From 2013-2016, Pacific Science Center, implemented the Exploring Earth Systems Sciences (EESS) project with the purpose of developing and delivering scripted demonstrations utilizing the Science On a Sphere (SOS) technology in order to promote understanding of and increase interest in Earth systems sciences. Specifically, the grant allowed the Science Interpretation team to research and write 20-minute presentations, targeted towards visitors aged 11 and older, about nine unique topics such as: climate change, weather, seasons, or the Polar Regions. Staff were then provided training in
The Vaccine Buzz exhibition opened at the Science Museum of Minnesota in February 2014. This summative report describes how visitors experienced and interpret the Vaccine Buzz exhibition as a whole. This approach allowed us to understand what visitors were most interested in, at what level the exhibit elements are connected to each other, as well as how and where the main messages are being connected between exhibit elements.
To answer these questions we conducted three different interconnected studies: 1) a counting study to understand how many visitors interact with the Vaccine Buzz
This paper argues that for citizens to be engaged with science they need to be able to share analytical techniques as well as the results of analyses. The category of "brand" which condenses the instrumental with the symbolic is both powerful in its uses and familiar to laypeople. The paper shows briefly how the categories of penicillin, biotechnology and applied science can be analysed in this way. It suggests that historians apply such an approach to the historiography of such new categories as synthetic biology and that this might be useful to curators of such topics in museums.
‘What’s in a Name’ is a collaboration between Harvard Museums of Science & Culture, the Encyclopedia of Life and the Biodiversity Heritage Library. Its goal was to addresses three significant issues: improving public understanding of life on Earth through resources on how scientists describe biodiversity; furthering public understanding of the scientific process, as exemplified by the study of biological species; and creating ways to enable access to the vast amount of data available from museums and libraries. The primary audiences were museum visitors and online users; the materials were
This paper discusses the concepts and practice of museum conservation, and the role of conservation in preserving both material and significance of objects. It explores the conservation of science and industry collections and the fact that the significance of many of these objects lies in their operation. It considers alternatives to operating original objects but emphasises the value of experiencing the real thing, and argues that visitors should be given greater physical access to museum objects, including being enabled to handle and work functioning objects. It finishes by calling for
How did industrial museums cross the Atlantic? When the first American museums of science and industry were created in the 1920s, they looked to Europe in order to import what was seen at that time as a burgeoning cultural institution. In this article, I look at this process of appropriation through an analysis of the changing perceptions of European industrial museums as expressed in the reports, surveys and books written by the curators, directors and trustees of the New York Museum of Science and Industry. I will pay particular attention to the 1927 film Museums of the New Age, documenting
The Special Challenge of Exhibits on Evolution is a summative report that reviews published research on how visitors to science and natural history museums perceive evolution and exhibits on evolution.
This article concerns the conservation of historic doped fabric aeroplanes in the static museum setting of the Science Museum’s Flight gallery. It reviews historic sources, primarily archival and scientific research papers, to examine what doped fabric aeroplanes are made from, and why these materials were selected. It also discusses current conservation methods used for treating tears in the doped fabric covering of aeroplanes, and considers the ethical and practical limitations of these practices. An overview of the doped fabric aircraft collection currently held by the Science Museum is
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TEAM MEMBERS:
Ben RegelJannicke LangfeldtLouisa BurdenMary Ryan
In December the Science Museum will open Mathematics: The Winton Gallery. The new gallery tells mathematical stories in relation to a broad spectrum of fundamental human concerns. One of the key exhibits is a newly acquired machine for modelling storm surges in the North Sea. Designed by Japanese engineer Shizuo Ishiguro, the object offers a way to explore the far-reaching impact and relevance of mathematical work.
Among the exhibits at the 2016 Leonardo da Vinci exhibition at the Science Museum, London, was one that purported to illustrate Leonardo’s experiments on friction. The models involved were the work of Giovanni Canestrini (1893–1975) who contributed to the 1939 and 1953 Leonardo exhibitions in Milan. This article discusses the original sources and history of these models, in the light of recent research into Leonardo’s work on friction. It concludes that, while being relevant to Leonardo’s study of mechanics, these models seriously misrepresent his experimental investigations of friction.
National Science Foundation (NSF) awarded an Informal Science Education (ISE) grant, since renamed Advancing Informal STEM Learning (AISL) to a group of institutions led by two of the University of California, Davis’s centers: the Tahoe Environmental Research Center (TERC) and the W.M. Keck Center for Active Visualization in Earth Sciences (KeckCAVES). Additional partner institutions were the ECHO Lake Aquarium and Science Center (ECHO), Lawrence Hall of Science (LHS) at the University of California, Berkeley, and Audience Viewpoints Consulting (AVC). The summative evaluation study was
The project will research and further develop an interactive platform, Visitor Interactions in Microbiology (VIM), that enables museum visitors to influence and learn about the behavior of live microorganisms. Hands-on museum exhibits encourage visitors to engage with, and manipulate, scientific content. Currently, museum visitors experience microbiology by observing microorganisms through a microscope, through models, or through simulations, all of which limit interactivity. With the VIM platform, visitors draw on a screen or use a Kinect motion sensor to generate microscopic light images. The single celled organisms respond to these images in real-time. Preliminary testing shows that the platform has significant potential to promote prolonged engagement and science inquiry by visitors. The project will develop and research additional technological and design considerations to understand how VIM can be translated into effective museum exhibits. This project is supported by the Advancing Informal STEM Learning (AISL) program which funds research and innovative resources for use in a variety of settings as a part of its overall strategy to enhance learning in informal environments.
Project researchers will first compare VIM to existing microscopic exhibits to investigate both advantages as well as limitations with the platform. Based on that research, three iterations of prototypes of VIM and user testing will explore possible extensions of VIM with respect to modes of visitor interactions, types of organisms and types of stimuli. In addition to improving the VIM platform, the knowledge gained from this study will inform a new approach to informal science learning -- an approach that supports self-directed inquiry, interest in microbiology, and interest in underlying technology. The project will produce: (1) research results concerning the potential of VIM and the variety of interaction modes that are effective using the system and (2) an open-source catalogue of hardware, software and protocol instructions that will enable other institutions to take advantage of the research on VIM. Project research findings and resources will be widely disseminated to practitioners via conferences and professional journals. The research will provide the foundation for future work that will include the design of a permanent exhibition.