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
DATE:
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
Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.
The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.
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
Designers of mobile, social systems must carefully think about how to help their users manage spatial, semantic, and social modes of navigation. Here, we describe our deployment of MobiTags, a system to help museum visitors interact with a collection of "open storage" exhibits, those where the museum provides little curatorial information. MobiTags integrates social tagging, art information, and a map to support navigation and collaborative curation of these open storage collections. We studied 23 people's use of MobiTags in a local museum, combining interview data with device use logs and
DATE:
TEAM MEMBERS:
Dan CosleyJonathan BaxterSoyoung LeeBrian AlsonSaeko NomuraPhil AdamsChethan SarabuGeri Gay
Partnering with National Musical Arts, the Science Museum of Minnesota seeks to develop BioMusic, a 4,000 sq. ft. traveling exhibition that explores the origins of music in nature and the connections between music and sound of living things. This project is based on planning grant ESI-0211611 (The Music of Nature and the Nature of Music) awarded to NMA. The project is based on the emerging interdisciplinary research field of biomusic, which includes musicology plus aspects of neuroscience, biology, zoology, environmental science, physics, psychology, math and anthropology. The exhibit sections -- "Humanimal" Music; Natural Symphonies; Ancient Roots; Music, Body and Mind; and World of Music -- use both music and natural sound to explore biodiversity, cultural diversity, the physics of sound and the brain. BROADER IMPACT: The exhibition is expected to travel for at least six years, reaching some two million people in 18 communities. It is to be accompanied by a six-part radio series (Sweet Bird Classics) for young children. Because of the connection to music and many other areas of public interest, this exhibition has the potential to attract and engage new audiences to science museums and stimulate their interest in STEM.
In this article, photographer Amy Dreher critiques the "Click! A Crowd-Curated Exhibition" at the Brooklyn Museum from a partipant's perspective. The exhibit is based on James Surowiecki's critically acclaimed book, "The Wisdom of Crowds" and features photographs depicting the "changing faces of Brooklyn" submitted by and evaluated by the public.
DATE:
TEAM MEMBERS:
Amy DreherNational Association of Museum Exhibition
The Science Museum of Minnesota (SMM) is collaborating with the Museum of Science in Boston (MoS), the North Carolina Museum of Life and Science in Durham (NCMLS), Explora in Albuquerque, the Center for Research in Mathematics and Science Education at San Diego State University (CRMSE), and TERC in Cambridge, MA to develop, create and evaluate "MathCore for Museums," long-term math environments that children can interact with over multiple visits and over several years. The project is prototyping and producing 12 open-source, validated interactive exhibits about proportion: fractions, ratios, similarity, scaling, and percentages, basic concepts for understanding Algebra. The eight best exhibits will be replicated for each MathCore museum and the exhibits will be supported by a limited-access website designed to support and extend repeated use of exhibits and further exploration of ratio and proportion. Selinda Research Associates will conduct a longitudinal evaluation of the project. CRSME will conduct a research study of selected exhibit prototypes to investigate when children start to work on proving relations between similarity and proportion in informal settings, the relationship between children's artwork and mathematical insight, and the roles of bodily activity in learning to see relations in similarity and proportion. Results will be disseminated in peer-reviewed publications, at professional meetings, at the Association of Science and Technology Center's RAP Sessions at the NCMLS, and through the project's website.
This project comprises the NSF-funded portion of the renovation of a 25,000 sq. ft. natural history gallery called "CHANGING CALIFORNIA." ORIGINAL PROJECT DESCRIPTION: The Oakland Museum of California (OMCA) will develop, implement, and evaluate Hotspot California, a research-based natural science gallery transformation that will explore the educational potential of wildlife dioramas to engage the public in urgent environmental issues. The exhibition will showcase five real places in California that exemplify high biological diversity and complex environmental issues. Innovative approaches to interpretation will emphasize personal connections to these places and infuse static dioramas with visualization technologies that illustrate environmental change over time. The project will explore how such enhancements to dioramas might help visitors develop place-based connections to the natural world. The project has four major deliverables: 1) an innovative 25,000 sq ft gallery exhibition installation featuring five specific California places where California's unique biodiversity is threatened; 2) an application and evaluation of a new participatory exhibit design model involving community contribution, collaboration, and co-design; 3) a two-day "synthesis symposium" for informal science education professionals to consider broad applications of project findings for the field; and 4) "Diorama Dilemmas: A Source book for Museums," synthesizing relevant literature, case studies, and findings from the project's research and evaluation generalizable to the field. The project has evolved since the NSF award, but it remains aligned with its original goals. The team increased the number of California places from five to seven and worked to add a strong human presence within a gallery previously devoted almost entirely to other species. Innovative reuse of OMCA's dioramas and habitat cases continues to be the project's core, but the team's approach has emphasized re-contextualizing rather than revising those exhibits. New elements include iconic artifacts and environments reflecting recent human impact on California, relevant objects from OMCA's art and history collections, digital visualizations of dynamic natural phenomena, and spaces for hands-on investigation. Community focused elements include multiple co-created exhibits and media programs offering inspiring encounters with Californians deeply involved in these seven places.
In this article, Gillian McIntyre, Adult Program Coordinator at the Art Gallery of Ontario, analyzes the successes and challenges of the Gallery's "In Your Face: the people's portrait project" exhibit. The goal of this exhibition was to create a gallery made entirely by and for the public. Visitors submitted postcard-sized portraits in any medium of their choice including writing. McIntyre explores the public response, exhibition design, achievements, and obstacles associated with this experimental exhibit design.
The Oakland Museum of California (OMCA) seeks support to complete the reinstallation of its 25,800 square-foot permanent Gallery of California History and to develop and implement accompanying educational programs. OMCA’s history collections contain the largest, finest, and most comprehensive collection of California material culture anywhere. The Gallery of California History was originally created in the 1960s and 70s, and it has been more than 20 years since it has been updated. The new installation of the gallery will include approximately 2,200 historical artifacts, works of art, ethnographic materials, and original photographs. This reinstallation is part of a major transformation of the entire museum that will realize the institution’s deep and continuing commitment to telling the full story of California and its people. The opening of the new Gallery of California History is planned for early 2010.