The call for more science, technology, engineering, and mathematics (STEM) education taking place in informal settings has the potential to shape future generations, drive new innovations and expand opportunities. Yet, its power remains to be fully realized in many communities of color. However, research has shown that using creative embodied activities to explore science phenomena is a promising approach to supporting understanding and engagement, particularly for youth who have experienced marginalization. Prior pilot work by the principal investigator found that authentic inquiries into science through embodied learning approaches can provide rich opportunities for sense-making through kinesthetic experience, embodied imagining, and the representation of physics concepts for Black and Latinx teens when learning approaches focused on dance and dance-making. This Research in Service to Practice project builds on prior work to better understand the unique opportunities for learning, engagement, and identity development for these youth when physics is explored in the context of the Embodied Physics Learning Lab Model. The model is conceptualized as a set of components that (1) allow youth to experience and utilize their intersectional identities; (2) impact engagement with physics ideas, concepts and phenomena; and (3) lead to the development of physics knowledge and other skills. The project aims to contribute to more expansive definitions of physics and physics learning in informal spaces. While the study focuses primarily on Black and Latinx youth, the methods and discoveries have the potential to impact the teaching of physics for a much broader audience including middle- and high-school children, adults who may have been turned off to physics at an earlier age, and undergraduate physical science majors who are struggling with difficult concepts. This project is funded by the Advancing Informal STEM Learning (AISL) program which seeks to advance new approaches to, and evidence-based understanding of, the design and development of STEM learning in informal environments.
The research is grounded in sociocultural perspectives on learning and identity, embodied interaction and enactive cognition, and responsive design. The design is also informed by the notion of “ArtScience” which highlights commonalities between the thinking and making practices used by artists and by scientists and builds on the theoretical philosophy that all things can be understood through art or through science but integrating the two lenses allows for more complete understandings. Research will investigate the relationship between embodied learning approaches, design principles, and structures of the Embodied Physics Learning Lab model using the lenses of physics, dance, and integrated ArtScience to better understand the model. The project employs design-based research to address two overarching research questions: (1) What unique opportunities for learning, engagement, and identity development for Black and Latinx youth occur when physics is explored in the context of the Embodied Physics Learning Lab Model? and (2) How do variations in site demographics and site implementation influence the impact and scalability of the Learning Lab model? Further, the inquiry will consider (a) how youth experience and utilize their intersectional various identities in the context of the activities, structures, and essential elements of the embodied physics learning lab; (b) how youth's level of physics engagement changes depending on which embodied learning approaches and essential element structures are used; (c) the physics knowledge and other skills youth attain through the set of activities; and (d) how, if at all, the embodied learning approaches engage youth in thinking about their own agency as STEM doers. An interdisciplinary team of researchers, choreographers, and youth along with community organizations will co-design and implement project activities across four sites. Approximately 200 high school youth will be engaged; 24 will have the role of Teen Thought Partner. Through three iterative design cycles of implementation, the project will refine the model to investigate which elements most affect successful implementation and to identify the conditions necessary for scale-up. Data will be collected in the form of video, field notes, pre- and post- interviews, pre- and post- surveys, and artifacts created by the youth. Analyses will include a combination of interaction analysis, descriptive data analysis, and movement analysis. In addition to the research findings and explication of the affordances and constraints of the model, the project will also create a curricular resource, including narrative text and video demonstrations of physics concepts led by the teen thought partners, video case training modules, and assessment tools.
DATE:
-
TEAM MEMBERS:
Folashade Cromwell SolomonDionne Champion
This article highlights findings from a study conducted by researchers at Jacksonville State University that assessed group visitor behavior at four exhibits at the Anniston Museum of Natural History. Researchers studied if male and female adults behave differently at exhibits when they are with a child than when they are with another adult as well as whether or not adult behavior was consistent across different types of exhibits.
DATE:
TEAM MEMBERS:
Stephen BitgoodChifumi KitazawaAndrea CavenderKaren Nettles
The Exploding Optic Incredible was an experiment in expanding the boundaries of art and music with science and technology. Ostensibly a multi-media rock concert as a fund raiser for Marshall Barnes' drug free creativity efforts, it took Andy Warhol's Exploding Plastic Inevitable concept of the 1960s into unchartered territory driven by Marshall's inspiration through discussions with Omni magazine's Dick Teresi and Pamela Weintraub and Gene Youngblood's book, Expanded Cinema. Marshall incorporated 1970s era slide and film projection light show effects, with dance lights, massive strobes, spotlights, and big screen video projection that showed customized and original video special effects while bands performed, and music videos in-between accompanied by lighting effects. The first multi-media rock concert of the 1990s, the January 18, 1990 event at the Newport Music Hall was also a test for the public's reaction to over stimulation through sight and sound, the results leading to exploration and ultimate creation of psychoactive entertainment technology later that year and the formation of new technological architectures for entertainment and learning that have yet to be presented but exist in design form.
This project was an early example of STEAM (Science, Technology, Engineering, Art, Math) and was produced for the 2004 BLD Studios art exhibition, Time Machines, in Columbus, OH. This project included a chair and a desk made of drawers, on top of which was a audio/video work station where visitors sat and interacted with the technology by using the headphones and listening to one tape deck for instructions and then listening to music on the other while watching the TV screen with special HyperSpeks(tm). There was also a panel of photos above the TV designed to simulate time travel. The instructions explained the purpose of the exhibit and how to use the TV to tune into various channels to pick-up a variety of video static on empty UHF frequencies. The music was designed to put the visitor into a certain frame of mind. It was futuristic sounding and created using DEMI sampling, a proprietary sampling technique also created by Marshall Barnes. The intent was to set the mood. Training Session was supposed to simulate training prospective transdimensional travelers in the cognitive exercises required to deal with the psychological rigors of time/parallel universe travel. The HyperSpeks(tm) allowed the visitors to search for various shapes in the TV static on a number of selcted channels which would resemble such cosmological constructs as black holes and wormholes. The static was live and not prerecorded and so the interaction on all levels was live and in real time. Visitors were to write their observations down on paper which was provided via a note pad and pen at the exhibit. In this way, a record of their experiences existed for subsequent visitors to review. The visitors were also told to view the photo panel, which consisted of pictures taken in 1977, but not developed until 2004. As a result, the pictures were somewhat faded and all tinted pink, however, when the visitors viewed them with the HyperSpeks(tm) they appeared not only normal color, but almost as if the scenes they depicted were views outside a window. Thus, the visitor was able to travel optically back in time and see the images the way they looked when they were originally photographed.
Goodman Research Group, Inc., (GRG), Cambridge, MA, conducted the formative evaluation of The Music Instinct project. The NSF-funded project aims to bring to PBS viewers the strong evidence of the connections between music and science, as well as to facilitate a deeper understanding of both fields. The Music Instinct project, presented by WNET/Thirteen, in collaboration with Mannes Productions, includes a two-hour television program, a website, and ancillary educational materials. The purpose of the formative evaluation is to obtain timely information to support and guide the producers as they
DATE:
TEAM MEMBERS:
Rucha LondheMiriam KochmanNivedita RanadeIrene F GoodmanWNET/ThirteenMannes Productions Inc.
The project, called Experimenting With Storytelling, involved working with four schools in East London and Northamptonshire, United Kingdom. Each after school session, with elementary school children and their parents, consisted of a cultural story or folktale (the ‘storytelling’ part) which had some science in it followed by an associated practical activity (the ‘experimenting’ part).