About Anna Karvellas

Anna is the Lemelson Center’s "Places of Invention" Affiliates Project Coordinator. She works closely with six Smithsonian Affiliate museums and community partners to research and develop regional "places of invention" stories for exhibitions and websites at the Smithsonian and Affiliate museums.

Calling Smithsonian Affiliates!

IMAGE EXP

APPLY NOW BEFORE THE SEPTEMBER 1ST DEADLINE!

Become a part of this new model for the co-creation of exhibition content!

Join other Affiliates eager to share the different ways people, resources, and geography came together in their communities to forge hot spots of invention.

THE PROJECT

Selected Affiliates and their community partners explore the central message of the  Places of Invention exhibition—that invention is everywhere and sparked by unique combinations of people, resources, and surroundings. Teams, led by Affiliates, are asked to apply these themes to their own communities and create multiple deliverables, including videos, oral histories, and public programs.

Video deliverables include one or more short pieces synthesizing team findings. These pieces will become featured stories on the POI exhibition’s dynamic, large-scale interactive map in the center of the gallery. The map will be accessible from both the exhibition and web, allowing it to grow exponentially as visitors read, tag, and comment on Affiliate stories, even make use of the option to add their own images and videos.

Current stories being developed include:

The Illinois River, one of the most consistent and powerful influences on Peoria, IL innovation

Newark

One of the major glass companies in Newark, OH: The Holophane Co. Inc. Works

The Bronx, NY
Fort Collins, CO
Hartford, CT
Hollywood, CA
Huntsville, AL
Lowell, MA
Medical Alley, MN
Newark, OH
Peoria, IL
Pittsburgh, PA
Seattle, WA
Silicon Valley, CA

With your participation, we hope to have videos representing all regions of the United States when the Places of Invention exhibition opens in 2015 at the National Museum of American History.

WHAT KINDS OF INVENTION? ALL KINDS!! We’re interested in any new or improved way of doing things; in interdisciplinary stories of STEM-based invention and innovation through cross-pollination, including the bustling social spots where people shared and refined ideas; in the ways local people lived, worked, played, collaborated, adapted, took risks, solved problems, and sometimes failed—all in the pursuit of something new.

We’re interested in a wide range of innovation: in green energy, medicine, education, transportation, and robotics; in the ways that art and music can intersect with technology, as with the electric guitar; in civil engineering, architecture, and construction; in agriculture—from seed cultivation to harvesting processes; in biotechnology that changed the way we eat, treat disease, and create alternative fuels; in communications and fiber-optics; in fabric technology—from 19th-century textile mills to high-performance synthetic fabrics worn by athletes today; in computers, software engineering, web technology, and social media; in business and advertising; in aeronautics, military production, and urban planning; and in the mass production of any kind of goods. Stories can be about current and historic innovation, as well as cycles of innovation spawned by a community’s infrastructure and natural resources repurposed over time.

REQUIREMENTS

Must be a Smithsonian Affiliate to be eligible

IMPORTANT DATES

Application Deadline: September 1, 2013
Winner Notification: October 4, 2013
DC Training: December 6, 2013
Final Deliverables Due: December 8, 2014

FOR MORE INFORMATION

Contact Anna Karvellas, Places of Invention Affiliates Project Coordinator, via email or by calling 202-633-4722.

Access her presentation from the Places of Invention panel at the 2013 Smithsonian Affiliations Conference, as well as those by the following Affiliates:

Documenting Gaming in Greater Seattle, Julia Swan, Adult Public Programs Manager, Museum of History and Industry

Inventing the Pittsburgh Sound, Kate A. Lukaszewicz, Lead Educator, Senator John Heinz History Center

NSF

Places of Invention has been made possible by a generous grant from the National Science Foundation 

Innovating Jazz: The Pittsburgh Sound

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Mary Lou Williams’ piano, c. 1940s, on view in a re-creation of the Crawford Grill in the Senator John Heinz History Center’s exhibition, “Pittsburgh: A Tradition of Innovation”

