The fields of science education and science communication are said to have developed as disparate fields of research and practice, operating based on somewhat different logics and premises about their audiences. As the two fields share many of the same goals, arguments have been made for a rapprochement between the two. Drawing inspiration from a historical debate between the scholars John Dewey and Walter Lippmann, the present article is a case-oriented theoretical contribution applying models from science education and science communication in relation to a current socio-scientific issue
The New England Aquarium will create Conservation STEM — an online curriculum that features engaging videos and hands-on activities aligned with state and national standards that are easily accessible for teachers to use in the classroom. The project responds to a need that the aquarium’s Teacher Advisory Council — composed of Pre-K through 12 teachers from the greater Boston area — identified, which was to help students develop critical and systems thinking skills. It also will provide a means for teachers to engage students with authentic experiences to address real-world problems and build an understanding of the need for a balanced use of the ocean.
The Carnegie Science Center will contribute to the reinvigoration of planetarium programming nationwide by creating and sharing three multifaceted productions combining live theatre and science education. The "Cosmic Cookbook" will be a free online digital toolkit for planetarium educators designed to delight audiences, inspire the next generation of scientists, and promote a scientifically literate community. Targeting elementary school students, each show will include theatric, character-driven scripts for presenters; digital media assets for planetarium producers, including original full-dome content; and how-to guides for live demonstrations and storytelling. The museum will pilot and evaluate each show with students from local underserved schools and incorporate feedback before distribution for other planetariums across the country. The museum will release video tutorials on teaching science and theatric presentation, webinars, and script updates throughout the lifespan of the project to foster sustained replication of the programs.
The University of California Museum of Paleontology will upgrade two STEM websites that provide free resources for teachers, students, and the public for teaching and learning about evolution and the process of science. The project will allow the museum to respond more effectively to user expectations and enhance the security, functionality, and general appeal of these educational resources. In consultation with expert advisors, the project team will review and revise the content and graphics on the 30 most-accessed, high-content pages of each site to ensure that they reflect the latest research and perspectives in the field. New features will also provide more opportunities for visitor interaction with scientific data. Both front-end and formative evaluation will guide the phases of the project.
Over a three-year period, the Lawrence Hall of Science will conduct research on the conversations of groups and families encountering an Augmented Reality (AR) experience in a museum environment. The research program will identify which design elements best facilitate conversations among groups of visitors, and determine if these conversations are both rich in scientific content and gender-balanced. The project will focus on four specific activities: understanding the learning associated with current AR activities, implementing design-based research to develop visitor conversation supports, designing and developing new AR programs with embedded conversation supports, and conducting iterative hypothesis-based research on how learning conversations happen in AR learning environments. The museum community will gain insights on design principles for supporting collaborative learning using AR. Project staff will disseminate results via conference workshops for museum professionals on designing AR to enhance family learning, and through publication in professional journals.
The Harvard Museums of Science and Culture will improve the ability of middle school teachers to use museum-based digital resources to support classroom instruction aligned with state and national science standards. Working with advisory teachers from five collaborating school districts, the museum will co-create classroom activities, based on digital resources from its collections, along with associated teacher professional development programs at three sites across urban and rural Massachusetts. The project will provide schools with access to classroom-ready resources that successfully support student learning. Teachers will learn how to use these materials, integrate them into their teaching, and enhance their skills to teach science content and practice. External evaluators will assess the project's effectiveness by measuring teacher implementation of the digital resources in the classroom, requests for information and assistance, and changes in teachers' confidence and comfort levels.
This book chapter, which describes emotional accessibility in digital learning experiences and its relation to Universal Design, was included in the book "Inclusive Digital Interactives: Best Practices + Research" published by the Smithsonian. This chapter includes a description of the Productive Struggle project, data highlights, and information on how attending to emotions can broaden our concepts of accessibility.
During the course of our ongoing collaboration with KQED, my fellow academic researchers and I have learned that science media professionals are especially interested in improving strategies for headline design, with the goal of increasing audience engagement. Their intuitions about the importance of headlines are supported by research findings. At least when browsing on social media platforms, media consumers often make decisions about whether to engage with stories based only off of the headline. Moreover, headlines influence the way people interpret the story and the impressions they form
For an award-winning, public media YouTube science and nature series like KQED’s Deep Look, which delights its audiences by exploring unusual, tiny animals and plants up-close in ultra-high definition, how do you quantify and assess the value of different kinds of behind-the-scenes content when your original short videos are so fantastic at engaging your target audience?
