3d Printing on Campus and Across the Curriculum

The NERCOMP group that did the 3D printing workshop was exceptional. (Norwood, Massachusetts. Workshop held on 6/10/15.)

  • Bryan Alexander, President, Bryan Alexander Consulting
  • Ian Roy, Research Technology Project Lead, Brandeis University
  • John Eberhart, Director of Digital Media, Yale School of Architecture

In addition to the speakers, there were a few very knowledgeable attendees.

Here are some of the highlights from the workshop. The information below doesn’t go into specific workflows, and is incomplete in terms of the steps I didn’t include, as this is just an overview.

Types of Printers:
Those who have a lot of experience with 3D printers said:

  • Makerbot is showing signs of slowing their innovation, and although their newer printers are much better than the earlier generations, they are not recommended for those getting into the 3D printing arena.  (In a recent tweet from Nercomp, Bryan Alexander reported “A lot of skepticism about Makerbot’s future…”.)
  • Recommended printers: Lulzbot Taz, Printrbot, Makergear, Ultimaker2.

Things to note about the printers:

  • They can be noisy.
  • They can smell odd when printing.
  • Some use different types of materials to print with (Plastics and/or powder, and more.  ABS, PLA, Nylon were all mentioned.), other printers are more limited.
  • They have products to recycle plastic to be used in 3D printing.  These are called filabot reclaimers.
  • Other costs might include the Smart Extruder if you have a Makerbot, and print heads.

Working with Printers: Software

  • 90% of person time will be spent creating the model to be printed.
  • The file type that needs to be added to the printer is a .stl.
  • Some .stl files are available at http://www.thingiverse.com/, but as a “representational tool” or “design tool” (Terms used by John Eberhart from Yale), you need to use a program like CAD, Maya, or Sketchup.
  • Some use Sketchup, but that has some limitations, and many think to use it because it was free, but they now have started to charge for its use.
  • Among many other things, Brandeis is using 123D Catch (App for droid and iPhone to create a 3d image using a cell phone.) along with TinkerCad. (A web based program that allows for adjustments to be made to uploaded .stl files.)
  • Printing can be additive, and subtractive.  (Additive is creating by adding material bit by bit.  Subtractive is taking a solid, and taking away material to reveal the object. )

Marketing and Outreach:

  • Faculty need to be approached in a variety of ways
  • Some departments that have been early adopters included archaeology, classical studies, history, theater (building sets for plays), engineering, art, math, robotics, media studies, business, psychology, engineering, etc.
  • Some opportunities exist in outreach with the community. Maybe looking for volunteers from those who have retired, but want to look at using their skills with this new techology.

Speakers

Brandeis: Ian Roy

  • Staffing at Brandeis includes 1 FTE, and 4+ students.
  • Much funding was obtained from the student organizations, and sponsors.
  • The students have a very active club.
  • 3D printing is part of the larger MakerLab at Brandeis.
  • The Maker Lab has their own room.
  • They require that people get certified on the machine before they can work on a project.
  • They don’t charge for the use of the printers, and consider a project with a good educational justification as the currency.
  • Ian Roy at Brandeis said 3D printing is as disruptive as the internet. It will change the way we do things.

Yale: John Eberhart

  • Yale has a long history with 3D printing in their Architecture department. Going back to 1999.
  • Yale charges for print jobs.
  • Newer printers dropped prices dramatically. An item that would have cost students over $200 was reproduced at a cost of $24 with the new printers
  • As the cost of printing went down, the numbers of print jobs, and printers went up. 2012-13 they had 2 printers and did 50 jobs.  2013-14 they had 18 printers and did 2,500 jobs.  2014-15 they had 31 printers and did 5,100 jobs.
  • The print jobs are happening in a printer farm, which pretty much runs non-stop.   The printers are locked up, but visible through glass, and students will often look to see what others are doing.  This may encourage further exploration, and generate new ideas.
  • The newer 3D printers became very popular at Yale because the rendering was quicker and less expensive than other printers, and the quality was good enough for the job at hand.

Some apps and suggested pages


I should taken pictures of the prosthetic arms and leg they had created, but I just got a picture of these skulls. In the background is Ian Roy from Brandeis, sporting the frames he printed off of the 3D printer.