It’s no wonder that a unique jazz sound emerged from Pittsburgh. The city has a hum and a buzz, a palpable energy that resonates in its landscape, social spaces, and multitude of people. My colleague Ken Kimery—Executive Producer of the Smithsonian Jazz Masterworks Orchestra and Program Director of our Jazz Oral History Program—tells me the sound is unmistakeable. That you instantly recognize the city’s voice and feel in the placement of the beats of Kenny Clarke’s, Art Blakey’s, and Roger Humphries drums. In Stanley Turrentine’s saxophone. In Billy Strayhorn’s compositional techniques and the musical dialects produced through jazz session group dynamics.

 

Kenny Clarke Quartet

http://www.youtube.com/watch?v=I9z9sU5dXnw

Art Blakey’s Jazz Messengers

http://www.youtube.com/watch?v=qywMA_vrvsc

Check out the Roger Humphries drum solo at 3:25

I recently went to Pittsburgh wanting to know more about this sound for the Lemelson Center’s Places of Invention (POI) Affiliates Pilot Project. When the POI exhibition opens in 2015, the story of Pittsburgh jazz innovation will be featured on a large, digital interactive map at the center of the exhibition and website. The Senator John Heinz History Center, one of our most active Smithsonian Affiliate museums, is creating content for the project with Dan Holland of the Young Preservationists’ Association of Pittsburgh. The story will focus on the 1920s–1960s. Ken Kimery and Marty Ashby, Executive Producer of Pittsburgh’s MCG Jazz, are advising the team, directing them to additional experts and resources and making available oral histories and other multimedia. When the exhibition opens, the public will have opportunities to comment on the story and add recollections of their own, making the map another repository for the growing body of documentation about the city’s jazz history. We’re especially eager to see material posted by the Pittsburgh jazz and preservation communities.

The thesis of the POI exhibition is that place and community matter; that advantages and limitations of geography and resources drive innovation when combined with new ideas shared and refined through social networks. If I had any questions about Pittsburgh geography, they were answered on my drive into the city to visit the POI team. My car went up and down and around steep hills, past rocky slopes, and over railroad tracks and wide rivers moving large chunks of ice. As I wound through neighborhoods of brick houses, I couldn’t help but lean into each curve and think of the geology that helped drive the city’s famous steel and glass industries. Buildings I passed on rocky outcroppings looked more like cliff dwellings than urban homes.

Clockwise from top left: Crawford Grill sign, Art Blakey House, Crawford Grill, August Wilson House

Clockwise from top left: Crawford Grill sign, Art Blakey House, Crawford Grill, August Wilson House

I learned even more about Pittsburgh’s landscape on a tour of the city’s Hill District led by Dan Holland. His knowledge of the area—the things that live even when the physical structure might be gone—was not only impressive but also moving. Smithsonian Affiliations’ Jennifer Brundage and the Heinz History Center’s Sandra Smith and Kate Lukaszwewicz also joined and provided helpful insight. As we passed the homes of Art Blakey and August Wilson, we saw storefronts and row houses clumped together on otherwise razed blocks. The Crawford Grill nightclub held its own on a street corner behind a blue historical marker. At the New Granada Theater on Centre Avenue, signs of community involvement and recovery were evident.

Details of the New Granada Theater, originally built as a Pythian Temple in 1927 for the Knights of Pythias, an lodge for African American craftsmen.

Details of the New Granada Theater featuring Pittsburgh jazz legends. The building was originally built as a Pythian Temple for the Knights of Pythias, an African American craftsmen lodge.

Dan also took us to a special spot on the Hill for the tour’s most dramatic view: a panorama of “the city of bridges.”

View of the Strip from the Hill: The Heinz History Center’s Sandra Smith and Kate Lukaszewicz with the Smithsonian’s Jennifer Brundage and YPA’s Dan Holland. Remains of old funicular to the right. Allegheny River in the background. Zoom in for detail.

