on the cardboard and traced

Cutter is used to cut the cardboard

Step 4: Bends

For each finger three bends are made exact at the same distance

Step 5: Building Links

For the links ive used empty tubes

It is placed in between the bends of cardboard

Threads are placed in between the tubes

Step 6: Finishing Up

Cardboard rings are made so that the threads can be controlled by fingers

Cardboard rings are made by cutting cardboard strips then joining two ends

Step 7: Robotic Arm Is Ready

Thanks for you time for reading the instructable Hope You Enjoyed It

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In this Instructable ill show you how to make a robotic arm from cardboard Be the First to Share Missing out something? This video shows how to make a robotic arm from cardboard..Continue reading...

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How to Make a Robotic Arm at Home out of Cardboard

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QUIZZES

THIS TO KILL A MOCKINGBIRD QUIZ WILL JUDGE YOUR VOCAB SKILLS

Did you read "To Kill A Mockingbird" by Harper Lee in school, or know a student who is about to? This classic has been a favorite for decades, but how many people remember the vocab? Take this quiz and find out the verdict on your word memory.

What does "assuage" mean?

Origin of automaton

1605-15; <Latin: automatic device <Greek, noun use of neuter of autómatos spontaneous, acting without human agency, equivalent to auto- + -matos, adj. derivative from base of memonénai to intend, ménos might, force

Words nearby automaton

automatic writing, automation, automatism, automatize, automatograph, automaton, automechanism, autometer, automobile, automobile insurance, automobilia

Dictionary.com Unabridged Based on the Random House Unabridged Dictionary, © Random House, Inc. 2020

British Dictionary definitions for automaton

Word Origin for automaton

C17: from Latin, from Greek, from automatos spontaneous, self-moving

Collins English Dictionary - Complete & Unabridged 2012 Digital Edition © William Collins Sons & Co. Ltd. 1979, 1986 © HarperCollins Publishers 1998, 2000, 2003, 2005, 2006, 2007, 2009, 2012

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Definition of automaton | Dictionary.com

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THIS TO KILL A MOCKINGBIRD QUIZ WILL JUDGE YOUR VOCAB SKILLS Did you read "To Kill A Mockingbird" by Harper Lee in school, or know a student who is about to? This classic has been a favorite for decades, but how many people remember the vocab?

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Kinetic Energy - Teacher Reference Investigation Stations

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TLPEAY

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Beaufort County School District added a new photo.

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I like to think of the artist statement as the wedding toast of the art world. If you wing it, suddenly you're on the spot in front of a crowd of expectant faces, trying to put into words a relationship (between you and your art) that you've always felt intuitively. We've all seen those toasts. They don't go well.

But if you put time and energy into crafting your message beforehand, you'll actually add to that crowd's understanding of the significance of this event (your art) and help them feel all the feels more deeply.

I've been wrestling with my own artist statements for as long as I've been making art. And I must confess, it's never a task I look upon with glee. This, despite the fact that I write about art for a living. But reading other people's statements has taught me a lot about what works and what doesn't, and how to reverse-engineer a killer toast: a clear, concise and compelling artist statement.

- Artist and writer Sarah Hotchkiss

First things first: What is an artist statement?

In the interest of clarity, let's define "artist statement," since I've already needlessly complicated things by introducing a wedding metaphor into the mix.

An artist statement is a not-too-long series of sentences that describe what you make and why you make it. It's a stand-in for you, the artist, talking to someone about your work in a way that adds to their experience of viewing that work.

Here are a few things an artist statement is not: a manifesto, an art history lecture, a story about discovering art, short fiction, self-psychoanalysis, a string of adjectives, a grand theory of everything you've ever made, or a list of your career accomplishments.

You'll be called upon to submit artist statements when you apply for residencies, grants, and sometimes, exhibition opportunities. I wrote my first substantial one when I applied to MFA programs. And here's the secret: even though they can be hard to write, they're immensely useful. It truly helps me understand my own practice to sit down every few months and translate this nonverbal solitary thing I spend countless hours on into words for a specific audience.

