This study explores the part that child-orientated exhibitions play in the child and family museum experience. Such exhibitions are characterised by their distinctive approaches to learning, interpretation, and design, being especially devised for children. The research was carried out in children's galleries from three types of museum (a maritime museum, a science museum, and a children's museum) in order to compare and contrast similarities and differences between them. Since most of the research in this area has been carried out in science centres or science museums, there is a need to
Dr. Barbara Flagg's paper presented at the one-day symposium, Giant Screen Films and Lifelong Learning, focuses on what evaluations by Multimedia Research have taught us about making giant screen films an entertaining and effective tool for lifelong learning by adult audiences. In summary, giant film audiences are attracted mainly to the format by their expectations of vicarious experiences, vertigo feelings, exquisite cinematography and learning new and unusual information. These educated audiences also expect more from the format in the way of information and storyline than is typically
This report from the National Research Council explores how learning changes the physical structure of the brain, how existing knowledge affects what people notice and how they learn, the amazing learning potential of infants, and the relationship between classroom learning and learning in everyday settings such as community and the workplace. It identifies learning needs and opportunities for teachers and provides a realistic look at the role of technology in education.
In 1831 Michael Faraday built a small generator that produced electricity, but a generation passed before an industrial version was built, then another 25 years before all the necessary accoutrements for electrification came into place—power companies, neighborhood wiring, appliances (like light bulbs) that required electricity, and so on. But when that infrastructure finally took hold, everything changed—homes, work places, transportation, entertainment, architecture, what we ate, even when we went to bed. Worldwide, electricity became a transformative medium for social practices. In quite
There is a growing call for greater public involvement in establishing science and technology policy, in line with democratic ideals. A variety of public participation procedures exist that aim to consult and involve the public, ranging from the public hearing to the consensus conference. Unfortunately, a general lack of empirical consideration of the quality of these methods arises from confusion as to the appropriate benchmarks for evaluation. Given that the quality of the output of any participation exercise is difficult to determine, the authors suggest the need to consider which aspects
This study provides a historical overview of the development of the instructional television as a tool within the context of science education. The technology was traced from its beginning as experiments in public service broadcasting by universities and television networks, though closed circuit, cable, and commercially produced science-related programming. The use of the technology as a teaching tool is examined in terms of the concept of scientific literacy and the means by which instructional television helped to accomplish the goals of scientific literacy.
In order to name and classify a plant they see, children use their existing mental models to provide the plant with a name and classification. In this study pupils of a range of ages (5, 8, 10, and 14 years old) were presented with preserved specimens of six different plants (strictly, five plants and a fungus) and asked a series of questions about them. Their responses indicate that pupils of all ages mainly recognise and use anatomical features when naming the plants and explaining why they are what they are. However, older pupils are more likely to also use habitat features. For both girls
This report draws together the results from two major pieces of research–an overview of science communication activities in Britain today, and a detailed understanding of public attitudes to science. By combining the information from both studies, this report aims to inform future science communication strategies for both policy and practice. The research reported here sets a baseline for public attitudes to science, engineering and technology. The survey has been designed to be repeated at regular intervals to monitor any changes in these attitudes. By identifying a number of factors, which
American educators and policymakers have often claimed that the arts can have powerful effects in education and that these effects may reverberate far beyond the arts. Arts education has been argued to have social, motivational, and academic repercussions. But are such claims rooted in empirical evidence, or are they unsupported advocacy? The studies in this issue review systematically what is known about the power of the arts to promote learning in non-arts domains. Thus, we focus here only on the claims that have been made about the effects of arts education on cognitive, academic outcomes
In the American educational climate of today, "basic" academic skills are valued while the arts are considered a frill. Many major urban school districts have cut back on arts education in order to strengthen academic subjects. Even though most of our schools have some arts education, and even though most of our citizens say they want their children to be exposed to the arts in school, only one in four students in American schools sings, plays an instrument, or performs plays in class each week. When budgets are tight, the arts are almost always the first programs to be cut. This study
The authors examine SAT data from the College Board in order to examine the correlation between the number of years of art education and SAT scores. By studying twelve years of data, they find that studying art is associated with higher SAT scores, and that students who take four years of art courses have higher scores than those who take some art but less than four years' worth.