Supported by the National Science Foundation, the Global Soundscapes! Big Data, Big Screens, Open Ears project employs a variety of informal learning experiences to present the physics of sound and the new science of soundscape ecology. The interdisciplinary science of soundscape ecology analyzes sounds over time in different ecosystems around the world. The major components of the Global Soundscapes project are an educator-led interactive giant-screen theater show, group activities, and websites. All components are designed with both sighted and visually impaired students in mind. Multimedia
The Global Soundscapes! Big Data, Big Screens, Open Ears Project uses the new science of soundscape ecology to design a variety of informal science learning experiences that engage participants through acoustic discovery Soundscape ecology is an interdisciplinary science that studies how humans relate to place through sound and how humans influence the environment through the alteration of natural sound composition. The project includes: (1) an interface to the NSF-funded Global Sustainable Soundscapes Network, which includes 12 universities around the world; (2) sound-based learning experiences targeting middle-school students (grades 5-8), visually impaired and urban students, and the general public; and (3) professional development for informal science educators. Project educational components include: the first interactive, sound-based digital theater experience; hands-on Your Ecosystem Listening Labs (YELLS), a 1-2 day program for school classes and out-of school groups; a soundscape database that will assist researchers in developing a soundscape Big Database; and iListen, a virtual online portal for learning and discovery about soundscape. The project team includes Purdue-based researchers involved in soundscape and other ecological research; Foxfire Interactive, an award-winning educational media company; science museum partners with digital theaters; the National Audubon Society and its national network of field stations; the Perkins School for the Blind; and Multimedia Research (as the external evaluator).
This research project will analyze and communicate important societal issues having to do with the disposal of nuclear waste. Unlike the vast majority of scholarly inquiries, which culminate in journal articles or a book, this inquiry will result in a feature length documentary about the scientific, political, and ethical issues adjacent to the problem of the socially responsible disposal of nuclear waste. Though the reach of the film will extend beyond any particular site, the focal point of the study is the only fully-licensed, operating geological repository for nuclear waste in the world: the Waste Isolation Pilot Plant twenty-six miles east of Carlsbad, New Mexico. The project will track the contentious history of current and planned clean-up operations involving the Pilot Plant. It will depict a disputed, sometimes successful and sometimes failed, trading zone for very different (often antagonistic) stakeholders from experts, to townspeople, politicians, miners, activists, industrial engineers, and futurists. Trading-zone studies, a methodological approach within the research area known as Science and Technology Studies (STS), interrogate subcultures confronting one another and developing coordinated local action where global agreement is often absent. In this trading-zone study, the investigator is ethically, visually, and methodologically committed to depicting that collision as all sides struggle to shape an contested nuclear future. The use of film as a medium for presenting the results of the trading-zone study is innovative and potentially transformative; it could open a way for STS to investigate in a visual way the making of science and technology policy. This project will reach a broad audience by partnering with outreach organizations, Film Sprout and Working Films, to bring the film to its core audience: policy makers, environmentalists, along with groups and citizens traditionally not positioned to participate in science policy. Target locales and groups include science museums such as the Bradbury Science Museum (Los Alamos), the Atomic Testing Museum (Las Vegas), The Museum of Science and Industry (Albuquerque), nuclear facilities, towns surrounding them, and environmental groups.
