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
This study looks at the types of awe guests feel when they leave art and science cultural institutions of various sizes and context, and how it may be related to what they remember learning. We surveyed 899 guests at the end of their visit and 550 of them again about one week later. Measures included a scale of awe-related perceptions (both positive and negative) along with questions about memories guests have about what they learned during their visit. Results show awe-related perceptions were consistent across institutions with only one significant difference, even when grouped by context
Informal science learning (ISL) organizations that are successful at providing meaningful science, technology, engineering, arts, and mathematics (STEAM) experiences for Latino children, youth, and their families share some common traits. They have leaders and staff who believe in the importance of developing culturally relevant models and frameworks that meet the needs and acknowledge the legacy of STEAM in Latino communities. Such organizations are willing to take risks to create experiences that are culturally meaningful, garner funding and implement programs by working closely with their
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TEAM MEMBERS:
Cheryl JuarezVerónika NúñezExploratorium
Marked by the diversity of initiatives linking science and art and by new presentation formats, the 15th Congress of the Network for Popularisation of Science and Technology in Latin America and the Caribbean (RedPOP) saw heated debates on science, culture, politics and society. Between 21st and 25th August, it brought together in Buenos Aires (Argentina) about 400 participants from 14 countries in order to share new visions, initiatives and research work in science communication. During the event, which included a vast cultural programme, a series of challenges were raised for the future
A museum decides to transfer its collections to another museum. After assessing its financial situation, reviewing its priorities and strategic aims, its opportunities and contexts, the museum makes the difficult decision to enter into negotiations with another, better-resourced institution in order to safeguard the collections in the public interest. Both museums agree to collaborate closely, and enable the former custodians to use the collection when appropriate in their exhibitions and displays.
The museum in question was Brooklyn Museum and Art Gallery, which in 2007 transferred their
The status of photographs in museums is receiving increased attention. This is exemplified by the debate over the transfer of the Royal Photographic Society collection held at the SMG’s National Science and Media Museum to the V&A (see Terwey, this issue), and the implications for photographs of a STEM (Science, Technology, Engineering and Mathematics) focus at the National Science and Media Museum. So it seems to useful moment to think about the terms under which photographs exist in museums collections. What are they doing there?
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TEAM MEMBERS:
Elizabeth Edwards
resourceresearchProfessional Development, Conferences, and Networks
I received the invitation to deliver a paper as part of a panel about photography at the Science Museum Group’s [SMG] inaugural research conference towards the end of 2015. A few months later, SMG announced its plans to give a significant part of the photography collection held at the National Science and Media Museum – one of the four institutions for which the umbrella group is responsible – to the Victoria & Albert Museum in London. What has proved to be a controversial decision will see 400,000 objects, originally the collection of the Royal Photographic Society, and now categorised as
This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns
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
Teaching mathematics in informal settings is a relatively new phenomenon, but it has gained more attention due to the recent changes in the society. The aim of the present quantitative study was to compare the learning outcomes of Latvian and Swedish 12-year-olds when they visited a science centre mathematics-art exhibition originally designed in Estonia. The results showed that in general, prior knowledge of the exhibition contents was the strongest predictor of post-test results in both countries but that mathematical thinking skills and self-concept had a small added value in explaining the
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TEAM MEMBERS:
Hannu SalmiMari-Pauliina VainikainenHelena Thuneberg