Already a Minecraft expert? Or just starting out…? Fancy creating some animations?
Come along to combine coding, making and tech to create 8-bit animations in Minecraft using physical punchcards, powered by PatternCraft.
Inspired by textile and computing heritage, PatternCraft is a make-it-yourself analogue to digital punchcard reader.
In this interactive workshop you’ll have fun learning basic computing and code!
Sessions are free to attend but spaces are limited so be sure to book to secure your space.
Book now – call Disley Library on 01625 374717
Sessions are 1 hour and run: 10am-11am // 11.30am-12.30pm // 1pm-2pm // 2.30pm – 3.30pm
Delivered by Gemma May Latham
About the Artist: Animations in Minecraft
An artist and maker, Gemma is interested in the relationships between textiles and coding. Having started to learn to code in 2012, Gemma endeavors to develop accessible methods for understanding code and computing theory.
Gemma will be delivering a range of workshops across the SHIFT programme. She says: “For me, making and crafting is about the physical experience of touch and the connection between maker and material. It’s a process and an experience and through my work I seek to capture a sense of flow and to lose myself in ‘creative activity’.
Making is central to what I do as a participatory artist, it is how I think and how I communicate. However, I don’t often make or produce finished hand crafted items, instead I create interventions and installations exploring traditional craft skills. I embrace processes that are intrinsically slow, creating a calming effect that allows time to connect with both process and material. The process of making and this experience is far more important to me than any physical outcome.
I believe that everyone should be able to experience the positive effects of digital craft processes both as a viewer and as a maker. The passing on of skills is important but the wellbeing benefits should be accessible to all no matter the skill level. I’m not a solitary maker. I prefer making with others either as active participants or as observers. I find that making in public drives the making process. It opens up conversations and facilitates connections to people, spaces and objects both for me and for those taking part.”