The New Bedford Whaling Museum (NBWM) will develop a traveling exhibition titled A Spectacle in Motion: The Grand Panorama of a Whaling Voyage ‘Round the World. This exhibition features one of the longest and most distinguished paintings in the United States, the 1,275’ Grand Panorama of a Whaling Voyage ‘Round the World, an authentic and arresting depiction of a 19th-century whaling voyage. Painted by two New Bedford artists, the Panorama travelled the United States between the 1850s and 1870s as a moving picture show. It has not been shown in its entirety or as it was originally intended since the 1870s. The Panorama contains broad content related to history, industry, and geography, and conveys themes of globalization, cultural diversity, popular literature, and visual culture. The traveling exhibition will debut in New Bedford, MA in 2018, and then travel to Mystic, CT in late 2018. The project also includes the development of digital content and educational programs.
The status of photographs in museums is receiving increased attention. This is exemplified by the debate over the transfer of the Royal Photographic Society collection held at the SMG’s National Science and Media Museum to the V&A (see Terwey, this issue), and the implications for photographs of a STEM (Science, Technology, Engineering and Mathematics) focus at the National Science and Media Museum. So it seems to useful moment to think about the terms under which photographs exist in museums collections. What are they doing there?
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TEAM MEMBERS:
Elizabeth Edwards
resourceresearchProfessional Development, Conferences, and Networks
I received the invitation to deliver a paper as part of a panel about photography at the Science Museum Group’s [SMG] inaugural research conference towards the end of 2015. A few months later, SMG announced its plans to give a significant part of the photography collection held at the National Science and Media Museum – one of the four institutions for which the umbrella group is responsible – to the Victoria & Albert Museum in London. What has proved to be a controversial decision will see 400,000 objects, originally the collection of the Royal Photographic Society, and now categorised as
This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns
In January 1885, the Glaswegian Professor of Chemistry Dr Robert Carter Moffat organised a special operatic concert at St James’s Hall, London, to which he invited around two thousand scientists and musicians. The point of this invitation concert was that all the singers used bottled air. Moffat himself appeared between the various performances, wielding his mysterious Ammoniaphone, or bottled-air machine, a long silver tube which he flourished in the faces of his audience while describing its virtues with considerable animation. The premise of the Ammoniaphone was that since Italian opera
Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.
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
This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.
The first outside broadcast ever made by the British Broadcasting Company from a natural location was the Nightingale broadcast of 19 May 1924, in which the world-famous virtuoso cellist Beatrice Harrison performed a ‘duet’ with nightingales in her garden. The broadcast was made possible by the Marconi-Sykes magnetophone, an improved microphone developed for the early BBC. This paper explores the historical and cultural significance of the Nightingale broadcasts, with a particular emphasis on the emotive aspects, and explains the role of the magnetophone in this context. This paper was
The New York Botanical Garden (NYBG) will plan, implement, and evaluate educational programming for its upcoming garden-wide exhibition, "Frida Kahlo's Garden." The programming and interpretation will create an immersive, compelling, interdisciplinary learning experience that merges arts, humanities, and science themes. Programming will celebrate Mexican culture, immersing visitors in the music, dance, food, and fashion that influenced Kahlo and continues to inspire people today. Through the exhibit and programming, visitors will gain insight into the impact of Kahlo's interest in the natural world on her artwork; understand the continuing impact of Mexican nature, nationalism, and intellectual history on arts and culture; and make personal connections between art, nature, and their own lives. The project will also provide a model for other botanical gardens to use to create interdisciplinary exhibitions.
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
From May 16 through October 26, 2015, The New York Botanical Garden will present the first solo exhibition on Frida Kahlo to be mounted in New York City in more than 25 years. This institution-wide exhibition aims to uncover new motivations for Kahlo’s work by focusing attention on the importance of plants and nature in both her painting and her life. As one of the world’s premier botanical gardens, NYBG is uniquely qualified to present the first exhibition to focus on Kahlo’s engagement with nature, revealing her intense interest, aesthetic appreciation, and deep knowledge of the natural world, especially Mexico’s plant life.