The Antarctic Dinosaurs project aims to leverage the popularity and charisma of dinosaurs to inspire a new generation of polar scientists and a more STEM (Science, Technology, Engineering, Mathematics)-literate citizenry. The project, centered on a giant screen film that will reach millions of theatrical viewers across the U.S., will convey polar science knowledge through appealing, entertaining media experiences and informal learning programs. Taking advantage of the scope of research currently taking place in Antarctica, this project will incorporate new perspectives into a story featuring dinosaurs and journey beyond the bones to reveal a more nuanced, multi-disciplinary interpretation of paleontology and the profound changes the Antarctic continent has endured. The goals of the project are to encourage young people to learn about Antarctica and its connection to the rest of the globe; to challenge stereotypes of what it means to participate in science; to build interest in STEM pursuits; and to enhance STEM identity.
This initiative, aimed particularly at middle school age youth (ages 11-14), will develop a giant screen film in 2D and 3D formats; a 3-episode television series; an "educational toolkit" of flexible, multi-media resources and experiences for informal use; a "Field Camp" Antarctic science intervention for middle school students (including girls and minorities); fictional content and presentations by author G. Neri dealing with Antarctic science produced for young people of color (including non-readers and at-risk youth who typically lack access to science and nature); and presentations by scientists featured in the film. The film will be produced as a companion experience for the synonymous Antarctic Dinosaurs museum exhibition (developed by the Field Museum, Chicago, in partnership with the Natural History Museum of Los Angeles County, Discovery Place, Charlotte, NC, and the Natural History Museum of Utah). Project partner The Franklin Institute will undertake a knowledge-building study to examine the learning outcomes resulting from exposure to the film with and without additional experiences provided by the Antarctic Dinosaurs exhibition and film-related educational outreach. The study will assess the strategies employed by practitioners to make connections between film and other exhibits, programs, and resources to improve understanding of the ways film content may complement and inspire learning within the framework of the science center ecosystem. The project's summative evaluation will address the process of collaboration and the learning impacts of the film and outreach, and provide best practices and new models for content producers and STEM educators. Project partners include film producers Giant Screen Films and Dave Clark Inc.; television producer Natural History New Zealand (NHNZ); Discovery Place (Charlotte, NC); The Franklin Institute; The Field Museum; The Natural History Museum of Utah (The University of Utah); author G. Neri; and a team of scientists and diversity advisers. 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. This includes providing multiple pathways for broadening access to and engagement in STEM learning experiences, advancing innovative research on and assessment of STEM learning in informal environments, and developing understandings of deeper learning by participants. The project has co-funding support from the Antarctic section of the Office of Polar Programs.
This award reflects NSF's statutory mission and has been deemed worthy of support through evaluation using the Foundation's intellectual merit and broader impacts review criteria.
The digitalization process of historical archives, which has been taking place over the past few years, shows that the study of history of science is undergoing major changes. Easier access to online resources (manuscripts, catalogues of scientific machinery and tools that would otherwise be virtually impossible to consult) has spurred and created the preconditions for the development of new quantitative methodologies in the study of history of science as well as the creation of international research groups.
This paper tries to 1) identify the dominant media frames of science and 2) compare media selection and framing of science-related articles in Croatian daily newspapers during two politically and socioculturally different periods: the late socialism and the (post)transition. The research methodology was based on content and frame analysis which encompassed articles on science in daily press with the highest readership between 1986–1988, and 2006–2008. The main findings indicate changes in the selection of science topics as well as in the representation of individual frames. Changes reflected
I would like to start with a brief news item in the August 1999 issue of National Geographic which gives some food for thought: "With 5,000 climbing routes, such as Double Dogleg and Walk on the Wild Side, California's Joshua Tree National Park attracts about 140,000 enthusiasts a year to test their skill on granite boulders. But some visitors view their metal bolts as defacements hammered into rocks.
This essay attempts to contextualise the experience and documentation of the world’s first space tourist, a multi-millionaire American businessman Dennis Tito, who vacationed on the International Space Station in 2001. The essay brings together two parallel elements of this historical event: the political transformation of the Russian space programme which made the private flight possible and the cultural significance and impact of the event. The first space tourist is both a direct product of the newly commercialised space programme and a reflection of a new worldview, with new values and
Her name was Henrietta Lacks, but scientists know her as HeLa. She was a poor black tobacco farmer whose cells—taken without her knowledge in 1951—became one of the most important tools in medicine, vital for developing the polio vaccine, cloning, gene mapping, in vitro fertilization, and more. Henrietta’s cells have been bought and sold by the billions, yet she remains virtually unknown, and her family can’t afford health insurance. Soon to be made into an HBO movie by Oprah Winfrey and Alan Ball, this New York Times bestseller takes readers on an extraordinary journey, from the “colored”