This three-year project focuses on professional research experiences for middle and high school STEM teachers through investigations of the Great American Biotic Interchange (GABI). Each year 10 teachers (in diverse fields including biology, chemistry, earth and environmental sciences, and oceanography) and three to five professional paleontologists will participate in a four-phase process of professional development, including: a (1) pre-trip orientation (May); (2) 12 days in Panama in July collecting fossils from previously reported, as well as newly discovered, sites; (3) a post-trip on-line (cyber-enabled) Community of Practice; and (4) a final wrap-up at the end of each cohort (December). In addition, some of the teachers may also elect to partner with scientists in their research laboratories, principally located in California, Florida, and New Mexico. The partners in Panama are from the Universidad Autónoma de Chiriquí (UNACHI), including faculty and students, as well as STEM teachers from schools in Panama. Teachers that participate in this RET will develop lesson plans related to fossils, paleontology, evolution, geology, past climate change, and related content aligned with current STEM standards.
The GABI, catalyzed by the formation of the Isthmus of Panama during the Neogene, had a profound effect on the evolution and geography of terrestrial organisms throughout the Americas and marine organisms globally. For example, more than 100 genera of terrestrial mammals dispersed between the Americas, and numerous marine organisms had their interoceanic distributions cut in half by the formation of the Isthmus. Rather than being considered a single event that occurred about 4 million years ago, the GABI likely represents a series of dispersals over the past 10 million years, some of which occurred before full closure of the Isthmus. New fossil discoveries in Panama resulting from the GABI RET (Research Experiences for Teachers) are thus contributing to the understanding of the complexity and timing of the GABI during the Neogene.
This award is being co-funded with the Office International and Integrative Activities.
This project, “Global, Local, Coastal”, will be led by Groundwork Hudson Valley and Sarah Lawrence College, to integrate and expand the work of three award-winning environmental education centers in Yonkers, NY – The Science Barge, Ecohouse and the Center for the Urban River (CURB). Its primary objective is to prepare low-income students for the impact of a changing climate so that they can participate both personally and professionally in a world in which these issues are increasingly prevalent. It reaches an audience that is not well served by traditional programs and is most vulnerable to the consequences of climate change. Over the course of two years, the project will serve 600-700 middle and high school youth, primarily from the Yonkers public school system, through a new, integrated curriculum that teaches about these issues from multiple perspectives. Beyond its impact on students, the project will have a broader impact on people in our region. Together, the Barge, Ecohouse and CURB are visited by close to 10,000 people each year and new exhibits will reinforce key themes related to resiliency and adaptation. Other partners include NOAA’s Hudson River National Estuarine Research Reserve, Lamont Doherty, and the Center for Climate Change in the Urban Northeast. The state’s NY Rising Program and Yonkers Public Schools are key partners too. The project will be carried out in a community that has been severely affected by extreme weather in the last decade, including three hurricanes. Outcomes will help create “an informed society to anticipate and respond to climate and its impacts.” It also addresses NOAA’s goal of a “Weather-Ready Nation,” and “Resilient Coastal Communities and Economies.
The National Ocean Sciences Bowl (NOSB), managed by The Consortium for Ocean Leadership, provides enriched science education and learning through a nationally recognized and highly acclaimed academic competition that increases high school students’ knowledge of the marine sciences, including the science disciplines of biology, chemistry, physics, and geology. The NOSB addresses a national gap in environmental and Earth sciences in K-12 education by introducing high school students to and engaging them in ocean sciences, preparing them for careers in ocean science and other science, technology, engineering and mathematics (STEM). Currently, there are 25 regions in the U.S. that compete in the NOSB, each with their own regional competitions. The regional competitions are coordinated by the Regional Coordinators, who are typically affiliated with a university in their region. Each year approximately 2,000 students from 300 schools across the nation compete for prizes and a trip to the national competition. The goal of this organization is to increase knowledge of the ocean among high school students and, ultimately, magnify the public understanding of ocean research. Students who participate are eligible to apply for the National Ocean Scholar Program.
The Yellowstone Altai-Sayan Project (YASP) brings together student and professional researchers with Indigenous communities in domestic (intermountain western U.S.) and international (northwest Mongolian) settings. Supported by a National Science Foundation grant, MSU and tribal college student participants performed research projects in their home communities (including Crow, Northern Cheyenne, Fort Peck Assiniboine & Sioux, and Fort Berthold Mandan, Hidatsa and Sahnish) during spring semester 2016. In the spirit of reciprocity, these projects were then offered in comparative research contexts during summer 2016, working with Indigenous researchers and herder (semi-nomadic) communities in the Darhad Valley of northwestern Mongolia, where our partner organization, BioRegions International, has worked since 1998. In both places, Indigenous Research Methodologies and a complementary approach called Holistic Management guided how and what research was performed, and were in turn enriched by Mongolian research methodologies. Ongoing conversations with community members inspire the research questions, methods of data collection, as well as how and what is disseminated, and to whom. The Project represents an ongoing relationship with and between Indigenous communities in two comparable bioregions*: the Big Sky of the Greater Yellowstone Ecosystem, and the Eternal Blue Sky of Northern Mongolia.
*A ‘bioregion’ encompasses landscapes, natural processes and human elements as equal parts of the whole (see http://bioregions.org/).
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Kristin RuppelClifford MontagneLisa Lone Fight
A hybrid combination of art and science is used to communicate science in a primary school setting. The purpose of the work is to enhance student awareness of the science behind understanding the global climate system with a focus on the cryosphere. An experiment in communicating science is conducted by taking the collaborative experiences of a professional artist and scientist, which are then combined and projected onto an ostensibly everyday primary school classroom project. The tangible end result is a stand-alone contemporary art work that then is the focal point of community-based
This commentary explores a traditionally supposed boundary between science and politics, with particular attention to activist scientists who engage in public communication. Work in fields like science and technology studies shows that framing this boundary in terms of epistemological rules fails. Boundaries dictating proper scientific activities are at best pragmatic, context-dependent, and fluid. Certainly, certain kinds of politics can undermine the integrity of scientific knowledge, but it is imperative to recognize that all science is political. As we see with activist climate scientists
Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.