We cannot take access to equitable out‐of‐school science learning for granted. Data compiled in 2012 show that between a fifth (22% in Brazil) and half (52% in China and the United States) of people in China, Japan, South Korea, India, Malaysia, the United States, the European Union, and Brazil visited zoos, aquaria, and science museums (National Science Foundation, 2012). But research suggests participation in out‐of‐school science learning is far from equitable and is marked by advantage, not least the social axes of age, social class, and ethnicity (Dawson, 2014, 2014; National Science
Ideas from social justice can help us understand how equity issues are woven through out-of-school science learning practices. In this paper, I outline how social justice theories, in combination with the concepts of infrastructure access, literacies and community acceptance, can be used to think about equity in out-of-school science learning. I apply these ideas to out-of-school science learning via television, science clubs and maker spaces, looking at research as well as illustrative examples to see how equity challenges are being addressed in practice. I argue that out-of-school science
This article traces sound as it echoes through approaches to displaying the Science Museum’s acoustics collection over the course of the twentieth century. Focusing on three key moments in the collection’s historical development, the article explores the role of sound as both medium and object of museum display. Each moment exposes how the practice of using sound to interpret sounding objects was articulated and problematised by past generations of museum practitioners. Each moment, too, exposes the problem of sound as a potential threat to the cultural politics of a national museum
The Hugh Davies Collection (HDC) at the Science Museum in London comprises 42 items of electronic sound apparatus owned by English experimental musician Hugh Davies (1943–2005), including self-built electro-acoustic musical instruments and modified sound production and manipulation hardware. An early proponent of ‘live electronic music’ (performed live on stage rather than constructed on magnetic tape in a studio), Davies’s DIY approach shaped the development of experimental and improvised musics from the late 1960s onwards. However, his practice has not been widely reported in the literature
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