3dPrinting

Digital Humanities Summer Institute (June 2014)

(This is an abbreviated version of my original post, which can be accessed on my blog.) 

This was my first time attending the Digital Humanities Summer Institute at the University of Victoria, the first of what I hope will be one of many to come. The purpose of this institute is to introduce and train scholars, students, librarians, and other professionals in the humanities, as well as other disciplines, to new computing tools and methodologies through an intensive, week-long training period.

I enrolled in the Understanding Topic Modeling course, led by Neal Audenaert a Senior Software Engineer (Texas A & M University, Texas Center for Applied Technology). This course introduced participants to the algorithms, models, and theories used in Topic Modeling, specifically LDA (latent dirichlet allocation), and a variety of topic models that can provide different understandings of your data, such as modeling topics over time (dynamic topic modeling). I’ll discuss my class experience in greater detail in a future post with examples of the material we covered during this course and some of the data that I worked with. In this post, I will provide a brief overview of my experience and discuss some of the projects, tools, and discussions, which interested me while at DHSI.

What I really liked about DHSI is that it differs from other institutes in that discussion and learning occurs through a community-based approach. Archivists, programmers, librarians, software engineers, faculty, students (etc, etc.) all work and learn together. It is a week-long exchange of knowledge and ideas where we can  ask questions, re-think our own approaches to how we do research in our own disciplines through the use of computational tools and methods, which are being applied in digital humanities. Many of these tools and methods are borrowed or built-upon from areas outside of the humanities–social science, computer science, mathematics–we then think about their application in our own specific disciplines or fields, such as the application of topic modeling on textual data drawn from nineteenth-century music periodicals, which can then show us the trends in music reception, performance, trade, or influence.

During the week at DHSI, participants spent the large portion of each day in their courses, however each day opened with a morning colloquium, in which participants presented their current projects or research, as well as asked for feedback on projects that were in the pre-development stage. These were presented in five-minute intervals (lightning talks) and demonstrated the diversity of approaches, tools, and methods, but also intersections between disciplines or fields. Following the daily classes were Birds of a Feather discussions (#DHSIbof), in which two speakers reflected on the same topic, providing different perspectives before opening the conversation to the audience for discussion and reflection.

The morning colloquia represented a variety of disciplinary areas, including literary studies, history, archaeology, information science, social science, feminist studies, cultural studies, medieval studies, and sound studies. Tools or methods applied or explored for possible application included geo-spatial and temporal analyses, TEI (text encoding using XML and XSLT), database frameworks, web-design, game design/theory, and critical editing. There were a number of projects with a focus on text analysis, as well as textual encoding. For example, Douglas Duhaime (University of Notre Dame) presented on “New Approaches to Digital Text Analysis: Introducing the Literature Online API,” in which he discussed his reason for building an API that would query the Literature Online (ProQuest) subscription database. Another interesting project was “On the Page, On the Screen: Uncovering the Digital Lives of Readers Using Linguistics, Temporal, and Geospatial Analysis” presented by Anouk Lang (U Strathclyde) in which she is studying reading patterns of contemporary readers by examining their literary activity through online reviews and social media comments. She is applying topic modeling to the data that she has been able to pull from various sites, as well as using temporal and geo-spatial analysis tools so that she can see changes in readership over time.

Attending DHSI afforded me the opportunity to reconnect with several colleagues and meet others for the first time, who will now become my colleagues. Attending the week-long course, colloquia, and Birds of a Feather discussions was wonderful in and of itself, because these various interactions allowed me to expand my own approaches and thinking about existent projects, such as Documenting Teresa Carreño, forthcoming projects, and possibilities for application in the library. Outside of these planned events were opportunities to make new colleagues and interact on a non-hierarchical level with graduate students, librarians, programmers, academic administrators, and scholars, which created a non-threatening environment in which everyone was encouraged to interact and learn from one another. DHSI was a truly energizing experience, opening up new paths of inquiry for many, as well as reinforcing an intersecting and cross-disciplinary social network that we can always connect with and hopefully collaborate with on future projects. Next year’s DHSI is already being planned with dates in June 8 – 12, 2015. DHSI conversations were archived by Ernesto Priego (City University, London) and can be found here: Digital Humanities Summer Institute 2014: A #dhsi2014 Archive. figshare.