Knowing how specific publics understand and experience science is crucial for both researchers and practitioners. As learning and meaning-making develop over time, depending on a combination of factors, creative possibilities to analyze those processes are needed to improve evaluation of science communication practices. We examine how first grade children's drawings expressed their perceptions of the Sun and explore their views of a major astronomical body within their social, cultural and personal worlds. We then examine how the observation of the Sun through a telescope led to changes in
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Sara AnjosAlexandre AibéoAnabela Carvalho
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
This document contains the appendices and literature review from the report "Art+Science: Broadening Youth Participation in STEM Learning." It includes assessment tools used during the project.
In this essay, researchers from King's College London, Work, Interaction and Technology Research Group, discuss a particular approach to the analysis of social interaction in museums and galleries, focusing on video-based field studies. The authors also give a few suggestions as to why it might be important to take verbal and physical interactions more seriously when designing, developing and evaluating exhibits and exhibitions.
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Dirk vom LehnChristian HeathJon Hindmarsh
Using a kind of dynamic film, Latour analyzes three recent moments in the history of science and technology, involving John Whittaker of the Pasteur Institute, Watson and Crick and Tom West of Data General. Text in Portuguese.
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).