This chapter explores what is already known about museums and their long-term impact on visitors, the complexities and challenges inherent in trying to study and understand long-term impacts, future research and methodological approaches that we can use to effectively assess the longterm impacts of museum experiences, and the implications of these efforts for practice.
This chapter discusses learning through the manipulation of three-dimensional objects. The opportunity to touch and interact with objects is helpful for young children as they attempt to understand abstract concepts and processes. How might parents guide children in coming to understand the complex and abstract symbolic nature of representational objects?
In the increasingly fierce competition for leisure time and educational spending, museums are seriously challenged by edutainment, the Internet, CD-ROMs, and 500-channel satellite TV. For example, if a child is interested in dinosaurs, 20 years ago a parent would have been likely to take her to the museum to see some fossils. Today, many parents would probably begin by taking her to the computer to search the World Wide Web, where a quick search reveals thousands of dinosaur web pages. If the family did not find a site among these thousands that satisfied the child's curiosity - or if they
Years before encountering their first formal science lessons in elementary school, children may already be practicing scientific thinking on a weekly, if not daily, basis. In one recent survey, parents reported that their kindergartners engaged, on average, in more than 300 informal science education activities per year - watching science television shows, reading science-oriented books, and visiting museums and zoos (Korpan, Bisanz, Bisanz, Boehme, & Lynch, 1997). This strikes us as a lot, but it is likely to pale in comparison to what young children may experience five years from now
This chapter is a selection from the book "The Arts, Education, and Aesthetic Knowing." Should arts education have a more significant place in our schools? An emphatic 'Yes' comes from the editors and other contributors to this provocative volume. They build their case by drawing upon recent developments in cognitive theory and, in particular, upon contemporary thought regarding aesthetic knowing. They contend that aesthetic knowing constitutes a 'special mode of cognition' and they see aesthetic learning as vital to intellectual growth and development. They argue that the arts should