The scrapbook of Winifred Penn-Gaskell – celebrated aerophilatelist and collector of aeronautica –reveals a great deal about its maker and the social and political context of early flight history in Britain. It is argued here that a ‘reading’ of the book as a non-textual object offers a predictive argument for the aesthetic and cultural representation of heavier-than-air craft and pilots in the years immediately prior to the First World War. By viewing each section of the scrapbook as parts of a contingent whole, the early-twentieth century interest in performative masculinity (physical
CERN’s Large Hadron Collider, the world’s largest particle physics facility, provides museological opportunities and challenges. Visitor interest in cutting-edge physics, with its high media profile, is tempered by anxiety about understanding complex content. The topic does not readily lend itself to traditional museum showcase-dominated displays: the technology of modern particle physics is overwhelmingly large, while the phenomena under investigation are invisible. For Collider, a major temporary exhibition, the Science Museum adopted a ‘visit to CERN’ approach, recreating several of the
Oramics to Electronica was a 2011 Science Museum project designed to put the tools of museum participation in the service of research into public history, taking the history of electronic music as our example. The primary output was a temporary exhibition. Whereas the term ‘public history’ is often used to denote popularisation of academic history, in this inflection we are primarily concerned with how lay people like our visitors think about the past in general, and about the past of science and technology in particular. Taking the opportunities that arose, we worked with two ‘expert’ groups
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Tim BoonMerel van der VaartKaty Price
The instrument maker James Short, whose output was exclusively reflecting telescopes, was a sustained and consistent supporter of the clock and watch maker John Harrison. Short’s specialism placed his work in a tradition that derived from Newton’s Opticks, where the natural philosopher or mathematician might engage in the mechanical process of making mirrors, and a number of prominent astronomers followed this example in the eighteenth century. However, it proved difficult, if not impossible, to capture and communicate in words the manual skills they had acquired. Harrison’s biography has
This annual report presents an overview of Saint Louis Science Center audience data gathered through a variety of evaluation studies conducted during 2013. This report includes information on the Science Center's general public audience demographics and visitation patterns, gives an overview of visitors' comments about their Science Center experience, summarizes major trends observed in the Science Center's tool for tracking educational programs, and presents highlights from a front-end evaluation of a new agriculture exhibit and a summative evaluation of the the Youth Exploring Science
This report applies a practice-based approach to learning and making in the context of a museum makerspace (The Makeshop at the Children's Museum of Pittsburgh). This perspective draws upon theories of cultural and social learning, which assert an understanding of learning as fundamentally tied to the social and cultural contexts in which it occurs and focuses on the "practices" that define learning communities. The practices identified in this report are observable and/or reportable evidence of learners' engagement in making as a learning process.
This article explores the evolving relationship between science and the public, including models of public understanding of science and public engagement. It reflects on science museums' role in engaging with publics and highlights a new funding opportunity from the Wellcome Trust to further this knowledge base.
This article discusses the concept of ‘heroism’ in relation to science, medicine and technology. It unpicks the complexities of the concept and discusses its implications for historians of science and museum professionals.
Accounts of the life of Scottish engineer James Watt have tended to take a rather monocular approach to his life’s work – primarily concentrating on the steam engine. However, the evidence of Watt’s workshop, preserved at the Science Museum, points to the diverse nature of his interests, and particularly to the close integration of philosophical and pragmatic elements in his work. Here is the workplace of one of the savant-fabricants that Britain’s ‘Industrial Enlightenment’ depended upon. All was, however, underpinned by physical work and the creation of tangible artefacts that took into
From October 1965 to May 1966, the Science Museum in London displayed the American spacecraft Freedom 7, the first capsule in NASA’s Mercury programme to take a human on a suborbital flight. Archival records concerning this temporary display are extensive and contain photographic sources as well as written ones. This case therefore lends itself to a study aimed at evaluating the comparative merits of these two types of records, for understanding the logic at play in the display, and for retrieving at least part of the visitors’ experience. Visual sources emerge from this comparison as
Science museums and science centers exist (in large part) to bring science to the public. But what public do they serve? The challenge of equity is embodied by the gulf that separates a museum’s actual public and the more diverse publics that comprise our society. Yet despite growing scholarly interest in museums and science centers, few researchers have explored how these organizations seek to bridge that gulf. Adopting an institutional theory perspective, we argue that equity is a field-wide challenge in informal science education—a challenge that different organizations define and respond
This article argues that it is useful to see historical exhibitions as both responses and contributors to narratives about science that are circulating in the public sphere. It uses the example of the 1876 Loan Collection of Scientific Apparatus (which was the immediate predecessor of the Science Museum in London). The article demonstrates how, in promoting this huge exhibition and fighting for the necessary support and resources, leading scientific, cultural and political figures engaged with two rather different public interpretations of science’s past, present and future. One dealt with