Below is a summary of the key findings of the behind-the-scenes survey. Attached is the full report.
1. The measurable benefits of appending a fully produced behind-the-scenes video to a Deep Look episode appear to
The KQED digital video team explored why they have gender disparity in viewership of their YouTube series Deep Look. For almost every one of our episodes, the percentage of women who watch is considerably lower than the percentage of men, a disparity that also happens on other science shows distributed by PBSDS. On average, about 70% of Deep Look’s YouTube audience is male and only 30% is female. Our audience’s disparity is even more pronounced than that of YouTube’s average audience, which is 60% male.
Below is a summary of the survey’s findings. You can read the full report, called “A
Hero Elementary is a transmedia educational initiative aimed at improving the school readiness and academic achievement in science and literacy of children grades K-2. With an emphasis on Latinx communities, English Language Learners, youth with disabilities, and children from low-income households, Hero Elementary celebrates kids and encourages them to make a difference in their own backyards and beyond by actively doing science and using their Superpowers of Science. The project embeds the expectations of K–2nd NGSS and CCSS-ELA standards into a series of activities, including interactive games, educational apps, non-fiction e-books, hands-on activities, and a digital science notebook. The activities are organized into playlists for educators and students to use in afterschool programs. Each playlist centers on a meaningful conceptual theme in K-2 science learning.
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TEAM MEMBERS:
Joan FreeseMomoko HayakawaBryce Becker
Three-dimensional digital models are increasingly prevalent in preserving tangible and intangible aspects of Indigenous material heritage. Yet, there are no comprehensive, clearly laid-out best practices that can guide researchers, Indigenous communities, and museum personnel in designing ethically sound and socially engaged 3D heritage preservation projects. The use of 3D technologies for heritage preservation and providing public access to digital 3D collections is well-established in the European context. While there have been several robust efforts on digitizing European national heritage, in the U.S. context, the focus often involves work with Indigenous heritage, instantly placing 3D projects into a post-colonial research paradigm with a complex set of ethical ramifications. This research examines emerging thoughts from the European context and connects them with best practices in digital Indigenous data management to identify practices that contribute to cultures of academic integrity that are inclusive of all stakeholder voices. This work fosters ethical cultures of STEM through the development of a comprehensive Responsible Conduct of Research guiding document that can be adapted to address culture-specific Indigenous perspectives as well as project-specific challenges in future 3D heritage preservation endeavors.
Project goals are accomplished through workshops and virtual collaborations that bring together researchers, Indigenous community members, and heritage preservation professionals with previous experience in the responsible management, protection, and sharing of Indigenous digital data and the use of 3D technology for heritage preservation. The collaboratively produced guidelines outline ethical considerations that can be used in developing: 1) partnerships with origin/descendant communities, 2) institution- and collection-specific museum policies on using 3D technology, 3) Tribal policies for culturally appropriate use of 3D technologies, and 4) training material and curriculum that integrates with other research compliance regulations pertaining to heritage preservation. The project explores the questions that have emerged through previous experiences using 3D technologies to preserve Indigenous ancestral heritage. These questions include the factors contributing to developing ethically sound 3D heritage preservation projects; the practices useful in 3D projects to foster a culture of integrity that equally engages academic and Indigenous perspectives; consideration for what constitutes Responsible Conduct of Research in using 3D technologies to preserve Indigenous cultural heritage; and addressing practice-based questions that contribute to understanding ethical challenges in digitally preserving and presenting Indigenous heritage. The project situates 3D modeling and heritage representation as part of the larger discourse on decolonizing core methodologies in museum management and anthropological collection practices. Results from this work can be adapted to training future researchers and digital heritage management professionals and creating meaningful partnerships in heritage documentation. This research cultivates cultures of academic integrity by informing heritage management policy on the critical importance of heritage ethics for the creation and management of 3D digitization projects involving Indigenous collections. This award is funded by the Directorate of Geosciences and the Directorate of Education and Human Resources.