‘Catan’® (1995) is a multiplayer tabletop game with global sales of over 20 million copies. Presented here is an exploration of the steps that were taken in the development of the ‘Catan: Global Warming’ expansion, from prototype to final design. During the playtesting of the game the feedback that we received from a variety of playtesters indicated that the game mechanics (rather than any accompanying story) were an effective and elegant way of developing dialogue around a specific topic, in this instance global warming. We conclude that in order to develop such a game, consideration must be
We cannot take access to equitable out‐of‐school science learning for granted. Data compiled in 2012 show that between a fifth (22% in Brazil) and half (52% in China and the United States) of people in China, Japan, South Korea, India, Malaysia, the United States, the European Union, and Brazil visited zoos, aquaria, and science museums (National Science Foundation, 2012). But research suggests participation in out‐of‐school science learning is far from equitable and is marked by advantage, not least the social axes of age, social class, and ethnicity (Dawson, 2014, 2014; National Science
Ideas from social justice can help us understand how equity issues are woven through out-of-school science learning practices. In this paper, I outline how social justice theories, in combination with the concepts of infrastructure access, literacies and community acceptance, can be used to think about equity in out-of-school science learning. I apply these ideas to out-of-school science learning via television, science clubs and maker spaces, looking at research as well as illustrative examples to see how equity challenges are being addressed in practice. I argue that out-of-school science
This article traces sound as it echoes through approaches to displaying the Science Museum’s acoustics collection over the course of the twentieth century. Focusing on three key moments in the collection’s historical development, the article explores the role of sound as both medium and object of museum display. Each moment exposes how the practice of using sound to interpret sounding objects was articulated and problematised by past generations of museum practitioners. Each moment, too, exposes the problem of sound as a potential threat to the cultural politics of a national museum
The Hugh Davies Collection (HDC) at the Science Museum in London comprises 42 items of electronic sound apparatus owned by English experimental musician Hugh Davies (1943–2005), including self-built electro-acoustic musical instruments and modified sound production and manipulation hardware. An early proponent of ‘live electronic music’ (performed live on stage rather than constructed on magnetic tape in a studio), Davies’s DIY approach shaped the development of experimental and improvised musics from the late 1960s onwards. However, his practice has not been widely reported in the literature
In January 1885, the Glaswegian Professor of Chemistry Dr Robert Carter Moffat organised a special operatic concert at St James’s Hall, London, to which he invited around two thousand scientists and musicians. The point of this invitation concert was that all the singers used bottled air. Moffat himself appeared between the various performances, wielding his mysterious Ammoniaphone, or bottled-air machine, a long silver tube which he flourished in the faces of his audience while describing its virtues with considerable animation. The premise of the Ammoniaphone was that since Italian opera
This report is the result of work undertaken by Ecsite-uk, The UK network of science & discovery centres and museums, to demonstrate the impact of Science & Discovery Centres, to encourage their effective collaboration, and to maximize their future viability. The report includes three parts: the results of a survey of UK science and discovery centres, recommendations for science and discovery centres which will lead to demonstrating value, and best practices shared between science and discovery centres from those that have achieved financial stability. In addition to this report, Ecsite-uk
In this essay, researchers from King's College London, Work, Interaction and Technology Research Group, discuss a particular approach to the analysis of social interaction in museums and galleries, focusing on video-based field studies. The authors also give a few suggestions as to why it might be important to take verbal and physical interactions more seriously when designing, developing and evaluating exhibits and exhibitions.
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TEAM MEMBERS:
Dirk vom LehnChristian HeathJon Hindmarsh
This is the final report of the Open University’s RCUK-funded Public Engagement with Research Catalyst, ‘An open research university’, a project designed to create the conditions in which engaged research can flourish. The report describes an evidence-based strategy designed to embed engaged research within the University’s strategic planning for research and the operational practices of researchers. This programme of organisational change was informed by action research, working collaboratively with researchers at all levels across the institution to identify and implement strategies that
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TEAM MEMBERS:
Richard HollimanAnne AdamsTim BlackmanTrevor CollinsGareth DaviesSally DibbAnn GrandRichard HoltiFiona McKerlieNick MahonyNick Mahony
Dinosaur Island is a 3D computer simulation with herds of sauropods and ceratopsians, flocks of pteranodons, hunting packs of carnivores and authentic plants and trees from over 65 million years ago all controlled by the user. You can think of Dinosaur Island as a digital terrarium in which a balance between the species and their diets must be maintained or the ecosystem will collapse. It is up to the user to determine how many and what kinds of dinosaurs and plants populate the island. Start off simple with just a few sauropods and some plants; but you better make sure that those big plant-eaters have the right food to eat. Did you know that many of the plants from the Jurassic were poisonous? You also need to make sure that there are some carnivores around to keep those sauropod herds in check; otherwise they will quickly outstrip their food supplies. Dinosaur Island is an Adventure: Yes, it is a bit like those famous movies because you can take 'photographs' of your dinosaurs, save them, post them and share them with your friends (you can even 'name' your dinosaurs, 'tag' them and track them throughout their lives). You will be able to walk' with the dinosaurs without being trampled under their giant feet. You will be able to follow along when a female T-Rex goes out to hunt without fear of becoming dinner for her family. You will be able to 'garden' by 'planting' vegetation where you like and watch the plants grow over time. Dinosaur Island is Educational: Our reputation – both in our 'serious games' and our contracted simulations – is for historical accuracy. All of our computer games, serious games and simulations are meticulously researched. Dinosaur Island will also include an extensive hyperlinked interactive 'booklet' about the dinosaurs that live on Dinosaur Island, their habitat and the plants and vegetation that grow there. Designasaurus, the game that we created in 1987, was named Educational Game of the Year. We will exploit the computer environment that is now available (more memory and faster machines allow for 3D rendering) to make Dinosaur Island even more of an immersive educational experience. Dinosaur Island is Fun: Playing with herds of dinosaurs is just good fun. You can 'pick them up' and move them around, plant crops for them to eat or you can even 'get inside' a dinosaur and control its actions. Regardless of your age, Dinosaur Island is guaranteed to be hours of fun.