In 2006, the U.S. Botanic Garden (USBG) decided to conduct an institution-wide study of their visitors—why they come to the Botanic Garden, how they utilize the space, their level of satisfaction with the experience, and overall effectiveness of the USBG’s exhibitions and interpretation—in order to provide input to a strategic planning process that will align its living collections with its educational mission. To date, the only existing data characterizing USBG visitors was gathered in the early 1990s. Since then, the USBG has undergone a major transformation, including complete renovation of
The Trail of Time exhibition under construction at Grand Canyon National Park is the world's largest geoscience exhibition at one of the world's grandest geologic landscapes. It is a 2-km-long interpretive walking timeline trail that leverages Grand Canyon vistas and rocks to guide visitors to ponder, explore, and understand the magnitude of geologic time and the stories encoded by Grand Canyon rock layers and landscapes. As one of a new generation of geoscience education exhibits, the Trail of Time targets multiple cognitive and affective levels with accurate content, active geoscience
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TEAM MEMBERS:
Karl KarlstromSteven SemkenLaura CrosseyDeborah PerryEric GyllenhaalJeff DodickMichael WilliamsJudy Hellmitch-BryanRyan CrowNievita Bueno WattsCharles Ault
This article presents a metalogue discussion about the two focus articles and the six associated review essays on the topic of conceptual change as it applies to research, and science teaching and learning in a museum setting. Through the lenses of a sociocultural perspective of learning we examine the applicability of the ideas presented in the forum for museums and museum educators. First we reflect on the role that emotions can play in concept development; second, we reflect on the role of language, talk, and gestures to concept development and conceptual change in the short-lived nature of
The National Science Foundation (NSF) supports the most meritorious ideas submitted as proposals from researchers and educators in all fields of science, technology, engineering, and mathematics (STEM). Creating opportunities and developing innovative strategies to broaden participation among diverse individuals, institutions, and geographic areas are critical to the NSF mission of identifying and funding work at the leading edge of discovery. The creative engagement of diverse ideas and perspectives is essential to enabling the transformative research that invigorates our nation’s scientific
Those studying the public understanding of science and risk perception have held it clear for long: the relation between information and judgment elaboration is not a linear one at all. Among the reasons behind it, on the one hand, data never are totally “bare” and culturally neutral; on the other hand, in formulating a judgment having some value, the analytic component intertwines – sometimes unpredictably – with the cultural history and the personal elaboration of anyone of us.
Martin W. Bauer is right, two evolutionary processes are under way. These are quite significant and, in some way, they converge into public science communication: a deep evolution of discourse is unfolding, along with an even deeper change of the public understanding of science.
In 2008 two collections were published: the Handbook of Public Communication of Science and Technology, edited by Massimiano Bucchi and Brian Trench, and Communicating Science in Social Contexts: New models, new practices, edited by Donghong Cheng and five other scholars from China, Canada, Belgium and Australia. These books try to define and draw the boundaries of science communication’s field from both a theoretical and empirical point of view. But do we need to establish it as a distinct research field? For a number of decades, a growing community of scholars and communicators is trying to
The educational function of science museums was born with the first naturalistic collections ever, flourished in 16th-century Italy. The pedagogic thought and the educational experimentations carried out in approximately five century of history have allowed the educational mission of museums to acquire many different facets, drawing a task having an increasingly higher and complex social value. Recent publications explore these new meanings of an old role.
The Exploratorium explainer program is not only important to the young people involved, but is an integral part of the museum culture. This initiative that started to help the youth of our community has blossomed into a program that has been very helpful to the science centre. In fact, the institution would not be complete without the fresh energy of the explainers. They help the Exploratorium to continue to give the real pear to its public.
This article seeks to reflect on mediation in museums based on experiences that occurred in the “Learning in order to Teach” Project. In this case, the mediation acquires specific characteristics because it deals with young deaf people learning art-related contents in order to teach other youth in their first language. The most interesting aspect of this encounter between museum and deaf culture is a mutual, immediate and highly visible influence. While museum-goers and professionals understand that the “gestures” used by the deaf are not random (rather, on the contrary, they make up a
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TEAM MEMBERS:
Daina LeytonCibele LucenaJoana Zatz Mussi
Peer training provides Explainers with the knowledge, skills and confidence to facilitate high quality interactions with visitors. These are skills that carry into their academic, personal and professional lives. Explainers report better grades in school, improved communication skills and better understanding of diverse learning styles. By devoting this high level of time and attention to this valuable resource, we can truly see the significant influence the science center can have on this most valuable, and often underserved, museum audience.
This paper discusses three mediation concept approaches and, consequently, three facets of mediator action. The approaches presented start with a bibliographical review of the concept of mediation present in education and scientific communication studies. These approaches serve as a basis for interpreting a semi-directive interview with the director of the Museum of Morphological Sciences of the Federal University of Minas Gerais (UFMG). They also help us reflect on the complexity of organizing the objectives of a museum action that takes into account the transformational role of the