The Antarctic Dinosaurs project aims to leverage the popularity and charisma of dinosaurs to inspire a new generation of polar scientists and a more STEM (Science, Technology, Engineering, Mathematics)-literate citizenry. The project, centered on a giant screen film that will reach millions of theatrical viewers across the U.S., will convey polar science knowledge through appealing, entertaining media experiences and informal learning programs. Taking advantage of the scope of research currently taking place in Antarctica, this project will incorporate new perspectives into a story featuring dinosaurs and journey beyond the bones to reveal a more nuanced, multi-disciplinary interpretation of paleontology and the profound changes the Antarctic continent has endured. The goals of the project are to encourage young people to learn about Antarctica and its connection to the rest of the globe; to challenge stereotypes of what it means to participate in science; to build interest in STEM pursuits; and to enhance STEM identity.
This initiative, aimed particularly at middle school age youth (ages 11-14), will develop a giant screen film in 2D and 3D formats; a 3-episode television series; an "educational toolkit" of flexible, multi-media resources and experiences for informal use; a "Field Camp" Antarctic science intervention for middle school students (including girls and minorities); fictional content and presentations by author G. Neri dealing with Antarctic science produced for young people of color (including non-readers and at-risk youth who typically lack access to science and nature); and presentations by scientists featured in the film. The film will be produced as a companion experience for the synonymous Antarctic Dinosaurs museum exhibition (developed by the Field Museum, Chicago, in partnership with the Natural History Museum of Los Angeles County, Discovery Place, Charlotte, NC, and the Natural History Museum of Utah). Project partner The Franklin Institute will undertake a knowledge-building study to examine the learning outcomes resulting from exposure to the film with and without additional experiences provided by the Antarctic Dinosaurs exhibition and film-related educational outreach. The study will assess the strategies employed by practitioners to make connections between film and other exhibits, programs, and resources to improve understanding of the ways film content may complement and inspire learning within the framework of the science center ecosystem. The project's summative evaluation will address the process of collaboration and the learning impacts of the film and outreach, and provide best practices and new models for content producers and STEM educators. Project partners include film producers Giant Screen Films and Dave Clark Inc.; television producer Natural History New Zealand (NHNZ); Discovery Place (Charlotte, NC); The Franklin Institute; The Field Museum; The Natural History Museum of Utah (The University of Utah); author G. Neri; and a team of scientists and diversity advisers. This project is funded by the Advancing Informal STEM Learning (AISL) program, which seeks to advance new approaches to, and evidence-based understanding of, the design and development of STEM learning in informal environments. This includes providing multiple pathways for broadening access to and engagement in STEM learning experiences, advancing innovative research on and assessment of STEM learning in informal environments, and developing understandings of deeper learning by participants. The project has co-funding support from the Antarctic section of the Office of Polar Programs.
This award reflects NSF's statutory mission and has been deemed worthy of support through evaluation using the Foundation's intellectual merit and broader impacts review criteria.
The management of health risks related to scientific and technological innovations has been the focus of a heated debate for a few years now. In some cases, like the campaigns against the use of GMOs in agriculture, this debate has degenerated into a political and social dispute. Even risk analysis studies, which appeared in the 1970s in the fields of nuclear physics and engineering and were later developed by social sciences as well, have given completely different, and at times contradictory, interpretations that, in turn, have given rise to bitter controversies.
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
Over the last few years the media and especially television have focussed on presumed health emergencies such as mad-cow disease, genetically modified organisms (GMOs), the Di Bella cancer-cure case and the Lipobay case. Topics such as these have a strong emotional impact on public opinion and subscribe to the dictates of the ratings rather than following the more or less prescriptive rules of scientific communication. In a highly competitive environment, if the ratings prevail against information, it is obvious that news follows the rules of fiction, health reports become mere
What do images communicate about humans’ place in nature? Medin and Bang posit that the artifacts used to communicate science—including words, photographs, and illustrations—commonly reflect the cultural orientations of their creators. The authors argue that Native Americans traditionally see themselves as part of nature and focus on ecological relationships, while European Americans perceive themselves as outside of nature and think in terms of taxonomic relationships.
Massachusetts Audubon Society will create a manual intended to be used by other organizations to create educational, reflective, self-guided nature trail experiences designed for individuals who require accessibility accommodations. To promote the new manual, the Society's statewide education projects manager will create guidelines, produce a media presentation, plan and deliver live presentations, and publish articles in relevant professional publications. In addition, the manual will be made available at no charge in print and online formats, so that organizations will have access to guidelines and the most appropriate strategies for creating inclusive interpretive nature trails that provide an independent, outdoor experience for all users.
This poster was presented at the 2014 AISL PI Meeting in Washington, DC. It highlights the goals, audience, outcomes, and lessons learned for a pathways project to develop a model for producing scientific news reports in a variety of media formats on a range of topics of keen interest to rural and Native American communities in Montana. Cultural differences and geographic isolation influence opportunities to provide STEM content to these communities, yet these communities are facing perplexing decisions about exploitation of their environmental resources. The poster highlights the successes of
The article discusses a study conducted by the University of Waterloo, reported by researcher Daniela O'Neill, regarding the acquisition of knowledge by children concerning animals when a picture book is read aloud. Topics include a comparison of picture books and vocabulary books, the use of generic language used by mothers when reading aloud, and additional animal facts provided when reading either book.
In this paper, Pedro J.E. Casaleiro of the University of Leicester, Department of Museum Studies, discusses research that considers the investigation of evidence in mass media other than museums to help define a communications policy that bears the visitor in mind. In doing so, Casaleiro aims to broaden understanding about audiences' concerns with science, recognizing the presence of shared symbolic values created by both museums and traditional mass media. Casaleiro cites findings from studies of Portuguese newspapers and a natural history museum to support his claims.