Genetic Modification (GM) has been a topic of public debates during the 1990s and 2000s. In this paper we explore the relative importance of two hypothesized explanations for these controversies: (i) people's general attitude toward science and technology and (ii) their trust in governance, in GM actors, and in GM regulations, in explaining the Dutch public's Attitude toward GM applications, and in addition to that, the public's GM Information seeking behaviour. This will be conducted through the application of representative survey methodology. The results indicate that Attitudes toward GM
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Lucien HanssenAnne DijkstraSusanne SleenhoffLynn FrewerJan Gutterling
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
This document contains the appendices and literature review from the report "Art+Science: Broadening Youth Participation in STEM Learning." It includes assessment tools used during the project.
Assesses children's interest in, attitude towards, and experiences in science and technology, as well as their opinion about environmental challenges and career aspirations.