The Interactive Video Science Consortium is a non-profit group of fifteen science centers and museums that developed interactive video exhibits about Earth and Planetary sciences with two purposes in mind. One, the videodisc-based kiosk exhibits served as educational vehicles for four million visitors, representing the combined audiences of the fifteen participating museums. Two, through extensive testing and visitor research during the development process, the consortium members enlarged understanding of the appropriate and effective uses of the interactive video medium in science museums
The Hansen Planetarium proposes the creation, writing, and production of a 50-minute star theatre program, Cosmic Catastrophes: A Planet At Risk?, aimed at informally educating over a million individuals regarding the vulnerability of our Earth. The further production of four interactive exhibits is planned to accompany the program. This program will be marketed and distributed at a nominal charge to 250 national planetariums, with 50 additional production packets planned for loan. In this fashion, top-quality, accurate, and timely science education can be guaranteed to a large selection of audiences. Scientific research tells us that catastrophes of global and interplanetary proportions have happened in the past, there is evidence that they could occur in the present, and they pose an imminent danger in the future. The utilization of expert consultants, in conjunction with Hansen Planetarium staff, will insure this program presents the most current information available about these cosmic catastrophes. Its interactive format is designed to stimulate a proactive approach to problem solution on the part of the audience, especially in reference to ecological or environmental issues. The star show format, with its dynamic special effects, will make scientific theories surrounding cosmic catastrophes accessible and excitiong.
In this paper, John K. Haeseler of Economics Research Associates discusses how the total length of time a visitor spends at a cultural attraction such as a museum or zoo can be used to measure the holding power of the attraction. Haeseler describes methods which can be used to measure average visitor length of stay, provides examples of findings from various research investigations and discusses several considerations likely to affect length of stay.
In this paper, R.S. Miles reviews three evaluation studies of audivisuals carried out by researchers at The Natural History Museum, London between 1979 and 1987. Miles' review can inform the design of effective audiovisuals, which are expensive to produce, difficult to mock-up and test during development, and expensive to modify once produced.
This paper discusses research on visitor behavior in museums, specific visitor interest, attention and learning. It presents findings from a study conducted by researchers at the University of Florida, which evaluated 47 undergraduates' viewing patterns and learning at 11 static case exhibits at the Florida Museum of Natural History.
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TEAM MEMBERS:
John J. Koran, Jr.John Scott FosterMary Lou Koran
This paper discusses the evolution of zoo exhibits from cages to naturalistic enclosures and the research of these exhibits. It focuses on an evaluation of the Gorillas of Cameroon exhibit located in the Ford African Rain Forest of Zoo Atlanta. This paper presents findings from the study that mainly focus on the visitor responses to the exhibit.
In this paper, Jeff Bonner of the St. Louis Science Center discusses the merits of formal versus naturalistic evaluation within the museum context. Bonner also presents the approach and findings of a two-part study designed to compare the results of these two evaluation approaches. They compared the the results of a formal analysis of the holding power, ease of use, readability of text, and overall enjoyability of nine exhibits with a naturalistic study focused on how one volunteer, two part-time employees and a staff supervisor viewed the same exhibits.
This paper discusses two important initiatives at the Art Gallery of Ontario (AGO). The first was an experiment that tested the impact of interpretive devices on visitors to an installation of contemporary art. The second was a major collaborative project in which educators and curators joined forces and reinstalled a part of the AGO's permanent collection using innovative design and interpretive strategies. In both instances, audience research constituted an important part of the initiative and has flagged important issues that may have a significant impact on exhibit development at the AGO.
This paper the development and success of an ambitious plan launched by the Philadelphia Zoo in late 1970's and early 1980s to streamline operating procedures, repair and replace buildings and exhibits, and evaluate and upgrade visitor services. A key part of this service strategy was a visitor survey, which aimed to identify weaknesses and provide regular feedback for operating staff and management. A copy of this questionnaire is included in this paper.
This paper discusses four years of visitor evaluation the Anniston Museum of Natural History. It includes an overview of the evaluation program including the collaboration between the museum and the Psychology Institute at Jacksonville State University, varying views of evaluation design, and recent research projects and findings.
This paper discusses the methodologies, key findings, and implications of a research project that examined the effectiveness of exhibits for making children understand scientific concepts. The two-part study was conducted at Nehru Science Centre (Bombay, India).
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TEAM MEMBERS:
Vijay JavlekarVisitor Studies Association
This paper presents research methodology and findings of a formative evaluation of floor maps in the new ancient Near East galleries at the Royal Ontario Museum. The evaluation aimed to determine effectiveness of these signs as well as the most suitable placement, quantity, and type of sign used to orient visitors.
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TEAM MEMBERS:
Christine LockettDanielle Boyer-TarloJanet Emonson