View of the Strip from the Hill: The Heinz History Center’s Sandra Smith and Kate Lukaszewicz with the Smithsonian’s Jennifer Brundage and YPA’s Dan Holland. Remains of old funicular to the right. Allegheny River in the background. Zoom in for detail.

Nearby, we could see the remains of the old Penn funicular from a time when gravity planes transported coal and people up and down the Hill to the Strip District.

Click on the image to go to “Pittsburgh Then and Now,” a Pittsburgh Post-Gazette site. Photo copyright 2004 Carnegie Museum of Art, Charles “Teenie” Harris Archive.

Click on the image to go to “Pittsburgh Then and Now,” a Pittsburgh Post-Gazette site. Photo copyright 2004 Carnegie Museum of Art, Charles “Teenie” Harris Archive.

So how did the city’s geography, community, and networks shape Pittsburgh jazz? Our team is exploring this question in detail, taking into account the research and documentation that has been lovingly preserved in its cultural institutions. Does it come from the people dining with—celebrating with—worshipping with—playing with—laughing with—surviving with each other in segregated Pittsburgh? From a strong African American middle class with money to spend at the lively social spots that lined the Hill? From the mix of ethnicities that came to live and work together? From the many schools and institutions promoting music education? From the building trades-inspired apprenticeship system? From the clubs serving mill workers whose shifts ran around the clock? From the artists who could actually make a living performing and teaching in the city? From the visiting musicians bringing new ideas and inspiration to the music scene while on layovers between New York, Chicago and New Orleans?

Or was it something else? The very rhythm of the city itself? Can the answer be found in Teenie Harris’ photographs of musicians and good-timers packed into the Crawford Grill and Goode’s Pharmacy? In images of children in classrooms clapping to live piano or playing brass instruments and bongos on the street? In performance shots of Roy Eldridge blasting his trumpet, Art Blakey on drums, a

teenie

Boys, possibly from Herron Hill School, playing brass instruments on steps, circa 1938-€“1945. Charles “Teenie” Harris/Carnegie Museum of Art, Pittsburgh.
Click on image for NPR’s story “The Big Legacy of Charles ‘Teenie’ Harris” about the photographer and the opening of a CMA exhibition of his work in 2011.

young Ahmad Jamal at the piano, and Duke Ellington and Billy Strayhorn backstage at the Stanley Theater? In the movement of the dancers and Lena Horne captured in a night at the Loendi Club? In Mary Lou Williams sitting at the Syria Mosque’s piano, surrounded by Earl “Fatha” Hines, Erroll Garner, Billy Eckstine, and Maxine Sullivan?

Ahmad Jamal Trio

Renée Govanucci and Marty Ashby (MCG Jazz), Dan Holland, and Sandra Smith and Kate Lukaszewicz (Heinz History Center). The team met to brainstorm and think about collaborative opportunities between the Heinz History Center, MCG Jazz, the Lemelson Center, and the broader Smithsonian.

Renée Govanucci and Marty Ashby (MCG Jazz), Dan Holland (YPA), and Sandra Smith and Kate Lukaszewicz (Heinz History Center). The team met to discuss the POI project and collaborative opportunities.

My colleagues and I are enthusiastic to learn more and see how the Pittsburgh POI team develops its story. My trip was deeply rewarding and full of exuberant conversations about the project and the importance of telling this often overlooked story of Pittsburgh invention. We welcome all to join us as we celebrate the ongoing innovation of the Pittsburgh jazz sound.