If you're reading this guide and it's not the night before an important application is due, you're already in good shape. Artist statements take time, but they don't have to be torture. If you can get into the habit of stepping back, evaluating your work, and writing a few sentences about it, you won't have to start from scratch when you're down to the wire.

The brainstorming phase

All that said, sitting down and writing clear, concise, and compelling sentences about your art is daunting. So don't start with sentences. Ease your way into it with a writing exercise that feels exciting, or generative, or natural to you. A few suggestions:

Gather your art in one digital or physical space and really look at it. It's possible you've been working on such a micro level you haven't taken a macro view in a while. What commonalities and differences do you see? Think holistically about a specific body of art.

Write out a list of adjectives that describe your work. Use both visual and tonal descriptors. Be specific and avoid art jargon. If your art follows in the footsteps of minimalism, could you describe it as quiet? Or rhythmic? Is your work funny, raunchy, messy?

Record yourself describing your art to a friend, family member, or fellow artist. Chances are you're making statements about your work all the time. Have a studio visit coming up? Record the conversation (with the other person's permission), transcribe the audio, and mine it for pertinent details.

Think about the emotions and reactions you want your audience to come away with. An artist's intent may have little bearing on an audience's interpretation, but an artist statement is one of the few places you get to nudge that audience towards your desired result. Do they learn something from your art or make new connections between disparate subjects? Are you trying to make people feel agitated, joyful, incensed?

Write a casual letter to your best friend about what you've been up to in the studio. "Dear Laurie, today I spent five hours papier-mâché-ing a cardboard version of a hamster toy. It came out looking like a first-grader's craft project, but that's what I was going for. I think it'll make you laugh."

Jeopardy your practice. What are the questions you hope to answer in your work?

Artist statement basics

Suddenly, you have a bunch of words describing your art. Now you get to pick the best ones to fulfill the very basic elements of an artist statement: what, why, and (possibly) how.

What. Make sure to state what medium you work in (paintings, sculptures, installation, non-narrative video, durational performance, etc.). It's amazing how many statements don't include that basic fact.

Why. Try not to overthink this one. Look back at your brainstorms and your casual conversations. You make this work because you're excited about it. What, exactly, are you excited about? Be confident: Your art shouldn't "hope" or "try" to do something to the viewer, it should just do it. Here is where you can also bring up, without going too far into the art historical weeds, your influences and inspirations.

How. If you have a truly unique process that's important to understand-or one that images can't accurately convey-briefly describe how you make your work. (Please note: Collage is not a unique process and there's no inventive way to describe it as such, even if you use the word "juxtapose.")

Beyond fulfilling these basic "what, why, and how" requirements, an artist statement can be relayed in whatever tone and sentence structure feels best to you. (I encourage the use of full sentences, as fragments sound flighty.)

That's it! Really!

Red flags, bad practices, and other traps to avoid

In my many years of reading artist statements (and gallery press releases), I've developed an ever-growing list of banned words and phrases. While these ways of writing may sound fancy, they're actually empty. And using them makes a piece of writing look lazy and nonspecific. Artist statements are particularly susceptible to these traps because we write what we think people want to hear instead of what's actually true to our work.

Your artist statement should feel like it's written by you, the artist-not by a critical theorist or an art history professor or a dealer or a curator. The people reading it are looking for an enriched experience of your work and proof that you've put some thought into what you're making. They want to hear your voice-not that of some formulaic art-jargon robot.

So, some things to avoid:

Extreme binaries. Is your work really "examining the strangeness of both interior and exterior spaces?" Is it "both casual and formal?" "Light and dark?" (Similarly, ask yourself, is your work truly "blurring the boundaries between text and subtext?")

Lazy clichés. Only you make your artwork-so shouldn't the words you use to describe it be unique and specific as well? If you find yourself using certain words as crutches, or as highfalutin stand-ins for hard-to-articulate ideas, I highly recommend creating your own "banned words" list and keeping it somewhere handy. Then, go back to your brainstorm notes and pick out words or phrases that feel concise, fresh, and truly related to your work.

