There are many lenses through which we can measure the value of a museum experience.
There is the satisfaction factor: Did visitors have a good time? Were they engaged? Do they want to return?
There are learning outcomes: Did visitors learn something new? How much did they learn? How did their experience compare to other types of learning experiences?
And there is also meaning-making: Did respondents have a meaningful experience? A memorable one? A connective experience that made them want more?
While all three of these lenses (and many others) are important, meaning-making is
People love stuff. It speaks to them; it reminds them of special moments or people in their lives. They collect it and they love to tell stories about it and show it off. Museums’ deepest roots are in the stuff of collections. But over the last 200 years, the value and importance of collections to effective science interpretation (including exhibits, education, and outreach) has waxed and waned. It is clear from recent studies that using collections in concert with media and interactivity in exhibits and programs yields an extremely effective visitor experience. The recent work of Reach
A collective mass of youthful exuberance pulses through our science centers and museums on any given day. As I visit our ASTC-member institutions around the world, I find it extremely rewarding to watch all that energy being transformed into focused, intense contemplation of specific topics or experiences.
I have always been fascinated by the concept of “dwell time” in our science centers and museums. Dwell time usually refers simply to the period of time visitors spend in an exhibition or at a specific exhibit or activity. This time period can be extended in ways that are not entirely
On the first day of the Science and Society course at the Cooperstown Graduate Program in Cooperstown, New York, I present the students with an incandescent lightbulb, with clear glass so one can easily see the filament inside. I ask the students how it works and they are able to tell me that the electricity comes in there, runs through the filament here, heats up, and produces light. Then I take out my iPhone and slide it across the table and ask, “How does this work?” Blank stares abound.
If you follow at least one culturally minded Washington, D.C., resident on social media, you’ve likely seen images of WONDER. Launched with the reopening of the Smithsonian Institution’s newly renovated Renwick Gallery last November, the exhibition comprised nine contemporary works. (Two remain on view.) Each took over an entire gallery, filling the museum with rainbows of thread, a model of the Chesapeake Bay made from fiberglass marbles, and geometric designs fashioned from insect specimens.
Irresistibly Instagrammable—the museum even posted “Photography Encouraged” signs—the
In this article, Emily O'Hara, education associate and marking assistant, and Beth Krusi, director of marketing and communications, both at the Montshire Museum of Science (Norwich, Vermont), share their perspective on the importance of repeat visitation. O'Hara and Krusi describe how they use evaluation to refine new and existing exhibits to encourage repeat visitation.
In this article, twelve museum and exhibit directors of leading institutions in the world share their exhibition philosophy. These individuals describe how they develop exhibits to meet content and learning objectives, how they design exhibits thoughtfully to meet these goals and how they evaluate the success of the exhibits. Museums featured include the Finnish Science Centre (Vantaa), The Wild Center (Tupper Lake, NY), Sciencenter (Ithaca, NY), INSPIRIA Science Center (Norway), Explora (Albuquerque, NM), Montshire Museum of Science (Norwich, Vermont), Phaeno (Germany), CuriOdyssey (San Mateo
In this article, Carlos Plaza, exhibit developer and bilingual communications specialist at the Miami Science Museum, summarizes the museum's general guidelines and strategies for writing and designing bilingual exhibitions. These guidelines address label hierarchy, personnel (translators and editors), interpretation vs. translation, regional variation, and layout and design.
In this article, science center and museum professionals, artists, and educators from around the world share their projects, programs, exhibitions, and initiatives that combine science and art.
In this article, Julie Bowen, vice president, content, at TELUS Spark in Calgary, Alberta, Canada, explores the current state of exhibitions in the field and speculates on the future direction of exhibits. Bowen discusses new innovative trends in the field.
In this article, Wendy Pollock, ASTC's Director of Research, Publications, and Exhibitions, and J. Shipley Newlin, Program Director for Physical Sciences at the Science Museum of Minnesota (SMM), discuss "Wild Music: Sounds & Songs of Life," an exhibit produced by a partnership between ASTC, SMM, and the Music Research Institute at the University of North Carolina at Greensboro. The unique design approach incorporated sound experiences for a wider range of users, including visitors who are blind or have low vision, as well as created an overall sound environment that was meaningful and
This article explores the particular challenges and opportunities for science centers in working on a relationship between the Western science paradigm and traditional knowledge systems. Included are key principles to keep in mind when promoting science, while still respecting traditional cultural values and individuals' cultural identities.