The rapid development of both digital production tools-such as 3D printers, CNC machines and laser cutters-and Information and Communications Technology (ICT) have provided a means for small scale, distributed poly-nodal Digital Manufacturing to become a viable production method. These tools are enabling individuals to make sophisticated parts and products without formal training at sites of production situated in domestic communities globally. A key contributor to this shift is the Open Source Hardware (OSHW) Maker Movement-a movement made up of a diverse range of individuals from a wide variety of backgrounds and levels of expertise all working towards a common goal of making the tools for making artefacts more accessible. As yet, Industrial Design contribution is limited, with the technology tending to appeal to those who are 'tech-savvy'. However, there are opportunities for designers to use these tools and associated methodologies to make objects that make a difference in ways that have never been possible before. It is likely that, when more commonplace, domestic production tools-additive and subtractive-will change the face of industry as we know it. Is it possible that we will be printing our own cars at home in the future? This paper explores some of the developments in these tools, how they are currently being used in a transport design context and some of the implications for future manufacturing of automobiles.

This paper considers the matter of sites of production in view of recent technologically enabled trends toward the intersection of designing and making. These changes have been conceptualised as 'open design' or as 'consumer-as-producer' and they are specifically manifest in accessible and inexpensive 3D printing. We argue here that these developments reactivate the Arts and Crafts notion of personalised domestic-scale production in newly technologised and globally connected ways. Akin to the ideals of the 1970s Punk movement, amateurs can become agents of change as the open-source Maker movement provides individuals with the 'source code' to make, adapt and disseminate individualised products via information and communication technology (ICT) channels. This paper discusses the possible impacts of distributed making on our urban landscapes, with the increasing conflation of domestic, industrial and retail zones and what some have described as 'maker-friendly' cities.

This paper draws on some of the findings from a research study which examined the current structure of assessment for citizenship in secondary education in England and considers the rationale for the assessment of citizenship. The research included an empirical evaluation of citizenship assessment from the perspective of the key user groups, teachers and pupils and comprised a mixed-method approach. A questionnaire survey was sent to teachers and pupils in secondary schools across England and interviews were conducted with pupils (Years 9-11) and teachers in 18 schools around England. The data were analysed using both quantitative (descriptive and univariate statistics) and qualitative methodologies. The findings suggest that the way in which citizenship is delivered has an effect upon the means by which it is assessed and has some impact upon the way that the subject is valued. Some teachers were reluctant to use unfamiliar modes of assessment, particularly formative methods which did not result in a grade, because pupils were sceptical of the value of any subject which does not provide a 'final' mark. The creation of ideal-type teachers facilitated a deeper investigation of the way in which teachers assess citizenship and how they perceive their pupils' attitudes towards the subject. Teachers and pupils demonstrated generally positive attitudes towards citizenship education. However, their responses suggest a pervading educational ethos which values only the things that can be measured and some reluctance to believe that it is worthwhile to develop skills or abilities which do not generate a 'grade'.

Images & Identity' was a two-year curriculum development project in which citizenship and art educators in the Czech Republic, England, Ireland, Germany, Malta and Portugal collaborated on the production of teacher education materials. The article begins with a critical analysis of educational policy for European citizenship and of the potential contribution visual art and citizenship education might make to understanding what it means to be European. The main body of the article reports on a small-scale survey of school children's visual representations of Europe carried out in advance of the curriculum development. This survey elicited received, recreated and created representations. Whereas many were totemic symbols of European identity downloaded from the Internet, a surprising number were personal artworks in which children explored and developed their personal feelings and ideas. This article describes and analyses the images the children selected, remixed and/or created, focusing on the subject matter, metaphorical meanings and interpretative themes. Findings about their orientation to European citizen identity were that it was dominated by physical and social perceptions, and whilst largely positive, these perceptions varied according to nationality, ethnicity and age.

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