 

Sound and Vision

Editors Note: This is a follow-up to “It’s in the Details,” Anna’s recent blog about fiber artist Timothy Westbrook and his use of repurposed materials. Originally from upstate New York, Westbrook has enjoyed becoming part of Milwaukee’s robust arts community, itself at the center of a vibrant place of invention

Donated audio cassette tapes in Westbrook's studio

 

Westbrook's "The Unicorn Maiden" comprised of woven cassette tape with cotton, blue velvet curtains, bed sheets, a Victorian hand-embroidered curtain, and a Victorian unicorn button. Modeled by Raquel and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

“Blue, blue/
electric blue/
that’s the color/
of my room/
where I will live— /
blue, blue—”

These lyrics from David Bowie‘s “Sound and Vision” have been lolling through my mind ever since I began thinking about the hand-woven cassette tapes in Timothy Westbrook‘s
designs. If it wasn’t for Bowie, after all, or the Clash or the Ramones or Troublefunk (you get the picture), I might not have felt such a familiar and sentimental pull towards Westbrook’s use of crinkly, sparkly, magnetic cassette tape. Who knew that old cassettes full of hiss could LOOK so good. Recognizing the tape in Westbrook’s jackets, dresses, and scarves was like seeing an old friend in a new context. In Westbrook’s Pfister Hotel studio, once-loved tape was woven into shimmering new life with pearl cotton, wool, and blended silk bamboo.

For those who remember, cassettes were high-maintenance friends: easily degraded by heat and humidity, often stuck in Walkmans, and with a tendency to spew ribbons of crumpled tape that had to be carefully rewound with a pencil. (This was best-case scenario: more often, the tape was mangled.) You work with what you have and I loved that technology. Soundtracks, mix tapes, and “cassingles” got me through.

Where do all the old “new technologies” like cassette tape go, though? I often think about that here at the Lemelson Center where we study innovative technology that supplants the old. While collections documenting the history of invention are carefully preserved by the Smithsonian and its counterparts, cassettes mostly go from shoe boxes to giant landfills where they degrade and leach pollutants into our water table and get into our food chain.

Details of Westbrook's woven cassette tape

Thankfully, artists like Westbrook are inspired to re-think this cycle and imagine how materials can be repurposed. Each of his gowns, for example, use between 6 and 12 yards of cassette tape. He makes it a point to never use virgin materials: “The goal is zero-waste which is often confused as ‘take this rectangular fabric and make a muumuu wrap dress.’ I simply mean do not throw anything away that is not biodegradable.”

Naysayers who think eco-friendly/sustainable fashion means burlap and muumuus will be more than surprised when they see Westbrook’s holiday dress. Made from a combination of gospel and holiday tapes, wire hangers, roses, grommets, and a Mrs. Claus costume, the materials inspire humor and play a metaphorical role in the visual story of the dress. Varying tape colors add visual depth.

The "Alexis Rose" holiday dress made of gospel and holiday-themed audio cassette tapes, red velvet from a Mrs. Claus costume, wire hangers, and donated grommets filled with roses. Sue Lawton's "Willow Tree" is in the background.

The relationship between sound and vision is not only a constant in Westbrook’s work—it also is the inspiration for his experimentation with audio tape. As a child, time spent listening to books-on-tape with his blind grandfather made him think about ways that sensory experiences could be translated. What if the books they listened to could be transformed back into something visual that could be understood through touch?

"The Stripe" (right) with woven cassette tape and a cotton and vintage chiffon curtain. Modeled by Michael and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

Asked about the challenges of his medium, Westbrook muses, “I don’t really have problems with the cassette tapes—only inspiration. The story is in the wording: cassette tape is a kind of ribbon. So where else do we hear ‘yarn, thread, string, rope, ribbon’? Fabric. Weaving. What are other related things? Line, floss, string—violin string!—electric wire, silk. All of a sudden new materials make themselves available.”

His ability to look at things differently—to see all of the preceding materials as monofilaments to be woven, for example—keeps Westbrook’s work evolving. Strong mathematical ability and a fertile imagination stoke this fire, even allowing him to think about similarities between the sensorial process of weaving and playing audio cassettes reel to reel.

"The Femme Nouvelle" made with woven cassette tape and wool and a scarf made with woven plastic bags and cotton. Modeled by Layna and styled by Alexis Rose. Photo by Gerard Heidgerken at BarelyPractical.com.

