This poster from the 2023 ASTC conference provides and overview of research from the NSF funded Designing Our Tomorrow project. This research study examined storytelling approaches used by caregivers and educators to communicate to other caregiver and educators that the engineering practices exercised at DOT exhibits are usefully relevant to problem-solving in their day-to-day lives and within their communities.
This is an overview of research to measure STEM Engagement and Advocacy of Older Adults (50+). This work explored findings from Design Challenges hosted for older adult learners and also resulted in survey instruments to be used for this population. It also outlines constructs that were developed to inform the research.
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.
In the 1980s in the United States, the traditional science center business and mission models worked well. Science centers were the most prominent source for informal science learning with financial support from governments and donors and a quasi-monopoly on IMAX films, science store merchandise, and interactive exhibits. A science center’s exhibit department would devise interesting exhibits, and the marketing department simply advertised that content to whatever audience might be interested. From today’s perspective, those were relatively simple times.
Things began to change in the 1990s
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
This is an extended discussion of the question that appeared in the Viewpoints department of the May/June 2016 issue of Dimensions magazine. It discusses whether smartphones benefit or detract from the museum experience from a variety of perspectives from the field.
There is no formula for starting a science center. Science centers are as variable as the communities that surround them and the people who plan them. They may be of modest or monumental proportions and grow at different rates and in a variety of ways. Nevertheless, it is possible to identify a number of common themes and dimensions that appear to be critical to their success.
In this article, Michael John Gorman, founding director of Science Gallery at Trinity College Dublin, Ireland, examines the recent emergence of many museum exhibits that meld art and science together to foster creative exploration of science rather than instruction. As an exemplar, Gorman discusses the design of Science Gallery, their "INFECTIOUS" project, and lessons learned.
In this article, science center and museum professionals from around the world share ways that they are engaging visitors in hands-on innovation. Work from the following organizations are discussed: Exploratorium, Discovery Center of Idaho, Lawrence Hall of Science, Iridescent, Conner Prairie Interactive History Park, Ideum, Discovery Place, Ontario Science Centre, Bootheel Youth Museum, Science Centre Singapore, Children's Museum of Phoenix, Discovery Museums (Acton, MA), Discovery Center of Springfield, Missouri, Museum of Science, Boston, Questacon--The National Science and Technology