This white paper describes outcomes from a conference about using non-science art in science education. Art and science are often combined for entertainment, education (STEAM) and inspirational value. However, in almost all cases the art is science-themed (scientific visualizations, science-inspired art, art about scientific topics, etc.). This conference asks the question “what about art for arts-sake?”. That is, what is the impact of non-scientific art in science education? Can non-science themed art be used to broaden perspectives about science? Can it cue people to think about science more
Cultures develop when people find ways to play, make, and share. This report describes how human cultures can be characterised by their similarities rather than their differences, and emphasises the importance of recognising playfulness and creativity to develop societies prepared to accommodate the rapid changes associated with technology and globalisation.
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TEAM MEMBERS:
LEGO FoundationDavid GauntlettBo Stjerne Thompson
The drawing of 'outlines' can be shown to be dependent upon the bounding edge aspect of visual cognition, which is a principal means of discerning 'identity' from other features of experience in the visual field. Visual 'signatures' can be noticed when using techniques for the scientific visualization of data. Using examples from an ongoing art-science project between the Faculty of Arts and Architecture (Brighton) and the Meteorology Dept at the University of Reading, the paper will explore the boundary between the 'rational' and the subjective, and between the representation of knowledge and
This report is intended to take stock of the UK’s national museums and galleries (those which are members of the National Museums Directors’ Conference) and to assess their place within the wider social and economic framework of society. In doing so, efforts are made to address a number of issues, including the Government’s approach to museums and galleries; the economic impact of the NMDC institutions; creativity and innovation; civic engagement and, finally, an analysis of the state of the sector. Two other reports are to be published by NMDC, considering other aspects of museum and gallery
The Maker Program Blueprint offers a template for afterschool or summer programs and addresses the types of spaces that can be used, ideas about schedules and format, and the materials and personnel needed to create and sustain a program.
This monograph, the final report of the 21st Century Literacy Summit held in April 2005, presents an action plan for this emerging field applicable to higher education, K-12 education, policy makers, media & the arts, and research, and details the strategic priorities and specific recommendations for these sectors that were the summit's major outcomes.
This research study reports on the evaluation of the outcome and impact of learning as a result of the implementation of Education Programme Delivery Plans in 69 museums in the nine regional museum hubs in England during September, October and November 2005. This is the second study of the impact of learning achieved through museum school services which have been funded through the Renaissance in the Regions programme, which provides central government funding to museums in the English regions. The first study 'What did you learn at the museum today?' was carried out in 2003. The findings of
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TEAM MEMBERS:
Eilean Hooper-GreenhillJocelyn DoddLisanne GibsonMartin PhillipsCeri JonesEmma Sullivan
What makes “making”—the next generation of inventing and do-it-yourself—worth paying attention to? In this report, we explore the three categories of makers, the ecosystem growing around those categories, the role technology plays in this ecosystem, and, finally, how business can take advantage of the opportunities this movement represents.
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TEAM MEMBERS:
John HagelJohn Seely BrownDleesha Kulasooriya
This report presents findings from a joint study carried out by the Museum of Science, Boston Research and Evaluation Department (MOS) and Art Beyond Sight (ABS, formerly Art Education for the Blind) with museum visitors who are blind or have low vision. The purpose of this study was to gather information that can inform the development of pilot museum programs that meet the needs and interests of visitors who are blind or have low vision and to provide professional development for museum professionals. Focus groups were used as the primary data collection method, as they enable idea sharing
What is the anatomy of an “aha” moment? How and why did we evolve to have such experiences? Can we prime ourselves to have them more often? Why should we care? These and similar questions were the recent focus of a cross-cutting investigation by the National Endowment for the Arts (NEA) in partnership with the Santa Fe Institute (SFI). On July 9-10, 2014, the NEA and SFI cosponsored a meeting titled “The Nature of Creativity in the Brain.” Held at SFI in Santa Fe, New Mexico, the meeting engaged a 15-member working group to perform two tasks: (a) evaluate the legacy of creativity research; and
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TEAM MEMBERS:
Art WorksNational Endowment for the Arts
Choreographed by Liz Lerman and the Dance Exchange, The Matter of Origins is a contemporary dance exploring historical perspectives and cutting edge physics about our beginnings. In Act One, audience members watch as science concepts are translated into images, music, and dance. Dancers portray ideas such as the complexity of measurement, the ways atomic particles interact, and the origins of the universe. Science-themed, multi-media experiences including images from the Hubble space telescope, CERN, and replications of atomic bomb explosions accompany the dancing. In Act Two, audience members
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TEAM MEMBERS:
Liz LermanDiane DoberneckJohn SchweitzerPaula MillerJohn Borstel
This report applies a practice-based approach to learning and making in the context of a museum makerspace (The Makeshop at the Children's Museum of Pittsburgh). This perspective draws upon theories of cultural and social learning, which assert an understanding of learning as fundamentally tied to the social and cultural contexts in which it occurs and focuses on the "practices" that define learning communities. The practices identified in this report are observable and/or reportable evidence of learners' engagement in making as a learning process.