Through its traveling exhibition program, the Association of Science-Technology Centers worked for many years to advance the culture and practice of hands-on science learning, with support from the National Science Foundation. This article describes workshops, staff exchanges, and apprenticeships that accompanied a number of exhibitions, beginning in 1973. The community website ExhibitFiles, which opened in 2007, served the same purpose, as an archive of community-contrbuted case studies and reviews of science exhibitions.
This report aimed to measure the impact of a unique professional development program entitled Project ASTER III (Active Science Teaching Encourages Reform) on teachers’ self-efficacy and perceptions about inquiry-based science teaching. Project ASTER III enabled teachers to explore inquiry-based science teaching through exhibit-based hands-on/ minds-on investigations at a science museum and to develop a science curriculum aligned with museum exhibits and state and national science education standards. Quantitative data indicated that teacher beliefs were positively and significantly impacted
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TEAM MEMBERS:
Emilio DuranLena Ballone-DuranJodi HaneySvetlana Beltyukova
Since 2005, the IMLS Office of Museum Services has funded research projects under the auspices of the National Leadership Grant program. These grants support projects that ‘raise the bar’ in museum research and practice. Funded projects have national impact and generate findings that, through broad dissemination, move the field forward. This project was funded in the program’s inaugural round. Why Zoos and Aquariums Matter: Working with Community Perceptions to Achieve Your Goals draws on the illuminating research conducted as part of the IMLS-funded study. Its findings provide useful
This slide describes historical trends in museum funding, showing the changing shares of government, private, earned income, and investments in museum business models.
In January this year, the US saw the publication of the preview of an impressive review work on the practices and the studies concerning learning science outside schools and universities, i.e. what is referred to as informal education. The document, promoted by the National Science Council of scientific academies (National Academy of Science, National Academy of Engineering and Institute of Medicine), is the result of the work by a committee comprising 14 specialists who collected, discussed and then organized hundreds of documents on pedagogical premises, places, practices and pursuits
Comics are a popular art form especially among children and as such provide a potential medium for science education and communication. In an attempt to present science comics in a museum exhibit I found many science themed comics and graphic books. Here I attempt to provide an overview of already available comics that communicate science, the genre of ‘science comics’. I also provide a quick literature review for evidence that comics can indeed be efficiently used for promoting scientific literacy via education and communication. I address the issue of lack of studies about science comics and
In the last decades, production of science and technology as well as science-society relationships started changing rapidly. Research is asked to be more effective, fast, accountable, trans-disciplinary, result-oriented, policy-driven and able to generate benefits for people and firms in the short and middle run. While a strong intensification of science-society relationships is occurring, an increasing number of actors and stakeholders are involved in research production. At the same time, pervasiveness of technology is rendering users an active part in technological development; economic and
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve
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TEAM MEMBERS:
Jurij PavlicaSendi MangoTom Kersevan
Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on
Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.
The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.
In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on