"International Art English." Chances are you've seen it, read it, and felt unsettled by it in press releases, wall labels, and other people's artist statements. This muddled and imprecise language seeks to elevate what it describes through nonspecific word choices, invented "spaces" (the space of the real, the space of the dialectical), and complicated grammatical structures. For an in-depth analysis of this phenomenon, propagated most intensely by the art world announcement email service e-flux, please see this fantastic article in Triple Canopy.

False range. Does your practice "range from drawing to sculpture to video to artist books" or do you simply make "drawings, sculptures, videos, and artist books?" False range is a rampant and completely accepted form of writing these days, but the discerning reader will notice it and judge you for it. A false range creates a continuum between one thing and another when there is no actual continuum. Yes, your palette can "range from blues to reds" (color is a spectrum). But your influences cannot include "everything from Wanda Sykes' stand-up to Tamagotchi pets to tinsel" (there is no middle point between Tamagotchi and tinsel).

Theory. My extremely wise friend and colleague Bean Gilsdorf, longtime art world advice-giver, says this best: "Art theory only has a place in an artist statement if it has a direct bearing on your day-to-day studio practice. Otherwise, skip it."

You have a draft, now what?

You've brainstormed, you've answered the what and the why. You've avoided all of the above. But chances are you still have a lot of extra baggage in that statement, or it's not striking quite the right tone, or you feel like it could be more fun to read. Now you get to edit, revise, tweak, trim, and whip that statement into shape.

Read your statement out loud. Trust me, this works. As you read, ask yourself: Is it accurate? Is it descriptive? Is it compelling? Is it me? Could this statement just as easily be applied to someone else's work? Make sure it's specific to what you make-and provides a sense of who you are to the reader.

Look at your art while you reread. Remember, your artist statement should be current. You don't need to sum up a wide-ranging practice from the beginning of your baby artist days to the present moment. It should reflect whatever images you're providing alongside it. Put another way, your artist statement shouldn't be so aspirational that you talk about making room-sized installations while your images are a few small-scale watercolors.

Work it into submission. Read aloud, edit. Read aloud, edit. Take a break (a day, a week), come back to it, read it aloud and ask the above questions again. Remember that this doesn't have to represent your work forever and ever. Like the U.S. Constitution, an artist statement is a living document. You can update it as often as you like.

Shorter is better. Being economical with words proves you know what you're doing, that you're confident in your work, and that you don't have to couch it in elaborate language to legitimize it. Your statement should be somewhere between 100 and 300 words in length. (This is an example of true range.)

Consider your audience

The tone that you strike in an artist statement for a local group show should probably be different from an artist statement you write for a $100,000 grant opportunity. Every time you start reworking your statement, remember to ask yourself who or what this particular piece of text is for. Write a basic statement that can serve as the foundation for all future artist statements, but make sure you revisit and reevaluate for each application, exhibition, and request.

In order to truly know how your artist statement will be received, and if it's doing the work you want it to do, you need to have other people read it. I recommend finding a diverse audience of art friends and non-art friends, family, and mentors. This statement should be as legible as possible. Tell them to be brutally honest with you and listen to what they say.

Have a writer friend read your statement for typos. Have someone else read it for typos. Triple-check for typos!

And most importantly, give the people you ask for feedback enough time to read your statement and reply to you. Do not do this: "Hiiiii, this is due in an hour can you look it over for me pls thx bye!"

In summary...

As those who exercise say: no pain, no gain. Statements are hard to write, but they're good for you. They can help someone gain a deeper understanding of your art, feel more connected to that art and, ultimately, value it. They can make or break an application. And they can help you put words to your practice, giving you the language to understand just what you're doing and why it's amazing.

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A guide to crafting a clear and compelling artist statement by Sarah Hotchkiss, with illustrations by Beena Mistry.

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Artist statements don't have to be a source of fear (in those who write them) and boredom (in those who read them)!

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Copy of Kinetic Sculpture Project Guide CURRENT DRAFT

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On its most basic level, my work is an attempt to transform ordinary matter into something extraordinary, to bridge the conceptual realm to the material world. My point of entry into art making has been through using materials in ways that distill and re-present various aspects of their inherent physical properties, revealing an unexpected beauty in a previously un-seen way.