So what next? Coming off a successful final gallery night show at the Pfister Hotel, Westbrook is winding down his time as Artist-in-Residence. He plans to stay in Milwaukee where he will continue to explore new ways to create sustainable, low-impact works that challenge established ideas about luxury and beauty in our disposable culture. He is innately good at connecting different people, ideas, and industries together—an important figure in any thriving place of invention—and I expect we will hear remarkable things about the community-focused projects he and collaborator Alexis Rose have on the horizon.

Alexis Rose and Westbrook at his final gallery night show. Rose styled the show and was its creative director. Photo by Gerard Heidgerken at BarelyPractical.com.

Earlier today, New Yorkers had a chance to hear Westbrook speak at the GreenBizForum about every object’s potential reuse. 

Special thanks to BarelyPractical.com.

It’s in the Details

We think a lot about sequins here—about their care and conservation—the history of their invention and evolution—and they ways their sparkle conveys the magic and glamor of performance.

From the Hollywood movies of Judy Garland to the honky-tonks of Patsy Cline, sequins have played an important role in audience enchantment. Their very glimmer is a kind of short-hand for magic—the magic of a fantasy world conjured upon a screen or the magic of a voice stirring powerful emotion. It was the marriage of sequins, intense light, and Technicolor, after all, that gave those slippers their ruby glow in The Wizard of Oz and conveyed their inner power. [1]

Dorothy's ruby slippers from "The Wizard of Oz," 1938, designed by Gilbert Adrian, NMAH

“The iridescent glimmer of sequins are essential elements in the larger-than-life persona of many a performer. It’s as if the shimmer allows them to bring their own special lighting to the stage.”

               —Dwight Blocker Bowers,
 Entertainment Curator,
National Museum of American History

PBR shoes made from over 2,000 hole-punched aluminum circles; woven white plastic bags in background

Sequins—whimsically employed—are what first drew me to artist Timothy Westbrook’s Pabst Blue Ribbon shoes. They were posted on Facebook by Milwaukee’s Pfister Hotel where Westbrook is Artist-in-Residence. Online, the shoes were gorgeous and charming—their blue bows and red ribbons lining up just right—but it was the sequins’ brilliance and texture that put them over the top. I have two-stepping friends who would die to dance in them.

My cousin Rebecca’s wedding brought me to the hotel soon after, and in a quiet moment I discovered Westbrook’s studio just off of the hotel’s ornate 19th-century lobby. An odd place for PBR shoes, you might think, but this is Milwaukee, home of the Pabst family of brewery pioneers. Pabst Blue Ribbon is about as iconic as it gets in this place of invention.

I spotted the shoes right away—twinkling amid mannequins, gowns, and sparkling fabric being woven on a giant loom. I moved closer. I had never seen sequins like these—like round pieces of confetti arranged as if scales on a mermaid’s tail. I couldn’t stop looking.

Timothy Westbrook in his Pfister Hotel Studio

“Please touch!” enthused a voice from behind a non-electric treadle sewing machine. The kind and welcoming artist himself. Even with permission, I was hesitant to touch, but I’m so glad I did. Those weren’t sequins at all! They were red, white, and blue aluminum circles hole-punched from PBR cans! I loved the shoes even more for their surprise—for the inventive way that they not only celebrated an iconic American product—they were the product, recycled back to life.

Each shoe, Westbrook explained, was covered in over 2,000 aluminium circles hole-punched from used PBR cans. Separated for color and pattern, the “sequins” were then meticulously glued to a pair of vintage shoes over the course of 32 hours. Next to the PBR shoes were the latest entries in what Westbook calls his, “Drinking Shoe” collection: “Strongbow shoes” made from the hard cider’s distinctive yellow and black cans.

Strongbow shoe by Westbrook

Detail of Strongbow shoe

Strongbow shoe in-process

Strongbow by Westbrook

Strongbow kit: cans, vintage shoe, hole punch, glue

Strongbow shoe by Westbrook

Making "sequins" from Strongbow aluminum cans

The “magic” of the PBR shoes, I told Westbrook, made me think on some level of that most celebrated pair of sequinned shoes in the Smithsonian’s collection. Funny I should say that: Westbrook recently created “Ruby Slippers” for a project commissioned by Misha Rabinovich.