Dinosaurs Alive is a global adventure of science and discovery featuring the earliest dinosaurs of the Triassic Period and those of the Cretaceous "reincarnated" life-sized for the giant IMAX screen. Audiences will journey with some of the world's preeminent paleontologists as they uncover evidence that the descendants of dinosaurs still walk (or fly) among us. From the exotic, trackless expanses and sand dunes of Mongolia's Gobi Desert to the dramatic sandstone buttes of New Mexico, the film follows American Museum of Natural History paleontologists as they explore some of the greatest
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TEAM MEMBERS:
Alice Apley, Ph.D.Kim StreitburgerJenny ScalaMaryland Science Center
MacGillivray Freeman Films is producing a 40-minute large format film about a scientific and climbing expedition on Mount Everest. The film will introduce viewers to the methods and significance of scientific field research and the rigor and excitement of the scientific endeavor through an expedition to the top of the world's tallest mountain. An international climbing team of women and men will advance the research of geophysicist Roger Bilham who has been influential in applying Global Positioning System (GPS) technology to the study of earthquakes in the Himalaya. The film also will explore the physiological challenges the climbers face at extreme altitude. Endoscopic and microscopic photography will reveal the human body's amazing adaptations to a cold, low-oxygen environment. A comprehensive package of ancillary materials for teachers, students, film exhibitors, and the general public will enhance the educational experience of the film. Greg MacGillivray, President of MacGillivray Freeman Films, will be the PI and Executive Producer/Co-Producer/Director/Photographer. Stepehen Judson and Alec Lorimore, both of MacGillivray Films, will be Co-writer/Director and Co-Producer respectively. Tim Cahill, a freelance writer with experience writing for National Geographic and GEO will be the other Co-writer. Advisors include: Cynthia Beall, Prof. of Physical Anthropology, Case Western Reserve University Broughton Coburn, Conservation and Development Expert on Nepal James Fisher, Prof. of Anthropology, Carleton College Kip Hodges, Prof. of Geology, Massachusetts Institute of Technology Charles Houston, Prof. of Medicine (emeritus), University of Vermont Peter Molnar, Senior Research Assoc. Atmosphere and Planetary Sciences, MIT Audrey Salkeld, Author and Fellow, Royal Geographical Society Bradford Washburn, Honorary Director, Museum of Science, Boston
National Geographic Television is producing a large-format, 3D film, "Sea Monsters," about prehistoric marine reptiles. The project will also include formative and summative evaluations, educational materials for home, after-school and classroom use, professional development for educators, an interactive website and innovative outreach to underserved youth. The film will present the current scientific understanding of Mesozoic marine ecosystems and the biology and behavior of prehistoric marine reptiles. The storyline of the films sets paleontological discovery into historical context, and reveals much about the scientific method and process of inquiry. Innovative intercutting between live-action paleontology sequences and photo realistic 3D animation of the reptiles will bring the fossils to life and allow audiences to make connections between the remains that are uncovered and the reptiles' activities, all of which are driven by concrete evidence in the fossil record. Sea Monsters will have a strategic impact on the field of informal science education by using groundbreaking computer-generated imagery technologies, and by demonstrating that a strong, dramatic storyline is a powerful and effective method for communicating scientific concepts. Standards-based lesson plans for the classroom and informal activity guides for families will augment the impact of the film. National Geographic has teamed with leading scientific experts and formal and informal education specialists to inform and advise the project. Multimedia Research and Knight-Williams Research Communication, respectively, will conduct formative and summative research.
This Communicating Research to Public Audiences (NSF 03-509) project in partnership with the American Museum of Natural History will produce a 7-minute High Definition video documentary feature story, Moving Mountains, that follows researchers in the field during the third season of the five year St. Elias Erosion/Tectonics Project (STEEP). STEEP (NSF award #0409009/0735402) is a multidisciplinary, multi-institutional study using geophysical, geological, and climatological methods to investigate a fundamental Earth science research issue. This project affords a unique opportunity to illustrate the diversity of techniques that are brought to bear in modern research efforts in the Earth sciences. The video will be projected on a 12-foot screen in the American Museum of Natural History's Hall of Planet Earth and displayed in adjacent kiosks. It will also be distributed as HD Mpeg2 files to a network of 21 informal science institutions reaching a potential viewer ship of over 7 million people. Two master versions of the video will be produced: one with English language captions and one with Spanish language captions.
This report details the summative evaluation of the Flight of the Butterflies IMAX film. Four focus with a total of 39 participants took part. They watched the film in either 2D or 3D. The St. Louis Science Center, where the film was presented in large 2D format, hosted two focus groups with adults (n=19). The Maryland Science Center (MSC) in Baltimore, which showed the film in 3D format, hosted one focus group with adults (n=8) and another with middle school age students (n=12). All participants were recruited through the science center membership lists. The focus group began with initial