In 2006, the U.S. Botanic Garden (USBG) decided to conduct an institution-wide study of their visitors—why they come to the Botanic Garden, how they utilize the space, their level of satisfaction with the experience, and overall effectiveness of the USBG’s exhibitions and interpretation—in order to provide input to a strategic planning process that will align its living collections with its educational mission. To date, the only existing data characterizing USBG visitors was gathered in the early 1990s. Since then, the USBG has undergone a major transformation, including complete renovation of
This project creates a pilot program to deliver ocean literacy learning opportunities to 7 million people across the country through installation of dynamic Ocean Interpretive Stations at five Coastal America Coastal Ecosystem Learning Centers: the Aquarium of the Pacific in Long Beach, CA; the J.L.Scott Marine Education Center in Ocean Springs, MS; the John G. Shedd Aquarium in Chicago, IL; the National Aquarium in Baltimore, MD; and the National Mississippi River Museum & Aquarium in Dubuque, IA. These Interpretive Stations present vital messages of ocean literacy to the broad public using and expanding on a proven product in a free choice learning environment in four key sites across the country. The pilot kiosks provide the regional stories of Chesapeake Bay and the Atlantic, the Great Lakes, the Mississippi River watershed and the Gulf of Mexico, and the Pacific. The Ocean Interpretive Stations enhance ocean literacy among museum goers through multimedia offerings, providing current, newsworthy and foundational ocean topics to encourage visitor learning. The project has the potential to be disseminated to 18 other Coastal Ecosystem Learning Centers throughout the United States, with the possibility of reaching over 25 million visitors. The project outcomes are: Increased awareness of ocean issues on the part of visitors; increased knowledge of regional ocean issues; increased capacity of sites to provide additional resources to teachers in the four regions; and encouragement of additional partnerships in the future.
Through this award, the North Carolina Aquarium on Roanoke Island (NCARI) has installed NOAA's Science on a Sphere (SOS) to enhance and expand their existing Storms exhibit. NCARI's location on the Outer Banks makes understanding ocean systems critically important. Installing SOS increases environmental literacy by exposing NCARI's 300,000 annual visitors to NOAA datasets and information. Additionally, through educational programming students, teachers, and visitors obtain current and accurate information to help them make better-informed decisions. Workshops hosted at NCARI have provided valuable professional development opportunities for both informal educators and NOAA staff.
Whitaker Center for Science and the Arts in Harrisburg, Pennsylvania is developing a new permanent public exhibition gallery focusing on environmental and earth systems science to be called Forces of Nature. With NOAA support, Science On a Sphere will be the centerpiece for this new gallery. A collaboration is planned between Whitaker Center and the Department of Meteorology at The Pennsylvania State University in which existing datasets provided by Penn State researchers with NOAA data and meteorological models will be prepared for presentation on spherical display systems.
The Boonshoft Museum of Discovery/Discovery Zoo in Dayton, OH has developed and implemented a new, permanent exhibition featuring NOAA's Science on a Sphere. The exhibition builds environmental literacy among public visitors, K-12 students, and the myriad of groups that the Museum reaches. A signifi cant portion of the audience is from underrepresented groups. A special display within the exhibition focuses on the Mississippi Watershed and how it is related to the health of the oceans. The exhibition also includes three interactive stations where visitors can engage in hands-on activities related to NOAA datasets.
The Smithsonian National Zoological Park (SNZP) in Washington, DC is integrating the NOAA Science on a Sphere(SOS) spherical display system into SNZP's Amazonia Science Gallery (ASG). The SOS system at ASG will be seen in person by tens of thousands of visitors each year and potentially by millions more through electronic outreach programs. The SOS system will become an integral part of the exhibit and will be used for both informal and formal science education programs at the National Zoo.
The knowledge deficit model with regard to the public has been severely criticized in the sociology of the public perception of science. However, when dealing with public decisions regarding scientific matters, political and scientific institutions insist on defending the deficit model. The idea that only certified experts, or those with vast experience, should have the right to participate in decisions can bring about problems for the future of democracies. Through a type of "topography of ideas", in which some concepts from the social studies of science are used in order to think about these
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Alessandro Luis PiolliMaria Conceicao da Costa
In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.
Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.
Despite the developed world’s climate-controlled interiors and easy access to all kinds of fresh produce at any time of year, our lives are still dependent upon the weather and climate. With global warming, our dependence is becoming even more apparent. I am an artist working with new technologies and last year I had the opportunity to go to Antarctica for two months on a US National Science Foundation-sponsored residency where I worked alongside scientists studying the global implications of Antarctic weather and climate change. The Antarctic is unlike any other place on earth. There, I
In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to
The rapid spread of technologies involving the application of “Genetic Modification (GM)” raised the need for science communication on this new technology in society. To consider the communication on GM in the society, an understanding of the current mass media is required. This paper shows the whole picture of newspaper discourses on GM in Japan. For the Japanese public, newspapers represent one of the major sources of information on GM. We subjected the two Japanese newspapers with the largest circulation, the Asahi Shimbun and Yomiuri Shimbun, to an analysis of the full text of