Westbrook's glistening red "Ruby Slippers" made from another American icon—the Coca-Cola can; photograph by Alison Barnick www.alisonbarnick.com

The result is a spectacular pair of shoes that would make the Wicked Witch of the West take notice: a sparkling duo made of thousands of aluminum “sequins” from another American icon: Coca-Cola. The project was difficult on several levels—the heel, for example, is often wrong in reproductions—but Westbrook’s greatest challenge was creating something that evokes the public’s powerful memory of the shoes while providing a 21st-century twist.

"Ruby Slippers" by Timothy Westbrook

Model wearing Westbrook's "Ruby Slippers"; photograph by Alison Barnick www.alisonbarnick.com

“The closer I get to garbage the more interested people are, ” Westbrook said. ”When they don’t know what they’re looking at, when they have to look closer and differently to figure it out, they see the innovation—that it’s not garbage at all—it’s something beautiful and a piece of Americana.”

Turns out, there was more to see, including other pieces made from recycled materials such as audio cassette tapes, MRI film, scrap yarn and fabric, umbrellas, medical splints, electric wire, and those ubiquitous white plastic bags. Even retired sheets donated by the Pfister get a second life as gowns.

Since that meeting in Milwaukee, I’ve enjoyed an ongoing conversation with Westbrook about his work and commitment to using re-purposed material. So much of what he talked about resonated with conversations the Lemelson Center has had with the many creative and innovative people that come through our doors. In my next post, I will talk about the work Westbrook is doing to transform discarded audio tape into shimmering textiles that challenge one’s definition of luxury.


[1] Blocker Bowers, Dwight (Entertainment Curator, National Museum of American History). 2007. From the Smithsonian Channel’s America’s Treasures video.

 

 

 

Charismatic Women

 

Harriet Tubman, oil on paperboard by William H. Johnson, about 1945

When I was a girl, I liked to read biographies of famous American women—hard-bound books written for “young adults” with book covers featuring strong, resolute women staring out onto uneven playing fields. Abigail Adams, Harriet Tubman, Susan B. Anthony, Jane Addams. I loved them. I loved their stories and before I was able to discern the difference between autobiography and biography—let alone mythology—it felt like the women in these books were talking just to me about the things they had seen, their struggles for freedom, for education, and for fair treatment. They spoke about the places they traveled, the people who made their lives better or worse, and the conditions that necessitated new ideas and bold action. Courses were changed in pivotal moments and small acts of resistance had powerful and sometimes dangerous consequences. These books were cool to the touch and just holding them in my hands made me feel righteous.

Susan B. Anthony, gelatin silver-print photograph by Theodore C. Marceau, 1898

Abigail Adams, silhouette by Raphaelle Peale, 1804

Lately I’ve been thinking a lot about how important those stories were to my developing sense of self. Despite the somber book covers, these women were the kind of charismatic leaders we often talk about at the Lemelson Center: they fostered community and social networks and drove innovation with significant social and cultural implications. They adapted, took risks, solved problems, and blazed trails—all in the pursuit of something new.

Jane Addans, oil on canvas by George de Forest Brush, 1906

Jane Addams’ efforts to deal morally and ethically with the social problems of industrialization had particular resonance for me. Inspired by the success of Toynbee Hall, an English settlement house in London’s East End, Jane Addams and Ellen Gates Starr founded Hull-House in 1889. Hull-House provided a safe and culturally rich community for Chicago’s most vulnerable, including immigrants, children, and the elderly. Addams and Starr sought to combat the isolationism that immigrants and the urban poor felt by providing what historian Rima Lunin Schultz calls “a new kind of urban space” to “develop new avenues of social intercourse” between middle class and wealthy Americans and the largely immigrant working poor and their children. [1] At Hull-House, the educated middle- and upper- class residents living within the community implemented shared theories on social reform. These practices, and Addams’ prolific writing and lecturing, led to a national reform movement that put Progressive ideas into practice. National legislature for women and children, including the federal Keating-Owen Child Labor Act of 1916, were direct results of Hull-House initiatives. The nation’s first juvenile court system was as well. [2]

