The Museum is partnering with Butterflies and Moths of North America (BAMONA) to share data and learn more about L.A. butterflies and moths. Help us find and photograph them in Los Angeles. Why Butterflies? Unlike some of the other Citizen Science projects here at the Museum, the L.A. Butterfly Survey (LABS) isn't looking for lost butterflies. We already know the species we are likely to find in L.A., all 236 of them. What we need to find out is which butterflies and moths we're likely to find when we plant the new Pollinator Garden in the Museum's upcoming outdoor exhibit, the North Campus. When you submit images of L.A. butterflies and moths, we'll map the species closest to the Museum and determine which one's might show up when we start planting butterfly attracting plants.
With the Museum's increasing interest in urban biodiversity, we have started looking at all types of wildlife in our highly modified industrial, suburban, and urban habitats. One thing that quickly struck us was that in our own backyard, Exposition Park, nobody had documented any lizards since 1988. This seemed strange, as lizards are common in other parts of Los Angeles, and it led to the question, "Why are there no lizards here?" We hope to answer this question with the LLOLA (pronouced "lola") project. LLOLA aims to do two things: 1) Confirm the presence or absence of lizards in Exposition park. (After all, nobody has looked extensively for them! 2) Find out where lizards DO occur in the Los Angeles Basin, and start to hypothesize why they can survive there.
In spite of their importance and abundance, we do not know much about the spiders in Los Angeles. There are no truly large collections of urban spiders from this area, as most collectors concentrate on studying natural areas. As an important international port, new species of spiders from various parts of the world are always being accidentally introduced into the Los Angeles area, and some of these have established breeding populations. We need to know how widespread these introduced species have become, and how they have interacted with the native spiders. Also, we want to know how urbanization and the loss of natural habitat has affected populations and distributions of naturally occurring spiders.
Stroud Water Research Center (SWRC) will partner with Longwood Gardens (LG) to develop educational materials that help visitors understand the links between the hydrologic and carbon cycles. The goal is to demonstrate how landscape aesthetics can influence land-use decisions, and to offer carbon-neutral methods the public and others can employ to reduce the impact of storm runoff. The intended audience is primarily adults among the 800,000 annual visitors to the Gardens who are landowners as well as professionals such as engineers, regional planners, landscape architects, developers and municipal officials. This project will also communicate research to public audiences through SWRC and LG websites.
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TEAM MEMBERS:
Louis KaplanJ. Denis NewboldSusan GillAnthony Aufdenkampe
The Exploding Optic Incredible was an experiment in expanding the boundaries of art and music with science and technology. Ostensibly a multi-media rock concert as a fund raiser for Marshall Barnes' drug free creativity efforts, it took Andy Warhol's Exploding Plastic Inevitable concept of the 1960s into unchartered territory driven by Marshall's inspiration through discussions with Omni magazine's Dick Teresi and Pamela Weintraub and Gene Youngblood's book, Expanded Cinema. Marshall incorporated 1970s era slide and film projection light show effects, with dance lights, massive strobes, spotlights, and big screen video projection that showed customized and original video special effects while bands performed, and music videos in-between accompanied by lighting effects. The first multi-media rock concert of the 1990s, the January 18, 1990 event at the Newport Music Hall was also a test for the public's reaction to over stimulation through sight and sound, the results leading to exploration and ultimate creation of psychoactive entertainment technology later that year and the formation of new technological architectures for entertainment and learning that have yet to be presented but exist in design form.
