Science centres have been identified as an important resource in encouraging teenagers to choose higher education in science and technology. This is of interest to society, since there seems to be a problem in getting sufficient numbers to do so. And accomplishing this is sometimes described as a fatal question for a nation’s future prosperity and development. Still, there is an international trend where teenagers fail to visit science centres.
Through research, little is known about what is interesting or useful to the public, as well as how to reach those who are ‘unengaged’. Considering
Museum visitors typically look at only about a third of the elements of an exhibition, and often give only limited attention to those. Can visitors really be getting something worthwhile from such partial usage of an exhibition? This article explores how visitors use exhibitions for “identity work,” the processes through which we construct, maintain, and adapt our sense of personal identity, and persuade other people to believe in that identity. Museums offer powerful opportunities for doing identity work, but the visitor does not need to engage with exhibition content deeply or systematically
An effective communication of astronomy cannot take place without considering the view the general public has on the universe. Through a number of narrative interviews with non-experts, a research was carried out on personal cosmologies, to outline the public’s heterogeneous astronomical imagery. The result is a bundle of conceptions, perceptions and attitudes which are useful to interpret the difficulties the public experiences when facing the contents of astrophysics, and to establish an ongoing dialogue.
This article presents some of the challenges faced in developing an interactive exhibit on nanoscience and nanotechnology in Brazil. Presenting a scientific-technological area which is still in formation and which is little known by the population leads to a (re)consideration of the role of museums and science centers in the conformation and consolidation of scientific practice itself. Museographically, the exhibit deals with the challenge of making matter visible in an expression which is distant from the human perception. Some reflections are presented here on the option of musealization
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Sandra MurrielloDjana ContierMarcelo Knobel
Following the example of the Exploratorium in San Francisco, interactive science museums are meant to be informal and enjoyable places where visitors, regardless of their age and background, are stimulated to practice their abilities to explore the world from a scientific point of view or to reacquire it in the case of adults who are far from science for professional reasons. Our study, which belongs to a relatively recent, but increasingly richer and complex tradition of researches on this topic, aims at contributing to answering the question whether, within the context of hands-on museums
In May 2004 the Balì Museum, Planetarium and interactive science museum, was opened to the public in Italy: 35 hands-on exhibits designed according to the interactive tradition of the Exploratorium in San Francisco, an astronomic observatory for educational activities, a Planetarium with 70 places. With a total investment of about three million euros, about two thirds of which were spent on restructuring the splendid eighteenth-century villa in which it is housed, the undertaking may be considered a small one in comparison with other European science centres. Three million euros: perhaps
The use of various expressive artistic forms in science centres and in interactive museums is becoming increasingly widespread. This paper proposes an interpretation of this phenomenon that emphasises how contemporary art contributes to experimentation with new forms of scientific communication. Furthermore, it examines the considerable overlap apparent between the themes addressed by contemporary artists and current scientific developments. Indeed, just as can be seen in science centres, artistic experimentation has assumed a new role: raising public awareness of what is happening around us
This article explores analogy as a communicative tool used by parents to relate children's past experiences to unfamiliar concepts. Two studies explored how similarity comparisons and relational analogies were used in parent-child conversations about science topics. In Study 1, 98 family groups including 4- to 9- year-olds explored two science museum exhibits. Parents suggested comparisons and overtly mapped analogical relations. In Study 2, 48 parents helped first- and third-grade children understand a homework-like question about infections. Parents suggested relational analogies and overtly
Silence of the Lands enables participants to annotate and map the soundscape of wild and urban natural environments. Participants can record and collect ambient sounds, create and share individual and collective cartographies, and use them as conversation pieces of a social dialogue on natural quiet. The result is a virtual museum in which natural quiet is transformed into a living and affective geography that changes over time according to participants' perceptions and interpretations of their natural environment.
In recent years, novel paradigms of computing have emerged, which enable computational power to be embedded in artefacts and environments in novel ways. These developments may create new possibilities for using computing to enhance learning. This paper presents the results of a design process that set out to explore interactive techniques, which utilized ubiquitous computer technology, to stimulate active participation, involvement and learning by children visiting a museum. Key stakeholders, such as museum curators and docents, were involved throughout the process of creating the exhibition
This essay begins by considering museum studies in relationship to curriculum studies and new museology. The author notes that traditional museum and school learning modes have focused more on measurement than meaning, while curriculum studies and new museology urge a broader exploration of the social purposes of education. Drawing on the work of Myles Horton and the Highlander Folk School, popular education is offered as a model for exhibitors and other museum educators. The essay closes with examples from an exhibit project by graduate students. This section shares analyses of traditional
Building on and extending existing research, this article proposes a 4-phase model of interest development. The model describes 4 phases in the development and deepening of learner interest: triggered situational interest, maintained situational interest, emerging (less-developed) individual interest, and well-developed individual interest. Affective as well as cognitive factors are considered. Educational implications of the proposed model are identified.