Some of the most intriguing science museum exhibits start with a counter-intuitive outcome, a result that runs counter to visitors' expectations. Although counter-intuitive events often succeed in captivating visitors, they rarely lead to visitor-driven inquiry. The author argues that this is primarily due to two factors: first, for the counter-intuitive effect to be presented reliably and repeatedly, the visitor's interaction must be limited to a narrow set of options. Without multiple options for visitors to explore, extended inquiry is nearly impossible. Second, counter-intuitive outcomes
A team of researchers and practitioners developed a museum program to coach families in the skills of scientific inquiry at interactive exhibits. The program was inspired by the increasing focus on scientific inquiry in schools and the growing number of open-ended exhibit designs in science museums. The development process involved major decisions in two arenas: which inquiry skills to teach, and what pedagogical strategies to use to teach them. After many rounds of refinement based on evaluation with families, the final program, called Inquiry Games, improved visitors' inquiry behavior in
The Exploratorium's Going APE project (APE=Active Prolonged Engagement) developed 30 exhibit designs to encourage visitors to become more cognitively engaged with exhibits--to use exhibits as tools for self-directed exploration, rather than as authoritative demonstrations. To do this, the staff drew on work in the fields of education, visitor research, human factors engineering, computer interface design, and interactive exhibit development at other museums. The project also integrated evaluative research into exhibit development to maximize possibilities for visitor-authored questions
The integration of research with education and outreach is an essential aspect of our Center's mission. In order to assure the most effective use of our expertise and resources, we have developed a multi-faceted approach with activities that focus on coherent themes that address our three primary audiences: research community, our neighborhood, and the general public. These activities include research internships, enrichment programs for students & teachers, and informal science opportunities.
Educators, docents, and interpreters are considered integral to the learning experiences at many museums. Although there is growing recognition that these staff members need professional development to effectively support visitor learning, there has been little research to describe their work or identify effective facilitation strategies. To address this need, we explored the nature of unstructured staff-facilitated family learning at the Oregon Museum of Science and Industry in Portland, OR, videotaping and inductively analyzing 65 unstructured staff-family interactions. The analysis
The scrapbook of Winifred Penn-Gaskell – celebrated aerophilatelist and collector of aeronautica –reveals a great deal about its maker and the social and political context of early flight history in Britain. It is argued here that a ‘reading’ of the book as a non-textual object offers a predictive argument for the aesthetic and cultural representation of heavier-than-air craft and pilots in the years immediately prior to the First World War. By viewing each section of the scrapbook as parts of a contingent whole, the early-twentieth century interest in performative masculinity (physical
CERN’s Large Hadron Collider, the world’s largest particle physics facility, provides museological opportunities and challenges. Visitor interest in cutting-edge physics, with its high media profile, is tempered by anxiety about understanding complex content. The topic does not readily lend itself to traditional museum showcase-dominated displays: the technology of modern particle physics is overwhelmingly large, while the phenomena under investigation are invisible. For Collider, a major temporary exhibition, the Science Museum adopted a ‘visit to CERN’ approach, recreating several of the