I am interested in creating art that is experiential, interactive and constantly changing, and in these ways may bring about a state of reverie or trance in the viewer, much like watching a fire. Though mostly poetic in conception, my work has a strong scientific bent, and resolving technically difficult problems in sculpture making has been a hallmark of my career. Flight has been a persistent theme for me throughout my life, and as my work has matured, its manifestations have taken on ever more ethereal forms.

In my most recent work, I am interested in finding or imposing order on chaotic airflow systems. The Air series of sculptures and stage sized installations involves various lightweight, humble materials such as bird feathers, balloons, flower petals, paper, Styrofoam peanuts, fabrics, fog, fire or ordinary litter from the street that are trapped, and continuously fly in columns, vortices or waves of open air. Propelled into motion by something that is invisible, the aerodynamic properties of these materials, and the underlying order within these inherently chaotic airflow systems are revealed in a way that can be continuously observed.

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On its most basic level, my work is an attempt to transform ordinary matter into something extraordinary, to bridge the conceptual realm to the material world. My point of entry into art making has been through using materials in ways that distill and re-present various aspects of their inherent physical properties, revealing an unexpected beauty in a previously un-seen way.

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Copy of At-A-Glance Kinetic Sculpture.pdf

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Carlos Zapata Automata - Colombian automata and sculptor Carlos Zapata, weaves personal reflections from early experiences in a war torn country, with wider social, religious and political issues.

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Carlos Zapata Automata - Colombian automata and sculptor Carlos Zapata, weaves personal reflections from early experiences in a war torn country, with wider social, religious and political issues.

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https://www.exploratorium.edu/tinkering/projects/cardboard-automata

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Last Thursday we hosted BAME (Bay Area Maker Educators) meet-up with the theme Cardboard. We love exploring familiar materials and finding new ways to tinker with them. Cardboard is definitely one of the materials that we've been using a lot in our daily prototypes as well as in the tinkering projects. Since the Exploratorium's new exhibition WildCard is coming up soon, it seemed to be a good time for us and other maker educators to get together around the topic of cardboard and share out what we can do with cardboard in terms of tinkering in our museums and classrooms settings.

Bay Area Maker Educators are visiting us tonight experimenting with the wonders of #cardboard pic.twitter.com/uXyKreJ9G6

- The Tinkering Studio (@TinkeringStudio) June 9, 2017

We started off the meeting by showing a video from OpenMake Cardboard event that we hosted a few years ago. It was a good introduction to overview what cardboard activities we've done in the past and who are the artists we've been working with. We also showed a couple of other projects that we've tried such as Cardboard pop-up tree and large scale stop motion animations.

Then we invited participants to dive into the Tinkering Studio's cardboard activities: some are our all time favorite and some are brand new (half-baked). Here is the line up for the activities:

Make your own Visual boards:

Cardboard Automata:

Cardboard automata is our long-time favorite activity. We love that simple materials such as cardboard and foamies can create a mechanical sculpture and let you explore machine elements such as cams and levers in a playful way. On the table, we spread a few basic motion examples to help people observe the mechanisms. We had an impression that many people are already familiar with this activity, but it's always good to revisit the same activity: you will always find something new. We also informed people that the new online Tinkering Fundamentals course that we are hosting on Coursera (Mike, Karen, and Luigi are the instructor) is about motion and mechanisms, and the cardboard automata activity will be featured in that course. It's starting at the end of July.

Cardboard Linkages:

Inspired by Noga Elhassid, an artist from Israeli, we have been developing the activity and accumulated many examples of motion mechanisms and art pieces. To help our participants to get started, just like the cardboard automata, we had a few examples of very basic motions that we spread around the table.

