The Hansen Planetarium proposes the creation, writing, and production of a 50-minute star theatre program, Cosmic Catastrophes: A Planet At Risk?, aimed at informally educating over a million individuals regarding the vulnerability of our Earth. The further production of four interactive exhibits is planned to accompany the program. This program will be marketed and distributed at a nominal charge to 250 national planetariums, with 50 additional production packets planned for loan. In this fashion, top-quality, accurate, and timely science education can be guaranteed to a large selection of audiences. Scientific research tells us that catastrophes of global and interplanetary proportions have happened in the past, there is evidence that they could occur in the present, and they pose an imminent danger in the future. The utilization of expert consultants, in conjunction with Hansen Planetarium staff, will insure this program presents the most current information available about these cosmic catastrophes. Its interactive format is designed to stimulate a proactive approach to problem solution on the part of the audience, especially in reference to ecological or environmental issues. The star show format, with its dynamic special effects, will make scientific theories surrounding cosmic catastrophes accessible and excitiong.
Progress in understanding cognitive developmental change mechanisms requires methods that yield detailed data about particular changes. The microgenetic method is an approach that can yield such data. It involves (a) observations of individual children throughout the period of the change, (b) a high density of observations relative to the rate of change within that period, and (c) intensive trial-by-trial analyses intended to infer the processes that gave rise to the change. This approach can illuminate both qualitative and quantitative aspects of change, indicate the conditions under which
In 1917, the French artist Marcel Duchamp submitted a store-bought porcelain urinal turned on its back and signed R. Mutt to the hanging committee of the Society for Independent Artists in New York. The object, titled Fountain, was never displayed, although the society had pledged itself to show any work by an artist who paid the entry fee. An anonymous article in The Blind Man, a journal published by Duchamp and his friends, argued that whether Mr. Mutt with his own hands made the fountain or not has no importance. He chose it. He took an ordinary article of life, placed it so that its useful
This book describes the process of retrofitting a diorama exhibit, using principles of universal design and engaging people of all ages, with various disabilities to assist in the project.
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TEAM MEMBERS:
Museum of Science, BostonBetty Davidson
This article outlines an experiment in which sixty-four sixth-grade students were divided into two groups: a control group, which was given novelty-reducing treatment on a field trip, and a placebo group, which was not subject to novelty-reducing treatment. Results of the experiment showed that exploratory behavior was positively correlated with cognitive learning.
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TEAM MEMBERS:
University of Washington, SeattleCarole A. KubotaRoger G. Olstad
This paper discusses the development and visitor research of the George D. Widener Memorial Treehouse at the Philadelphia Zoo. The exhibit represents a non-traditional approach to education which involves the child as learner in the guise of an animal. This paper includes key findings from an evaluation study that aimed to achieve a systematic, working description of how visitors use "Treehouse"--what they are actually doing while they are there.
This paper is an excerpt from a 22-page paper prepared for the Field Museum of Natural History. The paper summarizes the front-end evaluation studies related to the Animal Kingdom Project's plans to renovate the animal halls. The title comes from comments made by a visitor during a focus group discussion about what visitors think of the halls now and what they think the museum should do to make the animal halls more appealing and interesting to visitors. This excerpt deals with just one section of the paper about the amount of time visitors spend in the halls.
This paper discusses two evaluations conducted by the National Museum of American History for two prototype exhibits: "Commerce and Conflict: The English in Virginia, 1625" and "Kiva, Cross, and Crown at Pecos Pueblo." Each exhibit was an experimental archaeological exhibit and was a prototype for a larger exhibit, "American Encounters 1492-1992." In particular, this paper focuses on data that implies objects have power, and that the power of the objects is created by those who look at them. The author discusses the the power of the objects from a male and female perspective.
This paper discusses findings from a study that examined an interactive microcomputer exhibit at the Texas Memorial Museum. The study aimed to answer the following two questions: (1) Can the microcomputer be used effectively in a museum setting to teach first, second, and third graders about endangered species in Texas? and (2) Can the microcomputer be used effectively in a museum setting to create or enhance positive beliefs about endangered species in Texas?
This paper discusses cognitive science research, specifically how people learn and learning as a transition from novice to expert within a field of knowledge. The authors explore some aspects of this model and ways in which it might be applied to science learning in museum settings.
This paper discusses the methodology and findings of a study that tested the impact on visitors of using life-sized animal cutouts as a background for interpretive labels. The effectiveness of these labels were examined at the "African Plains Overlook" at the North Carolina Zoo
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TEAM MEMBERS:
Stephen BitgoodArlene BenefieldDonald PattersonHoward Litwak
This paper describes a front-end evaluation carried out as part of the planning for the "Early China" galleries at the Royal Ontario Museum (ROM) in Toronto, Ontario. The evaluation examined visitors' "reading" of - the interpretations drawn from personal knowledge and a lifetime's experience. Insight into the way visitors interpreted typical artifacts for themselves gave guidance in determining the extent and kind of interpretation we should provide in the gallery. Furthermore, information about the extent to which visitors can already link artifacts to categories and concepts provides a