This monograph, the final report of the 21st Century Literacy Summit held in April 2005, presents an action plan for this emerging field applicable to higher education, K-12 education, policy makers, media & the arts, and research, and details the strategic priorities and specific recommendations for these sectors that were the summit's major outcomes.
This research study reports on the evaluation of the outcome and impact of learning as a result of the implementation of Education Programme Delivery Plans in 69 museums in the nine regional museum hubs in England during September, October and November 2005. This is the second study of the impact of learning achieved through museum school services which have been funded through the Renaissance in the Regions programme, which provides central government funding to museums in the English regions. The first study 'What did you learn at the museum today?' was carried out in 2003. The findings of
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TEAM MEMBERS:
Eilean Hooper-GreenhillJocelyn DoddLisanne GibsonMartin PhillipsCeri JonesEmma Sullivan
What makes “making”—the next generation of inventing and do-it-yourself—worth paying attention to? In this report, we explore the three categories of makers, the ecosystem growing around those categories, the role technology plays in this ecosystem, and, finally, how business can take advantage of the opportunities this movement represents.
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TEAM MEMBERS:
John HagelJohn Seely BrownDleesha Kulasooriya
A team from Michigan State University, in partnership with six science, art-science, and art museum venues around the country and with the assistance of researchers at Georgia Institute of Technology, is implementing an EAGER project to conduct ongoing experiments on the chemical precursors to life as exhibit experiences for visitors to these venues. The experiments, to be run over the course of several months as the exhibit travels around the country, expand on the 1950s' work of Stanley Miller and Harold Urey, which continues to stimulate new investigations and publications, including experiments being conducted on the International Space Station. The experiments/exhibits share key features across the three different kinds of venues, allowing the team to study and compare the impacts on the various publics of engaging them in real-time science experiments. Two major goals are (1) to explore new ways to attract public interest in science by performing in public settings previously untried experiments on the chemical precursors to life, and (2) to investigate how the context of different kinds of venues and their visitor characteristics affect how visitors interpret the experience and what they learn. The team is also exploring how various data visualization representations can be designed to foster public interest and understanding. The intent is to develop an approach that has potential applications to other STEM content domains and expanding the reach to broader public audiences.
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
Can the study of dance lead to enhanced academic skills? Dance is an art form that makes use of a wide variety of cognitive skills and may call upon many of the intelligences identified by Howard Gardner in his theory of multiple intelligences. Clearly dance involves nonverbal spatial and musical intelligence. Dance also may call upon linguistic intelligence, when students learn the verbal vocabulary of dance or when they discuss and evaluate a dance sequence. In what follows, we report the results of two very small meta-analyses testing the claims that dance instruction leads to improvements
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TEAM MEMBERS:
Mia KeinänenLois HetlandEllen Winner
There is growing interest in the nature of the museum experience among researchers in the fields of art and museum education. The museum experience is broadly defined by John Falk and Lynn Dierking as all that transpires between the person's first thought of visiting a museum, through the actual visit, and then beyond, when the museum experience remains only in memory. Additionally, they propose that this experience varies from individual to individual and, in fact, is dependent upon the interaction between the personal context (the visitor's life experiences, interests and expectations), the
In the following pages I describe what happens when an exhibit dense in local meanings enters the national arena. The Yup'ik mask exhibit Agayuliyararput (Our Way of Making Prayer) began as visual repatriation—bringing objects out of museums back into a local context—and ended as a tribal exhibit displayed in three very different majority institutions, including an American Indian museum, a natural history museum, and an art museum. The mask exhibit was developed as a three-way collaboration between Yup'ik community members, an anthropologist, and museum professionals. As it traveled farther
Can reading skills be enhanced by instruction in the visual arts? Arts education researchers have sometimes made this claim and have argued that the visual arts can play a strong role in the teaching of basic skills in the kindergarten and elementary school years. There are two possible mechanisms by which visual arts instruction might enhance reading ability, one cognitive, one motivational. The cognitive mechanism would involve transfer of skill. Perhaps visual arts training strengthens visual perception skills that can be deployed in reading.
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Kristin BurgerEllen WinnerUniversity of Illinois
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
Visitors to art museums vary on a number of a dimensions related to how they construct their museum experience. The visiting preferences and intentions of a sample of visitors to the Metropolitan Museum of Art were examined by having them respond to a survey as they entered the Museum. Visitors were presented with a set of nine contrasting statements (e.g., “I know how I like to look at art” and “I would like to learn more about how to look at art”.) separated by a six-point scale. Responses to the statement pairs indicated wide variability on items concerning whether visitors liked to look at
How can you carve out a museum space that’s less authoritative? And how you can make work that is smaller, more intimate in that same space? Kio Stark and Mark Allen discuss Machine Project, the Echo Park, Los Angeles exhibiting space that doubles as an interactive setting, an alternative performance venue, and an active agent in creating events around the local area, including in museums such as the Hammer.