Before analysing the role of the mediators in relation to scientific education, I deem it important to provide a short overview on how scientific museums evolved from the early curiosity cabinets to the modern web cast. Although the term “museum” is no longer adapted to the new structures employed for the diffusion of scientific and technical culture, the evolution of the means of presentation has indeed led to several forms of human mediation. This is of course the main topic we are going to take into consideration today, as it is an important element for the impact our exhibitions may have
As recognized by United Nations Secretary General Kofi Annan, the human community has reached a point in which it is faced with an array of choices that will determine the quality of our lives and the state of the global environment for present and future generations. One possibility is that at long last we will pave a path toward environmental stewardship and sustainable development. But it is also quite possible that we will travel a less enlightened course, running down the earth's natural capital and severely limiting the choices our descendants will face.
A wide gap exists between what scientists and rural farmers know. The rapid advancements in digital technology are likely to widen this gap even further. At the farmers' level, this knowledge gap often translates into poor and inefficient management of resources resulting in reduced profits and environmental pollution. Most modern rice cultivars can easily yield more than 5 tons per hectare when well managed, but millions of farmers often get less than 5 tons using the same production inputs.
Through an iterative design process involving museum educators, learning scientists and technologists, and drawing upon our previous experiences in handheld game design and a growing body of knowledge on learning through gaming, we designed an interactive mystery game called Mystery at the Museum (the High Tech Whodunnit), which was designed for synchronous play of groups of parents and children over a two to three hour period. The primary design goals were to engage visitors more deeply in the museum, engage visitors more broadly across museum exhibits, and encourage collaboration between
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TEAM MEMBERS:
Eric KlopferJudy PerryKurt SquireMing-Fong JanConstance Steinkuehler
An important challenge in urban science education is finding ways to engage all students in the learning of science. However, research in this area has consistently shown that around middle school student engagement in science wanes. Using critical ethnographic methods this study reveals how students cultivate a sense of ownership in an informal science video project. Student ownership of what they they learn plays an important role in how they engage in the learning environment. In this study ownership is characterized by five themes, and the notion of student ownership science is challenged
Museums and galleries collect more visitor data today than ever before. But how much of it gives us real insight into visitors motivations, behaviour, experiences and responses? And how much of it simply ticks a box on a funding form? Commissioned by some of the UK’s leading institutions, including Tate, The British Museum, V&A and the Imperial War Museum North, Morris Hargreaves McIntyre has tackled this insight deficit head on. In doing so, we have helped these organisations to move beyond the data routinely collected to get to the knowledge they actually need.
This monograph, the final report of the 21st Century Literacy Summit held in April 2005, presents an action plan for this emerging field applicable to higher education, K-12 education, policy makers, media & the arts, and research, and details the strategic priorities and specific recommendations for these sectors that were the summit's major outcomes.
This research study reports on the evaluation of the outcome and impact of learning as a result of the implementation of Education Programme Delivery Plans in 69 museums in the nine regional museum hubs in England during September, October and November 2005. This is the second study of the impact of learning achieved through museum school services which have been funded through the Renaissance in the Regions programme, which provides central government funding to museums in the English regions. The first study 'What did you learn at the museum today?' was carried out in 2003. The findings of
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TEAM MEMBERS:
Eilean Hooper-GreenhillJocelyn DoddLisanne GibsonMartin PhillipsCeri JonesEmma Sullivan
This paper describes an approach to familiarizing individuals with modern scientific processes through the facilitation of informal learning experiences in and around the museum. Several methods for development of such exhibits and exhibit content are presented. These experiences are discussed and later implemented in the context of the Adler Planetarium and Astronomy Museum in Chicago, IL. The exploration functions as an educational guideline by which museum exhibits may be developed in order to familiarize a more general audience with processes behind scientific research and to make science
How can research on teaching and learning be used to improve the design of e-content? The contents of this report are based on a series of seminars conducted during 2003 and 2004, funded by the Economic & Social Research Council (ESRC), that were coordinated by Lydia Plowman, University of Stirling. They were also sponsored by a number of organisations including Futurelab. Each seminar was attended by researchers from universities, creators and managers of companies that make educational resources, and people engaged in policy making or representing Government agencies
In this article, Eileen Campbell, head of Farallon Media, discusses how video can be used as an integral part of exhibits, especially small exhibits, interspersed with objects, panels, interactives, and other exhibit elements. Campbell describes the various ways video can be used effectively in exhibits including presenting narratives, recreating environments, introducing people, showing the unseen or unseeable, showing beauty and motion, making connections to the wider world, and adding humor. Campbell also provides advice about producing videos for exhibits.