This document is the final evaluation report for the project, which focuses both on formative evaluation of the collaborative+interdisciplinary presentation creation process and summative evaluation of audience learning outcomes.
In this study we test a “Guerilla Science” approach that blends elements of access, by removing barriers to participation, with those of inclusion, by designing participant-centered activities, for reaching an art-interested adult audience at the FIGMENT art festival in New York City.
We examined an approach to reaching audiences who may not ordinarily engage with science. Termed Guerilla Science, this approach blends elements of access, by removing barriers to participation by embedding science into unexpected places, with those of inclusion, by designing activities that speak to the learning identities of participants.
Nothing generates excitement like sound! From the iconic guitar riffs in Led Zeppelin’s famous song “Stairway to Heaven” to birds energetically singing (way too early in the morning) outside my bedroom window, nonscientists can relate to acoustics. Many of us entered the field because we love music, a passion evident at the jam sessions that accompany many meetings of the Acoustical Society of America (ASA). Science communication enables us to share that enthusiasm with nontechnical audiences.
The goal of this article is to introduce fundamental ideas in science communication and resources
Many people are under-served by existing informal science learning (ISL) provisions and under-represented in STEAM (Science, Technology, Engineering, Arts, Mathematics/Medicine) study choices and careers. This paper reflects upon SMASHfestUK which was established, as both a STEAM festival and research platform, to explore methods and approaches for lowering the barriers to engagement with ISL in marginalised communities. To do this SMASHfestUK located its events in the heart of communities and worked with these communities to create those events. This paper tells their story through the voices
But many young people face signifcant economic, cultural, historical, and/or social obstacles that distance them from STEM as a meaningful or viable option— these range from under-resourced schools, race- and gender-based discrimination, to the dominant cultural norms of STEM professions or the historical uses of STEM to oppress or disadvantage socio-economically marginalized communities (Philip and Azevedo 2017). As a result, participation in STEM-organized hobby groups, academic programs, and professions remains low among many racial, ethnic, and gender groups (Dawson 2017). One solution to
The aim of this paper is to analyze the impact of Comics & Science workshops where forty-one teenagers (designated Trainee Science Comic Authors [TSCAs]) are asked to create a one-page comic strip based on a scientific presentation given by a PhD student. Instrumental genesis is chosen as the conceptual framework to characterize the interplay between the specific characteristics of a comic and the pieces of scientific knowledge to be translated. Six workshops were conducted and analyzed. The results show that the TSCAs followed the codes that are specific to the comic strip medium and took
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TEAM MEMBERS:
Cecile de HossonLaurence BordenavePierre-Laurent DauresNicolas DecampChristophe HacheJulie HoroksNassima GuediriEirini Matalliotaki
In this paper we share an emerging analytical approach to designing and studying STEAM programs that focuses on how programs integrate the respective epistemic practices—the ways in which knowledge is constructed—of science and art. We share the rationale for moving beyond surface features of STEAM programs (e.g., putting textiles and electronics on the same table) to the disciplinary-specific ways in which participants are engaged in creative inquiry and production. We share a brief example from a public STEAM event to demonstrate the ways in which this approach can foster reflection and
Outreach activities at the interface of science and art present a unique opportunity to connect and engage with “latently interested” publics who do not otherwise take part in science activities like visiting science museums. In this paper, the authors present “Guerilla Science” as one model that supports the hypothesis that well-designed science + art (STEAM) programming in informal settings can broaden participation in, and facilitate engagement with STEM-related topics. This paper describes a range of interactive events featuring scientists and artists and accompanying research into the
This project, a collaboration of faculty at Pratt Institute and Oregon State University, will explore how people with low to no affinity for science, technology, engineering and math (STEM) can be introduced to STEM ideas in ways that are appropriate for their cultural identity and designed to achieve reasonable outcomes that allow for continued STEM engagement. This project will study a new model, as a small scale exemplar of how science learning can be integrated into cultural events that attract audiences who do not identify themselves as interested in science or broader concepts associated with STEM. The model integrates science with art, music and play, producing live events, games, hands-on workshops, and interactive theater productions that are intended to inspire wonder and excitement. The basic principles are: to create unique opportunities for audiences to experience science in unorthodox ways, to connect with audiences at these events, and to help scientists engage a public they do not normally reach.
The goal of this project is to formally study and improve upon the practices that have been explored to date by carefully examining the implementation at two annual FIGMENT arts festivals in New York City and to determine outcomes based on three theoretical frameworks: the six strands of science engagement proposed by the National Research Council, the concept of follow-up activity, and subsequent reinforcing experiences. Initial evaluation results indicate the model is effective in advancing informal STEM learning and providing valuable public engagement with science training and experience for scientists. Participating scientists succeed in creating interest and attentiveness in audiences that do not normally engage in science, thereby opening the door for subsequent experiences. The research will be a quasi-experimental approach to test the degree to which encounters with model's learning experiences create a higher probability to actively seek subsequent science experiences. Project deliverables include a how-to guide for professionals on expanding STEM audiences targeted at cultural institutions who want to incorporate science content into their activities, and for other institutions who want to integrate their activities into cultural settings. The how-to guide will be based on the body of research and evaluations developed that will illuminate the principles behind the model.
This work 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.
Increased integration and synergy between formal and informal learning environments is proposed to provide multiple benefits to science learners. In an effort to better bridge these two learning contexts, we developed an educational model that employs the charismatic nature of arachnids to engage the public of all ages in science learning; learning that aligns with the Next Generation Science Standards (NGSS Disciplinary Core Ideas associated with Biodiversity and Evolution). We created, implemented, and evaluated a family-focused, interactive science event—Eight-Legged Encounters (ELE)—which
The Art of Science Learning, Phase 2 was an NSF-funded research and development project to investigate the value of incorporating arts-based learning techniques in STEM-related group innovation processes. The project team created a new, arts-infused innovation curriculum in consultation with leading national practitioners in the arts, creativity, and innovation, then deployed that curriculum in “innovation incubators” in San Diego, Chicago, and Worcester (Mass.) in partnership with informal STEM institutions in those cities. At each incubator, diverse members of the public (from high school
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TEAM MEMBERS:
Peter LinettSteve ShewfeltNicole BaltazarNnenna OkekeDreolin FleisherEric LaPlantMadeline SmithChloe Chittick PattonSarah LeeHarvey Seifter