Cardboard Costumes:

Love seeing cardboard boxes get transformed into something cool, and it's even cooler if you can wear it! We've done cardboard costumes several times on the floor, in the Tinkering Social Club and explainer trainings. We've made a few inspiring examples, and the guests were encouraged to use our favorite tools:

(From left to right)
- Or-ita: Cardboad scoring tool :An amazing cardboard scoring tool with a custom handmade blade by a Japanese artist, Makoto Orisaki.
- Titanium Snip Scissors :Great shears! Not only cardboard, this can cut many other materials such as chip board, thin aluminum, canvas, and plastic sheet.
- Klever kutter :Very safe cutter for cardboard. Great for classroom uses.
- Canary Corrugated Cardboard cutter :Different from Klever Kutter, this works more like a cardboard saw. It cuts with a back and forth motion. Feels like a knife through butter!
- Milwaukee Filip Knife : Our all time favorite!

Our new high school project explainer intern MaryClare created this skirt with the cardboard packing materials. The necklace was made by Donna, a participant from east coast who happened to be in town that night!

The guests seemed to be fine with a freestyle building, but in the future, I would provide more obvious starting points to help people get started: it could be these simple head/shoulder bases. Also, I'd like to come up with a simple base model for creating various masks. For example, I've made a mask of wolf by downloading a template from here (It's actually for construction paper, not for cardboard) and made a modified lion mask based on that. It was not easy. But I know a lot of people want to make cool masks! It would be fun if we could come up with a simple base and people could make various masks from that.

Also, having a photo booth like this might be a good addition to encourage people to create costumes and document themselves for future events!

Cardboard Marble Machines:

Usually we build marble machines with peg boards and dowels, but you can also build one with cardboard. In fact, cardboard is more accessible and easier to manipulate! Deanna created this example, and I like that she used masking tape instead of hotglue: it allows people to adjust the positions of the tracks after building. The big circle was her attempt to create a marble wheel to pick up marble balls, which was still work in progress.

The educators from Lawrence Hall of Science Ingenuity Lab created their own marble run! Here is a Tweet from them.

Built a fun cardboard marble run with @doramorales777 at the @TinkeringStudio. @MonikaGMayer pic.twitter.com/zZzR3uIUSn

- Jonathan Lai (@jlai777) June 9, 2017

Cardboard coin acceptor:

This was an attempt to show that a simple coin acceptor can be made out of cardboard. For this particular example, we used Tim Hunkin's coin acceptor template, a low torque switch (we used this one from Adafruit), and Noga's linkage boat which was hooked up with a servo motor and arduino. When you insert a coin, it falls on a whisker trigger and activates the servo motor to sweep the oar back and forth. We printed Tim Hunkin's template on several cardboard sheets so people could take home and make their own coin-operated 'something', it could be a light, motor, or any arduino project.

Hey @TinkeringStudio! Got your cardboard coin-operated Arduino fabbed & working that you showed me yesterday! https://t.co/rxeBpRwZ4t pic.twitter.com/XA53KqZsHz

- zackboston (@zackboston) June 14, 2017

Although she was not the participant of BAME meetup, Susan, who visited us in the week of BAME, made her own coin operated LED with our template!

Cardboard coin operated gumball machine:

This was another attempt to make a coin operated mechanism out of cardboard. Being inspired by this example on youtube, I followed the instruction halfway through but decided not to cover the mechanism. Leaving the top open so that people could see how it works inside seemed to be more appropriate for the BAME meet-up. This was not meant to be an activity, but guests were encouraged to interact with the machine - drop a quarter coin, load gumballs, drop wrong kind of coins and see what happens, turn the handle in the opposite direction...etc.

Cardboard marble maze:

Danielle drew a marble path with blue masking tape first, then she started building the internal wall pieces, making sure that they would not block the path that she designed. Using masking tape instead of pencils was a good idea because you can just peel it after building the maze, leaving no trace! There were also some people who didn't use any of these grid lines and created their own marble mazes from blank cardboard sheets (sorry, no picture).

I was also trying to find a good way to make circle holes on the cardboard sheet. For that night, we used a 3/4" diameter hole saw, but I found that the hole saw tends to scrape the back of the cardboard sheet when it comes through, so I used the hole saw to cut only halfway through and did the rest with a Xact knife. I'd say that this was still much easier way to make circle holes than cutting out entire holes with only a knife.

