Through the T523: Formative Evaluation for Educational Product Development course, our team conducted a semester-long formative evaluation for the Museum of Science, Boston (MoS) Gaia Exhibit. The Gaia Exhibit (Gaia) is a new, temporary art installation located in the MoS’s Blue Wing exhibition hall. Gaia that strives to inspire appreciation for the earth and climate change awareness. The exhibit displays imagery of the Earth’s surface on a twenty feet diameter, three-dimensional globe. Additional exhibit elements include projected questions on the floor to prompt reflection and exhibit-
This paper reports about an informal learning experience – Something Very Fishy (SVF) – which is focused on ocean conservation and climate change. Results from 49 elementary school student workbooks indicated that experiencing SVF improved their understanding of ocean conservation, increased their interest in pursuing science careers, but did not affect their actions towards conservation. Survey results from 40 undergraduate students who helped run SVF indicated that the more efficacious they felt about communicating marine science and the more identified they felt with the scientific
The attached Briefing Booklet was created collaboratively by A2A (Awareness to Action) Planning Workshop facilitators and organizers in advance of the February 2018 convening and was available to participants.
The workshop's primary goal was to establish an operational strategy for knowledge sharing across entities, networks, and associations designed to strengthen communities of practice nationally to better conceive, conduct, and evaluate projects for the public, working at the intersection of science, arts, and sustainability.
The booklet contains an overview of the workshop purpose
Human-induced global change has triggered the sixth major extinction event on earth with profound consequences for humans and other species. A scientifically literate public is necessary to find and implement approaches to prevent or slow species loss. Creating science-inspired art can increase public understanding of the current anthropogenic biodiversity crisis and help people connect emotionally to difficult concepts. In spite of the pressure to avoid advocacy and emotion, there is a rich history of scientists who make art, as well as art–science collaborations resulting in provocative work
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TEAM MEMBERS:
Jennifer HarrowerJennifer ParkerMartha Merson
A hybrid combination of art and science is used to communicate science in a primary school setting. The purpose of the work is to enhance student awareness of the science behind understanding the global climate system with a focus on the cryosphere. An experiment in communicating science is conducted by taking the collaborative experiences of a professional artist and scientist, which are then combined and projected onto an ostensibly everyday primary school classroom project. The tangible end result is a stand-alone contemporary art work that then is the focal point of community-based
Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher