In 2012, the Science Museum of Minnesota (SMM) received funding from the National Institutes of Health (NIH) to develop an exhibition utilizing objects from the former Museum of Questionable Medical Devices (QMDs), contextualizing them in the greater conversation about scientific skepticism and how people make healthcare decisions. The resulting exhibition, Weighing the Evidence, opened in December 2015. This kt, object-based exhibition is organized into four islands of artifacts with accompanying information and hands-on “Try It” interactives, which allow visitors to experience some
To explore the role and impact of The Innovation Lab at Youth Radio, Rockman et al, an independent research and evaluation organization, conducted an external evaluation of the project. With funding from the National Science Foundation’s Advancing Informal STEM Learning (AISL) program, the Innovation Lab sought to develop and research a scalable, evidence-informed theory of action to engage underrepresented youth in Science, Technology, Engineering, and Mathematics (STEM) learning through the collaborative creation and dissemination of original journalistic media, technology, and curriculum
This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns
This article traces sound as it echoes through approaches to displaying the Science Museum’s acoustics collection over the course of the twentieth century. Focusing on three key moments in the collection’s historical development, the article explores the role of sound as both medium and object of museum display. Each moment exposes how the practice of using sound to interpret sounding objects was articulated and problematised by past generations of museum practitioners. Each moment, too, exposes the problem of sound as a potential threat to the cultural politics of a national museum
The Hugh Davies Collection (HDC) at the Science Museum in London comprises 42 items of electronic sound apparatus owned by English experimental musician Hugh Davies (1943–2005), including self-built electro-acoustic musical instruments and modified sound production and manipulation hardware. An early proponent of ‘live electronic music’ (performed live on stage rather than constructed on magnetic tape in a studio), Davies’s DIY approach shaped the development of experimental and improvised musics from the late 1960s onwards. However, his practice has not been widely reported in the literature
This article examines the 1935 Science Museum temporary exhibition on Noise Abatement, situating it in the sound historical context of inter-war Britain, and making an argument that the ‘way of hearing’ it advanced was part of an attempt to shape auditory perception in the interests of a class-bound culture of acoustic civilization. Further, the article uses this exhibition to mount an argument that museum scholars should consider sound not simply as a medium of engagement, but also as a politically interested and socially active field.
This article considers the design and production of spectacles in Britain following the introduction of standardised frame styles under the National Health Service. NHS spectacles were provided as a functional, durable medical appliance to be delivered cost-effectively and there was no explicit concern for fashion or the patient experience. The actions of the government and professional bodies greatly affected the trade in eyewear and thus restricted opportunities for innovative design and consumer choice. Within the range of state regulation frames there was no active concern for ‘design’ in
In January 1885, the Glaswegian Professor of Chemistry Dr Robert Carter Moffat organised a special operatic concert at St James’s Hall, London, to which he invited around two thousand scientists and musicians. The point of this invitation concert was that all the singers used bottled air. Moffat himself appeared between the various performances, wielding his mysterious Ammoniaphone, or bottled-air machine, a long silver tube which he flourished in the faces of his audience while describing its virtues with considerable animation. The premise of the Ammoniaphone was that since Italian opera
In this essay, Shirin Vossoughi, Paula Hooper, and Meg Escude advance a critique of branded, culturally normative definitions of making and caution against their uncritical adoption into the educational sphere. The authors argue that the ways making and equity are conceptualized can either restrict or expand the possibility that the growing maker movement will contribute to intellectually generative and liberatory educational experiences for working-class students and students of color. After reviewing various perspectives on making as educative practice, they present a framework that treats
Englehard et al provide a wide-ranging look at synthetic biology, from discussion of how one might classify different synthetic approaches to consideration of risk and ethical issues. The chapter on public engagement considers why synthetic biology seems to sit below the public radar.
Maker Corps is a program delivered by the Maker Education Initiative (Maker Ed) to increase organizational capacity to develop and deliver maker programing. Since its inception in 2013, the program has grown to support over 100 organizations by providing professional development, connections to a community of other maker educators and individualized support. Over time the program elements have changed in response to feedback from participants, collaboration with evaluators and shifts in focus for Maker Ed’s goals. In the spirit of maker education – tinkering, observing, responding, iterating –
Keystone Connect Network is a proposed regional broadband network whose purpose is to increase educational opportunities and generate business growth. The backbone of this plan is the Pennsylvania Research and Education Network's (PennREN), a next generation high-speed internet network, managed by KINBER, which educational institutions can use to train their students and create new learning opportunities; and business can create new products and connect with their customers.