Through its traveling exhibition program, the Association of Science-Technology Centers worked for many years to advance the culture and practice of hands-on science learning, with support from the National Science Foundation. This article describes workshops, staff exchanges, and apprenticeships that accompanied a number of exhibitions, beginning in 1973. The community website ExhibitFiles, which opened in 2007, served the same purpose, as an archive of community-contrbuted case studies and reviews of science exhibitions.
This report aimed to measure the impact of a unique professional development program entitled Project ASTER III (Active Science Teaching Encourages Reform) on teachers’ self-efficacy and perceptions about inquiry-based science teaching. Project ASTER III enabled teachers to explore inquiry-based science teaching through exhibit-based hands-on/ minds-on investigations at a science museum and to develop a science curriculum aligned with museum exhibits and state and national science education standards. Quantitative data indicated that teacher beliefs were positively and significantly impacted
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TEAM MEMBERS:
Emilio DuranLena Ballone-DuranJodi HaneySvetlana Beltyukova
This slide describes historical trends in museum funding, showing the changing shares of government, private, earned income, and investments in museum business models.
Comics are a popular art form especially among children and as such provide a potential medium for science education and communication. In an attempt to present science comics in a museum exhibit I found many science themed comics and graphic books. Here I attempt to provide an overview of already available comics that communicate science, the genre of ‘science comics’. I also provide a quick literature review for evidence that comics can indeed be efficiently used for promoting scientific literacy via education and communication. I address the issue of lack of studies about science comics and
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve
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TEAM MEMBERS:
Jurij PavlicaSendi MangoTom Kersevan
Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on
In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on
Within the UNAM (The National Autonomous University of Mexico) there is an institution, the Dirección General de Divulgación de la Ciencia (DGDC) devoted to the popularization of science through different media such as museums, exhibitions, journals, books, radio and TV programs, internet, workshops for children, demos, shows, plays, summer courses and outreach programs. Most of these products and materials are planned, designed and manufactured by a multidisciplinary team of professionals in the DGDC. Some of our most outstanding projects are: the creation and operation of two science museums
The value of dioramas has been hotly debated within many institutions. Are they still relevant as museum exhibitions? Can they deeply engage a diverse public in this digital age? Some museum professionals regard dioramas as “boring” and “static,” while visitors have called them “creepy” displays of “dead animals.” Yet many more professionals and visitors alike describe dioramas as “evocative,” “beautiful” and “powerful” fusions of art and science (Wonders, 1989; Quinn, 2006; Yanni, 2008; Benton, 2009). Since dioramas occupy significant square footage in many natural science museum galleries
Much of the work done in the field of tangible interaction has focused on creating tools for learning; however, in many cases, little evidence has been provided that tangible interfaces offer educational benefits compared to more conventional interaction techniques. In this paper, we present a study comparing the use of a tangible and a graphical interface as part of an interactive computer programming and robotics exhibit that we designed for the Boston Museum of Science. In this study, we have collected observations of 260 museum visitors and conducted interviews with 13 family groups. Our
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TEAM MEMBERS:
Michael HornErin SoloveyR. Jordan CrouserRobert Jacob
The purpose of this study is to explore children’s learning in Preschool Place at the New York Hall of Science. The research focuses on two exhibit modules—the Train Table and Ball Run—to examine their effective on fostering development of language, Social skills, and Psychomotor skills. In addition, we study explore these exhibits’ contribution to cognitive gains in science. The Hall will use findings to develop effective learning goals for specific exhibits and as a framework for creating new preschool exhibits and programs.
Web 2.0 technologies have introduced increasingly participatory practices to creating content, and museums are becoming interested in the potentials of “Museum 2.0” for reaching and engaging with new audiences. As technological advances are opening up the ways in which museums share information about the objects in their collections, the means by which museums create, handle, process, and transmit knowledge has become more transparent. For this to be done effectively, however, some underlying contradictions must be resolved between museum practices, which privilege the account of the “expert,”
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TEAM MEMBERS:
Ramesh SrinivasanRobin BoastJonathan FurnerKatherine Becvar