Funded by the National Science Foundation, The Handheld Science and Math Dictionaries for Deaf and Hard of Hearing Museum Visitors Research Project (DRL-1008546; Signing Science) is a collaboration between the Museum of Science (MOS) and TERC, which studies how visitors who are d/Deaf or hard of hearing (DHH) integrate iPod Touch versions of the Signing Science Pictionary, Signing Science Dictionary, and Signing Math Dictionary into their museum visit. Through this project, TERC has studied the integration of these dictionaries into museum visits of both school groups and family groups. To
The National Oceanic and Atmospheric Administration (NOAA) and the Exploratorium began an exciting long-term alliance in 2009 to present climate and ocean sciences to the public. NOAA’s mission is to understand and predict changes in climate, weather, and coasts using cutting-edge research and high-tech instrumentation, and to share its knowledge with others. Teaming up with the Exploratorium enables NOAA to explore new methods of communicating its work using the creativity and educational expertise of the museum. The partnership involves codeveloping exhibits, online media, public programs, and research about learning, and it also provides professional development opportunities for NOAA scientists. Some examples of partnership projects include the Scientists-in-Residence Program, the Wired Pier Project, the Deep-Water Dock at the Piers, and the Okeanos Explorer exhibit.
The integration of research with education and outreach is an essential aspect of our Center's mission. In order to assure the most effective use of our expertise and resources, we have developed a multi-faceted approach with activities that focus on coherent themes that address our three primary audiences: research community, our neighborhood, and the general public. These activities include research internships, enrichment programs for students & teachers, and informal science opportunities.
Women continue to hold less than a quarter of all STEM jobs in the United States, prompting many museums to develop programs and exhibits with the express goal of interesting young girls in scientific fields. At the same time, a number of recent museum exhibits have harnessed the popularity of pop culture and science fiction in order to interest general audiences in STEM subject matter, as well as using the exhibits as springboards to expand or shift mission goals and focus. Because science fiction appears to be successful at raising interest in STEM fields, it may be an effective way to
Complex ideas like evolution—which run counter to common, but mistaken, intuitive knowledge—are challenging, both for exhibit developers and for the evaluation and research teams who assess the impact of exhibitions. It is always difficult to document measurable changes in deep conceptual understanding following a single visit to an exhibition; Is this even possible with complex topics, such as evolution? In this article, we summarize a series of studies that may offer some help to exhibit developers and evaluators, as well as others who design and assess informal learning experiences. The
This document is a “think piece” about why and how informal science, technology, engineering, and math (STEM) education institutions could be placing amusing, novel experiences in people’s paths to create memorable STEM experiences embedded in their everyday lives. The report focuses on what we learned about creating interactive STEM exhibits in public spaces outside of a science center. That said, the content can inform hands-on learning experiences on other topics, as well, within the limits outlined.
Charismatic megafauna are exotically impressive creatures guaranteed to attract immediate public fascination and sympathy. Their images and life stories provide indispensable resources for keen environmental campaign groups and publicists. The expression itself – charismatic megafauna – is barely a few decades old. Part of its point is to recall and contrast the hosts of apparently less alluring beings at least as crucial and fragile, possessed of their own cultures and needs, but who instead somehow have to rely for survival and support on the easier appeal of these larger and more compelling
In their 1992 essay ‘The image of objectivity’, and again in Objectivity (2007), Lorraine Daston and Peter Galison describe the development of ‘mechanical objectivity’. Nineteenth-century scientists, they argue, pursued ‘truth-to-nature’ by enlisting ‘self-registering instruments, cameras, wax molds, and a host of other devices […] with the aim of freeing images from human interference’. This emphasis on self-recording devices and the morals of machinery, important as it is, tends to focus our attention away from the often messy and convoluted means of image reproduction – by lithograph, hand
The scrapbook of Winifred Penn-Gaskell – celebrated aerophilatelist and collector of aeronautica –reveals a great deal about its maker and the social and political context of early flight history in Britain. It is argued here that a ‘reading’ of the book as a non-textual object offers a predictive argument for the aesthetic and cultural representation of heavier-than-air craft and pilots in the years immediately prior to the First World War. By viewing each section of the scrapbook as parts of a contingent whole, the early-twentieth century interest in performative masculinity (physical
CERN’s Large Hadron Collider, the world’s largest particle physics facility, provides museological opportunities and challenges. Visitor interest in cutting-edge physics, with its high media profile, is tempered by anxiety about understanding complex content. The topic does not readily lend itself to traditional museum showcase-dominated displays: the technology of modern particle physics is overwhelmingly large, while the phenomena under investigation are invisible. For Collider, a major temporary exhibition, the Science Museum adopted a ‘visit to CERN’ approach, recreating several of the
Oramics to Electronica was a 2011 Science Museum project designed to put the tools of museum participation in the service of research into public history, taking the history of electronic music as our example. The primary output was a temporary exhibition. Whereas the term ‘public history’ is often used to denote popularisation of academic history, in this inflection we are primarily concerned with how lay people like our visitors think about the past in general, and about the past of science and technology in particular. Taking the opportunities that arose, we worked with two ‘expert’ groups
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Tim BoonMerel van der VaartKaty Price
This report presents the results of a front-end evaluation with Saint Louis Science Center visitors on the topics of Mars, Mars exploration, engineering, and robotics. This work was conducted by the Research & Evaluation Department of the Saint Louis Science Center. This front-end study was designed to inform the content development of the Bridging Earth and Mars (BEAM) exhibition, which is being developed by the Saint Louis Science Center with the support of funding from NASA. The main objective of the evaluation was to gather information from Science Center visitors about their familiarity