It’s important to communicate the excitement and value of NSF-funded research. This tool (formatted as a Prezi presentation) helps you do that with assistance from NSF public affairs experts, exploring options for communicating your research and broader impacts.
“Are museums perceived as experts – and are they trusted? To what extent?” These are the questions that I hoped to shine a light upon when I requested a topic-specific data cut on cultural organizations from the National Awareness, Attitudes, and Usage Study. The NAAU is an ongoing study regarding market perceptions of visitor-serving organizations and it currently quantifies feedback from over 108,000 respondents. The resulting data reveal important takeaways for museums today – and specifically underscore an important role that the market expects museums to play. As a heads-up, the data
This paper aims to contribute to the ongoing efforts of the museum sector to build a museum perspective of innovation. More specifically, the paper presents a new framework for innovation in museums called the Museum Innovation Model (MIM). The model emerged as a result of Ph.D. research that included a number of museums in the United States and the United Kingdom. The theoretical framework of the model is based on three concepts—open innovation, social enterprise, and social innovation—each of which, the research observed, are growing trends in the museum sector. The proposed paper offers an
This issue features contributions on the theme of STEM Learning Surrounds Us: Building learning ecosystems that connect STEM education across multiple settings. One contribution features a statewide effort in North Carolina, while two others deal with the challenges of serving rural populations.
Reader response has been positive regarding the publishing of each issue in three parts over three months. This means that manageable amounts of content will be sent to you every month, once the journal starts coming out quarterly in spring 2018.
There are many lenses through which we can measure the value of a museum experience.
There is the satisfaction factor: Did visitors have a good time? Were they engaged? Do they want to return?
There are learning outcomes: Did visitors learn something new? How much did they learn? How did their experience compare to other types of learning experiences?
And there is also meaning-making: Did respondents have a meaningful experience? A memorable one? A connective experience that made them want more?
While all three of these lenses (and many others) are important, meaning-making is
People love stuff. It speaks to them; it reminds them of special moments or people in their lives. They collect it and they love to tell stories about it and show it off. Museums’ deepest roots are in the stuff of collections. But over the last 200 years, the value and importance of collections to effective science interpretation (including exhibits, education, and outreach) has waxed and waned. It is clear from recent studies that using collections in concert with media and interactivity in exhibits and programs yields an extremely effective visitor experience. The recent work of Reach
A collective mass of youthful exuberance pulses through our science centers and museums on any given day. As I visit our ASTC-member institutions around the world, I find it extremely rewarding to watch all that energy being transformed into focused, intense contemplation of specific topics or experiences.
I have always been fascinated by the concept of “dwell time” in our science centers and museums. Dwell time usually refers simply to the period of time visitors spend in an exhibition or at a specific exhibit or activity. This time period can be extended in ways that are not entirely
On the first day of the Science and Society course at the Cooperstown Graduate Program in Cooperstown, New York, I present the students with an incandescent lightbulb, with clear glass so one can easily see the filament inside. I ask the students how it works and they are able to tell me that the electricity comes in there, runs through the filament here, heats up, and produces light. Then I take out my iPhone and slide it across the table and ask, “How does this work?” Blank stares abound.
In the 1980s in the United States, the traditional science center business and mission models worked well. Science centers were the most prominent source for informal science learning with financial support from governments and donors and a quasi-monopoly on IMAX films, science store merchandise, and interactive exhibits. A science center’s exhibit department would devise interesting exhibits, and the marketing department simply advertised that content to whatever audience might be interested. From today’s perspective, those were relatively simple times.
Things began to change in the 1990s
The San Diego Natural History Museum (theNAT) contracted RK&A to conduct a summative evaluation of the exhibition Extraordinary Ideas from Ordinary People: A History of Citizen Science and to explore how well the exhibition communicates an inclusive view of science. The goals for the evaluation were to explore visitors’ behaviors in the exhibition as well as understand what meanings visitors made from the exhibition, particularly with regard to how the exhibition’s messages about citizen science are resonating in the context of visitors’ science identity.
RK&A conducted timing and tracking
This is an extended discussion of the question that appeared in the Viewpoints department of the January/February 2016 issue of Dimensions magazine. It presents perspectives from museums and science centers on using out-of-the-box methods to attract visitors.
If you follow at least one culturally minded Washington, D.C., resident on social media, you’ve likely seen images of WONDER. Launched with the reopening of the Smithsonian Institution’s newly renovated Renwick Gallery last November, the exhibition comprised nine contemporary works. (Two remain on view.) Each took over an entire gallery, filling the museum with rainbows of thread, a model of the Chesapeake Bay made from fiberglass marbles, and geometric designs fashioned from insect specimens.
Irresistibly Instagrammable—the museum even posted “Photography Encouraged” signs—the