Sneak Preview at Wild Card - an installation by Cardboard Institute of Technology:

For the last 15 mins, we invited the guests to a sneak preview of the WildCard exhibition, where the members of Cardboard Institute of Technology (C.I.T) have been creating immersive cardboard environments in the Exploratorium's West Gallery.

It was great the we had Allison as a participant that night, who had been coordinating this exhibit with C.I.T., and she took us to a journey through this immersive cardboard dreamscape! It felt like an interesting transition in terms of scale. While walking through this large scale environment of cardboard, we also encouraged people to look closely to find their favorite pieces: I personally loved this garbage truck (reminded me of my son's obsession). We were allowed to take lots of photos. I'm sure each one of us got really good inspiration for a next cardboard project!

All in all, I think the night was a success! 'Cardboard' in the context of tinkering & making is such a broad topic, but I think we were able to cover a wide range of cardboard projects. It was great that we had prepared several activity stations and the guests could choose which one to dive into. Some people were floating around from one activity to another, trying a little bit of everything. It was also good that there were connections to the works of the artists that we respect, because that's where we often get inspirations and come up with a new idea for the tinkering activities.

We really enjoyed the event including the preparation process. I recognized, once again, that cardboard is a great material! It is such an accessible material and easy to work with but also has lots of possibilities: your cardboard creation could go incredibly big like C.I.T's landscape, or it could be a small mechanism that you feel proud of. It could be a meticulous sculpture or costume with all kinds of building techniques. Or, you could add some other fun stuff to your cardboard projects, such as a motor, light, switch, arduino, etc.. Cardboard can always surprise people! Here in the Tinkering Studio, we have lots of cardboard creations displayed, some are even in use, such as a cardboard bear rug, a cardboard tentacle, a cardboard girl, cardboard tube walls, automata, linkages, a giant hammer and plier, and and I like hearing people say "Look! That is made of cardboard!"

I am so excited with doing more cardboard projects. This summer we will host a couple of events "Infinite Versatility of Cardboard" and will immerse ourselves in the world of cardboard! We'll keep posting what we try next!

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BAME meetup - Cardboard night | Exploratorium

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Last Thursday we hosted BAME (Bay Area Maker Educators) meet-up with the theme Cardboard. We love exploring familiar materials and finding new ways to tinker with them. Cardboard is definitely one of the materials that we've been using a lot in our daily prototypes as well as in the tinkering projects.

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Our team has been working incredibly hard with students over the year. When faced with the reality of COVID-19, our staff jumped into action, supporting where they were needed most. Through 1:1 tutoring, regular parent communication, virtual apprenticeships and wellness checks with students, we answered the call to serve our NYC students.

To culminate the year, we have put together this virtual WOW! to showcase the CURIOSITY, TEAMWORK, CONFIDENCE, and PERSEVERANCE our students put in to get to their final products, all of which which you can explore through the menu on the left. If you are blown away by a particular project, make sure to show your appreciation with a "like" in recognition of their hard work!

-Nadia K. Selby, Executive Director, NY

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NY Virtual WOW! 2020 | Home - Citizen Schools

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Our team has been working incredibly hard with students over the year. When faced with the reality of COVID-19, our staff jumped into action, supporting where they were needed most. Through 1:1 tutoring, regular parent communication, virtual apprenticeships and wellness checks with students, we answered the call to serve our NYC students.

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This is the site that had the gears 3d file.

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Start with paper.
Featured Tutorials

Tweets by PaperMech

PaperMech is based on a collaboration across Concord Consortium & Georgia Tech & CU Boulder.

This material is based upon work supported by the National Science Foundation under Grant No. IIS-1735836. Any opinions, findings, and conclusions or recommendations expressed in this material are those of the author(s) and do not necessarily reflect the views of the National Science Foundation.

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Start with paper. Tweets by PaperMech PaperMech is based on a collaboration across Concord Consortium & Georgia Tech & CU Boulder. This material is based upon work supported by the National Science Foundation under Grant No. IIS-1735836.

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K-12 MakerLab at the MIT Edgerton Center