There is another reason why Addams had particular resonance for me: she and Hull-House provided important resources to my own family of Greek immigrants. I learned this later, long after first reading about Addams as an historic figure. A class assignment, an oral history report done with a set list of questions, yielded this and other surprises from a subject I thought I knew well—my yia yia (Greek grandmother aka fortitude incarnate) “She was a wonderful woman—the kindest person I ever met,” Yia Yia said of Addams. The eldest of five kids, Anthula (Anthy) Poulopoulos came over from Greece in 1920 at age eight. Like everyone in the family, she helped her father run the religious candle shop he had established four years earlier on Chicago’s west side, on the corner of Harrison and Halsted. He had first learned the trade from Greek immigrants in the mill-town of Lowell, MA (one of the places of invention being studied by the Lemelson Center). Work at the Chicago store was extremely labor-intensive, but the tall, elaborate candles were used by Greek Orthodox churches throughout the country, and their demand never waned, fortunately, even during the Depression. Most of the family spoke English and did a great deal of translating for the community, even Yia Yia, who would tell Addams which families she knew needed milk or bread. “Miss Addams spoke up for the rights of poor people and she made sure they had enough to eat.”

Jane Addams with children at Hull House, photograph by Allen, Gordon, Schroeppel and Redlich, Inc., 1933

Hull-House provided important services to the neighborhood, including employment and daycare services; social, athletic, and political clubs; and classes in English language, citizenship, painting, carpentry, sewing, singing, and mathematics, to name a few. Violin and piano lessons were open to adults and children, including Yia Yia and her sister, Frances, who was proud to be a member of the Hull-House “Milk and Cookie Club” that provided just that to young children. Performances of Greek plays and Italian music inspired personal dignity and ethnic pride. Spaces to create, exhibit, and sell traditional crafts allowed immigrants opportunities to connect with their native cultures and showcase their skills. “The visual and performing arts, and the display of traditional crafts became vehicles through which different immigrant groups could ‘perform’ their European identities and have these identities affirmed and respected by Americans and other ethnic groups,” Schultz explains. [1] Addams thought socialization in American ways was important for immigrants, but not at the expense of their culture.

My thoughts have probably turned to charismatic leaders I first admired as a girl because so much of our work on the Places of Invention (POI) project involves identifying these kinds of key figures in the communities we study. We know from our research that individual innovators have social networks that support and enhance their work and Jane Addams and the residents of Hull-House certainly fit this model. Identifying these kinds of figures and their relationships with different networks is one of the most fascinating parts of our POI work. As we move forward in the POI Affiliates Project, you will come to know the charismatic leaders and social and collaborative networks of Lowell, MA; Newark, OH; Oak Ridge, TN; Peoria, IL; Pittsburgh, PA and Seattle, WA. We look forward to sharing with you our discoveries as we dig deep, documenting, researching, recording, and comparing oral histories to learn more about the particular ways that increased exposure to ideas and techniques spawned invention and innovation in each community.

[1] Schultz, Rima Lunin. “Hull House and its Immigrant Neighbors” from the Urban Experience (UE) in Chicago: Hull-House and Its Neighborhoods, 1889-1963 website. The UE website is a joint project with the Jane Addams Hull-House Museum and the College of Architecture and the Arts at the University of Illinois at Chicago.

[2] “About Jane Addams,” from the Jane Addams Hull-House Museum website, UIC College of Architecture and the Arts

 

And We’re Off! The “Places of Invention” Affiliate Pilot Project Kick-Off Workshop

Newark, Ohio linen postcard, 1942, Curt Teich & Co, Chicago

Whiskey,
Prohibition
and fiberglass

 

Large-scale fermentation—

Oak Ridge, TN billboard, 1943, when the site was one of the centers for work on the Manhattan Project. Photograph by Ed Wescott.

