Skip to main content

It's a Bird! It's a Plane! Its a Printer Paper Airplane?: Questioning the Value and Process of Paper Airplane Craftsmanship

            


            It honestly took me three attempts to craft a plane like the plane within the directions. To craft my paper airplane, or should I say paper airplanes, I used blank sheets of printer paper. The first step that I took was to fold the paper in half (I folded it so that the plane’s width would have a horizontal length over 9 inches). The next step that I took was to flip the paper over and to take a corner of my folded rectangle and to fold this corner over, making a small triangle over top of the original rectangle fold. Next, I took the corner opposite of the triangular fold and made the same triangle shape as I folded this corner over the rectangle base. To follow these steps, I started to structure the wings of my paper aircraft. My first step to make the wings was to fold the paper again in half so that I could only see one side of the plane. Then, I proceeded to take the side facing me and made another fold of the entire horizonal slit of the plane. I then turned the plane to the opposite side and repeated this on the side that had not yet been folded. The plane flies well, if I do say so myself!

If I came across this airplane as a historical artifact, I would ask questions like: Who made this plane? Why would someone make an airplane using printer paper? Did they have any other resources on hand to make an airplane, yet they chose printer paper? Since I made three attempts to fold together a paper airplane, I might even ask how much time it took to craft said plane. I would say that questioning what resources were available to the airplane craftsmen/craftswoman is important, in that by asking this question, a historian might be able to answer what material the person valued, or thought was ideal to take on this task. Likewise, the maker of the plane may have used the printer paper to make the plane not for a perceived high value of printer paper, but because they themselves or the society they lived in thought that this was a form of paper or crafting resources that was the least valued. Some artifacts are made from items that people usually dispose of, so it would be important to not assume right away that an artifact was crafted from the most valued resources. For example, I am a proponent of recycled materials, and though some people dispose of newspapers, water bottles, and other recycle materials in a means to be rid of them for good, I have owned a pencil, a bag, a notebook, and other items which were made from recycled materials.

Comments

Popular posts from this blog

Post #10: How Can We Promote Diversity and Cordialness In Archival Spaces?

  In the article What’s Wrong with Digital Stewardship: Evaluating the Organization of Digital Preservation Programs from Practitioners’ Perspectives (2020), a study conducted in 2018 unveiled certain issues that archival practitioners found to be hindering the staffing and efficiency of their program’s digital preservation methods. Amongst the thoughts expressed by the participants via interview were concerns about microaggressions, prejudice, and misogyny within their work environments. [1] Though incidents of misogynistic and prejudice behavior are found in a multitude of career pathways, many archives and special collection practitioners today push for diversity of staff within their work and research spaces. In one of these interviews, an anonymous participant pointed out a negative factor of the nature of tenure. The participant stated that due to the tenured status of the practitioner they work with, when they hear said staff member making misogynistic comments towards othe...

Post #5: Fair Compensation: Procuring Well-Deserved Funding for the Employees of Archives and Special Collections

  Chela Scott Weber’s Research and Learning Agenda for Archives, Special, and Distinctive Collections in Research Libraries (2017) extensively explores options to improve the functions and quality of archives and special collections by placing attention on both the collections within these places as well as the skills that archivist, stakeholders, and others who work collections can offer to the public. [1] Weber also proclaims that to improve the innerworkings and missions of special collections and archives, diversity of the workforce as well as a push for accessibility and diverse collections must be prioritized. Weber argues that a blockade to drawing in more employees who want to instate these features is the reality of “soft money” funding: a highly unstable way to maintain employment of archivist and special collection staff. In this case, how can more concrete manners of pay be given to these employees? [2] From my knowledge, though this article was published in 2017, I w...

Post #6: Being Attentive to Culturally-Sensitive Collections in Special Collection and Archival Spaces

  In Ellen M. Ryan’s Identifying Culturally Sensitive American Indian Material in a Non-tribal Institution (2014), the accessibility to the contents of a collection pertaining to the Shoshone-Bannock Tribes of the Fort Hall Reservation in Idaho found within the Special Collections and Archives of Idaho State University are called into question. This collection, the “J.A. Youngren Papers,” includes photographs of Shoshone-Bannock practices such as the “Sun Dance” (a ceremony of the Great Plains tribes) taken and acquired by the university in the early 20 th century without the consent of Shoshone-Bannock members. [1] In 2013, an undergraduate student and sun dancer tasked with processing and housing these photographs took note of the rituals captured within the photographs and the problematic nature of displaying these photographs online without the consent of tribal members. He thus brought this concern up to the Head of Special Collections of ISU and the photos were soon after ...