This project was an early example of STEAM (Science, Technology, Engineering, Art, Math) and was produced for the 2004 BLD Studios art exhibition, Time Machines, in Columbus, OH. This project included a chair and a desk made of drawers, on top of which was a audio/video work station where visitors sat and interacted with the technology by using the headphones and listening to one tape deck for instructions and then listening to music on the other while watching the TV screen with special HyperSpeks(tm). There was also a panel of photos above the TV designed to simulate time travel. The instructions explained the purpose of the exhibit and how to use the TV to tune into various channels to pick-up a variety of video static on empty UHF frequencies. The music was designed to put the visitor into a certain frame of mind. It was futuristic sounding and created using DEMI sampling, a proprietary sampling technique also created by Marshall Barnes. The intent was to set the mood. Training Session was supposed to simulate training prospective transdimensional travelers in the cognitive exercises required to deal with the psychological rigors of time/parallel universe travel. The HyperSpeks(tm) allowed the visitors to search for various shapes in the TV static on a number of selcted channels which would resemble such cosmological constructs as black holes and wormholes. The static was live and not prerecorded and so the interaction on all levels was live and in real time. Visitors were to write their observations down on paper which was provided via a note pad and pen at the exhibit. In this way, a record of their experiences existed for subsequent visitors to review. The visitors were also told to view the photo panel, which consisted of pictures taken in 1977, but not developed until 2004. As a result, the pictures were somewhat faded and all tinted pink, however, when the visitors viewed them with the HyperSpeks(tm) they appeared not only normal color, but almost as if the scenes they depicted were views outside a window. Thus, the visitor was able to travel optically back in time and see the images the way they looked when they were originally photographed.
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TEAM MEMBERS:
Marshall Barnes
resourceevaluationProfessional Development, Conferences, and Networks
The overall goal of the project was to convene a large-scale, open conference on public participation in scientific research, bringing together science researchers, project leaders, educators, technology specialists, evaluators, and others from across many disciplines to discuss advancing the field of PPSR. The conference included three sessions for posters and conversations, and five plenary sessions of presentations. The meeting culminated in an open meeting to explore strategies for large-scale collaborations to support and advance work across this field of practice, through the development
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TEAM MEMBERS:
The Schoodic Education and Research Center InstituteJoe E Heimlich
MarshAccess is an informal science education program based at the Meadowlands Environment Center (MEC) in Lyndhurst, NJ, and funded by the National Science Foundation. MarshAccess seeks to engage largely underserved populations of young and older adults with disabilities, as well as older adults with age-related limitations, in outdoor experiential STEM activities centered on the New Jersey Meadowlands marsh ecosystem. Program modules are designed to increase interest in science, increase scientific literacy, develop a sustained relationship between the MEC and the target audience and audience
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TEAM MEMBERS:
Hilarie B. DavisBradford T. DaveyRamapo College of New Jersey
Goodman Research Group, Inc., (GRG), Cambridge, MA, conducted the formative evaluation of The Music Instinct project. The NSF-funded project aims to bring to PBS viewers the strong evidence of the connections between music and science, as well as to facilitate a deeper understanding of both fields. The Music Instinct project, presented by WNET/Thirteen, in collaboration with Mannes Productions, includes a two-hour television program, a website, and ancillary educational materials. The purpose of the formative evaluation is to obtain timely information to support and guide the producers as they
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TEAM MEMBERS:
Rucha LondheMiriam KochmanNivedita RanadeIrene F GoodmanWNET/ThirteenMannes Productions Inc.
This summative evaluation of the exhibition Robots & Us was designed to investigate how visitor audiences used and experienced this exhibition in relation to the project’s objectives and challenges. Visitors’ expectations and perceptions in relation to the project’s content goals prompted the summative evaluation to focus on specific challenges including: attitudes and perceptions about technology, connections between robots and people, appeal to a broad audience, and reactions to specific exhibits.
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TEAM MEMBERS:
Jeff HaywardJolene HartScience Museum of Minnesota
With the Role of Media in Supporting Informal Science Learning project, the Institute for Learning Innovation (ILI) and Grunwald Associates sought to establish a “national learning initiative” to explore the intersection of media and informal science learning. To do so, ILI proposed an initial conference followed by the development of a website and online community. The National Science Foundation funded this project, with additional funding provided by the National Parks Service. Held in March 2009, the 1.5 day conference was designed to be a “first step” in the development of a conversation
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TEAM MEMBERS:
Elizabeth Bandy, Ph.D.Institute for Learning Innovation
Formative evaluation of one of four pieces of the Marcellus Matters: EASE project. This study examined the effectiveness of an eight-week adult/community education program about topics related to natural gas development.