1853 Lowell, MA patent model for boot and leather sewing machine, William Wickersham, NMAH

 

 

 

the Manhattan Project’s
secret city of Oak Ridge, Tennessee

 

 

 

Cycles of invention
over 300 years in
Lowell, Massachusetts —

 

 

 

Pianist and composer Earl “Fatha” Hines, pioneer of the Pittsburgh sound, Columbia recording featuring "57 Varieties," NMAH

 

 

 

Pittsburgh’s distinct jazz sound—

 

Mary Lou Williams, Pittsburgh jazz pianist and composer, 1944 music folio, Archives Center, NMAH

 

 

 

 

 

Attendees at Seattle's PAX Prime—one of the world's largest gaming events, 2009, photograph by Kiko Villasenor

 

 

 

 

 

 

Seattle’s locus as the center of
a thriving international gaming market—

 

These and other details about local places of invention were recently shared by representatives from six Smithsonian Affiliate museums and their community partners as part of a kick-off event for the Lemelson Center’s Places of Invention Affiliates Pilot Project. The Lemelson Center is working with these Affiliate partners on projects that document invention and innovation in their communities. When complete, developed material will be an integral part of an interactive digital map in our exhibition—yet another lens for examining historic and modern communities where people, resources, and spaces have come together to spark inventiveness. The material also will appear on the Places of Invention website where visitors from around the world will be able to comment and add multimedia about their own places of invention. Equally important, POI-related public programs will take place in each Affiliate community.

Participants in the project are:

The day-long workshop on June 15th at the National Museum of American History was led by Dr. Lorraine McConaghy, a public historian based at Seattle’s Museum of History and Industry. Affiliate museums and their partners were joined by representatives from Smithsonian Affiliations, the National Science Foundation and the Lemelson Center. Through a series of presentations and brainstorming sessions, Dr. McConaghy taught the group how to research, document, and find an interpretive pathway for a topic that will become part of the Places of Invention exhibition and website when it opens in 2015.“Let’s be reflective,” McConaghy advised. “Think about your topic as an opportunity to engage your community in invention and innovation and inspire people to think of their own place as a place of invention.”

A lively and gregarious discussion provided no shortages of possible topics, such as:

Super Slurper flake, photograph by George Robinson. Courtesy of USDA.

Mass-production of penicillin as just one of the inventions out of Peoria, Illinois’ USDA-NCAUR lab: Behold the mighty “Super Slurper,” the cornstarch-based superabsorbent polymer used in everything from disposable diapers to biodegradable packing peanuts and plastic utensils; protective seed coatings to fuel filters. It’s even used by archivists to dry out waterlogged books and prevent mold.

By close of day, the teams had come up with thought-provoking possible titles: War Ends, Healing Begins: The Rise of Nuclear Medicine; From Field to Function: Agricultural Research in Peoria, Illinois; How Prohibition Spawned Fiberglass: Newark, Ohio, 1920–1933; and Forgotten Pioneers of the Pittsburgh Sound, to name a few. These topics and titles are not set in stone, but the exercise was a valuable one for all of us thinking about how to create the most compelling content for each community.

I’m thrilled to be directing this process as the new Places of Invention Affiliates Project Coordinator. I look forward to sharing this experience with you in a series of blogs written by Affiliate museums, their community partners, Smithsonian Affiliations, and Lemelson staff. I love the work that Smithsonian Affiliations does—I’ve seen first-hand the ways that its programs foster the exchange between Affiliate museums and the Smithsonian, broadening each institution’s reach. I see the Affiliates Pilot Project as an opportunity to take this relationship even further, creating a new model for collaborative co-creation of exhibition content that we hope will extend to another 20 Affiliate museums. As my colleague Monica Smith points out, we are the prototype for the Affiliates Pilot Project.  I hope you will join us—sharing your suggestions and comments as we move forward in this inventive process.