Stephanie Spiris is a 12-year veteran teacher at George Washington High School in Denver, teaching courses in biomedical science (Figure 1). Last year, Spiris spent four weeks in a summer internship at Terumo BCT, a medical device company that focuses on blood processing for medical treatment and care. Decked in full lab gear and ready to learn, Spiris worked in a sterile lab, conducting projects that allowed her firsthand experience with tasks such as separating t-cells from blood and freeze-drying plasma.
In this article, we present three challenges to the emerging Open Science (OS) movement: the challenge of communication, collaboration and cultivation of scientific research. We argue that to address these challenges OS needs to include other forms of data than what can be captured in a text and extend into a fully-fledged Open Media movement engaging with new media and non-traditional formats of science communication. We discuss two cases where experiments with open media have driven new collaborations between scientists and documentarists. We use the cases to illustrate different advantages
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Kristian Moltke MartinyDavid Budtz PedersenAlfred Birkegaard
The mixed methods randomized experimental study assessed a model of engagement and education that examined the contribution of SciGirls multimedia to fifth grade girls’ experience of citizen science. The treatment group (n = 49) experienced 2 hours of SciGirls videos and games at home followed by a 2.5 hour FrogWatch USA citizen science session. The control group (n = 49) experienced the citizen science session without prior exposure to SciGirls. Data from post surveys and interviews revealed that treatment girls, compared to control girls, demonstrated significantly greater interest in their
The twenty-first century has witnessed a shift in science communication ideals from one-way science popularization activities towards more reflexive, participatory approaches to public engagement with science. Yet our longue duéee histories of science communication's antecedents focus on the former and have neglected the latter. In this paper I identify parallels between modern science communication ideals and an iconic Enlightenment text, Condorcet's Sketch for a Historical Picture of the Progress of the Human Mind (1795). I show that Condorcet's carefully negotiated balance between
Citizen Science is part of a broader reconfiguration of the relationship between science and the public in the digital age: Knowledge production and the reception of scientific knowledge are becoming increasingly socially inclusive. We argue that the digital revolution brings the "problem of extension" — identified by Collins and Evans in the context of science and technology governance — now closer to the core of scientific practice. In order to grasp the implications of the inclusion of non-experts in science, the aim of this contribution is to define a role-set of non-certified knowledge
STEM Pathways is a collaboration between five Minnesota informal STEM (science, technology, engineering, and mathematics) education organizations—The Bakken Museum, Bell Museum of Natural History, Minnesota Zoo, STARBASE Minnesota, and The Works Museum—working with Minneapolis Public Schools (MPS) and advised by the Minnesota Department of Education. STEM Pathways (logo shown in Figure 1) aims to provide a deliberate and connected series of meaningful in-school and out-of-school STEM learning experiences to strengthen outcomes for students, build the foundation for a local ecosystem of STEM
For decades, K–12 science education researchers have echoed the need for inquiry-based teaching approaches to connect students to real scientists and science environments (AAAS 1989; NRC 1996, 2007). The Next Generation Science Standards (NGSS) amplify these needs by stressing the importance of student-developed conceptual models to explain real-world phenomena and coherent integration of authentic science practices, concepts, and core ideas across grade levels (NRC 2012; NGSS Lead States 2013).
Imagine two seventh-grade students from communities of color and low socioeconomic backgrounds, of whom at least one is an English-language learner1 (ELL). Both are likely disenfranchised from avenues to success and the ability to see themselves as capable of great things. These students attend school in the largest school districts in Colorado. As part of their seventh-grade science class, they participate in a program called Urban Advantage Metro Denver (UA Denver), which provides them the opportunity to work on a self-selected science project. Their projects are inspired by field trips to
I argue in this article that the tangible proximity, the sensual evocative power of things is lost in a visit to the museum. Too often the aesthetic form of the exhibition utterly destroys the objects’ core material function. One of my contentions is that we cannot think with objects we are unfamiliar with, or cannot fully grasp and manipulate. In a museum we are compelled to admire the objects’ formal and abstract ‘beauty’. They have been robbed of their function: they are functionless. I address this long-standing dichotomy between form and function. I argue that Art has undesirably become
Interest in the possible role for comedy as a medium for communicating and engaging the public in science is growing. However, current research has so far been restricted to exploring whether the content of scientific knowledge is accurate and precise within comedy, and whether the public might be said to understand science better for having watched it. In this commentary, I suggest that this approach neglects the diversity with which scientific ideas and images are used in comedy, particularly when comedy is written without the explicit goal of communicating science. I present my current