The visit to a science museum may be manifested through complex and dynamic motivations which, according to the literature, are under-investigated in a Brazilian context. In this study, an instrument has been modified and applied to 202 visitors up to 15 years in order to investigate motivation for visiting. Combined application of Exploratory Factor Analysis and the Information Bottleneck method revealed that 17 out of the 20 initial items in the questionnaire aligned with three dimensions of motivation. The main motivation was learning desire, while entertainment and interaction motivations
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TEAM MEMBERS:
Ana Cláudia KasseboehmerRosana de Fátima MartinhãoKenia Naara ParraDaniela Maria Lemos Barbato
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
The United States Botanic Garden (USBG) contracted Randi Korn & Associates, Inc. (RK&A) to study visitors’ experiences in the current West Gallery exhibition. However, after an initial meeting, USBG recognized that any changes to the West Gallery should be intentional and done in the context of staff’s aspirations for the whole Garden experience; thus, the study evolved into a more holistic endeavor with two main goals: (1) collect data about visitors’ experiences in the West Gallery exhibition to inform redesign of the Gallery; and (2) study visitors’ experiences in the whole Garden in the
This is a presentation about the ScienceCenter Netzwork, a network of science centers and museums in Austria. The presentation was a part of the Summit on Informal Science Networks at the Association of Science-Technology Centers annual conference in Albuquerque, NM.
This report is the result of work undertaken by Ecsite-uk, The UK network of science & discovery centres and museums, to demonstrate the impact of Science & Discovery Centres, to encourage their effective collaboration, and to maximize their future viability. The report includes three parts: the results of a survey of UK science and discovery centres, recommendations for science and discovery centres which will lead to demonstrating value, and best practices shared between science and discovery centres from those that have achieved financial stability. In addition to this report, Ecsite-uk
In this essay, researchers from King's College London, Work, Interaction and Technology Research Group, discuss a particular approach to the analysis of social interaction in museums and galleries, focusing on video-based field studies. The authors also give a few suggestions as to why it might be important to take verbal and physical interactions more seriously when designing, developing and evaluating exhibits and exhibitions.
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TEAM MEMBERS:
Dirk vom LehnChristian HeathJon Hindmarsh
This is the final report of the Open University’s RCUK-funded Public Engagement with Research Catalyst, ‘An open research university’, a project designed to create the conditions in which engaged research can flourish. The report describes an evidence-based strategy designed to embed engaged research within the University’s strategic planning for research and the operational practices of researchers. This programme of organisational change was informed by action research, working collaboratively with researchers at all levels across the institution to identify and implement strategies that
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TEAM MEMBERS:
Richard HollimanAnne AdamsTim BlackmanTrevor CollinsGareth DaviesSally DibbAnn GrandRichard HoltiFiona McKerlieNick MahonyNick Mahony