The Oregon Museum of Science and Industry (OMSI), with major funding from the National Science Foundation, developed the Animal Secrets exhibition for children ages 3-8 and their families. The exhibition seeks to provide families with an opportunity to discover nature from an animal's point of view as they explore immersive, naturalistic environments including a meadow, stream, woodland, cave, and naturalists' tent. The exhibit's "big idea" is for visitors to develop a sense of wonder about nature by exploring the secret world of animals. Evaluation instruments and surveys are included in the
The New Ecological Paradigm Scale-Revised (NEP-R) is an updated version of the 1978 New Ecological Paradigm Survey. This updated version reflects current environmental terminology, as well as tests a single construct. The NEP-R is suitable for use in the general adult population.
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TEAM MEMBERS:
Riley E. DunlapKent D. Van LiereAngela MertigRobert Emmet Jones
In this article, Peter Kuttner FAIA, President of Cambridge Seven Associates, Architects and Exhibit Designers and Director of the American Institute of Architects, argues that museums have a unique responsibility to pursue sustainable design. Kuttner outlines the historical evolution of sustainable exhibit design, the LEED rating system, and the role museums should play in the "green movement" with the California Academy of Science as an outstanding exemplar.
Measures children's global attitudes and knowledge about environmental issues, such as animals, energy, pollution, recycling, water, and general issues.
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TEAM MEMBERS:
Frank C. LeemingWilliam O. DwyerBruce A. Bracken
The New Ecological Paradigm for Children is modeled after the New Ecological Paradigm (NEP) and the New Ecological Paradigm-Revised (NEP-Revised) for adults. The survey contains 10 questions assessing three subscales that contribute to one’s “environmental world view” including “rights of nature,” “eco-crisis,” and “human exceptionalism.”
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TEAM MEMBERS:
Constantinos C. ManoliBruce JohnsonRiley E. Dunlap
Assesses children's interest in, attitude towards, and experiences in science and technology, as well as their opinion about environmental challenges and career aspirations.
This article describes the goals and methodology of the Field Museum in Chicago's Calumet Environmental Education Program (CEEP) in the Calumet region of southeast Chicago. The program engages students grades 4-12 in science by letting them apply what they have learned to real-life community conservation issues. Evaluation highlights and lessons learned are also included.
This article features three critiques of the exhibition "MN150" at the Minnesota History Center, part of the celebration of the Sesquicentennial of the State of Minnesota. Roger Barrett, Exhibit Designer at the Science Museum of Minnesota, Liza Pryor, Project Leader in the Exhibits Department at the Science Museum of Minnesota, and Jeanne Vergeront, Principal of Vergeront Museum Planning, each provide an assessment of the exhibition.
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TEAM MEMBERS:
Roger BarrettLiza PryerJeanne W. Vergeront
In this article, John Jacobsen, CEO and CO-PI at the White Oak Institute, President of White Oak Associates, and Co-Chair of the Professional Interest Committee for Green Museums (PIC Green), explores sustainable design and argues that large museums have a lot to learn from smaller institutions. Jacobsen outlines how and why museums should take a "leaner and greener" approach.
In this article, Lea T.F. Warden, Independent Researcher/Collections Manager, examines traveling exhibitions and their impact on the environment. Warden discusses there interrelated aspects of traveling exhibitions where resource conservation is particularly in need of improvement: transportation, packaging, and scheduling. Warden argues that museums must take more responsibility for the role it plays in the larger context of environmental degradation if they want to continue to produce and house traveling exhibitions.
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TEAM MEMBERS:
Lea T.F. WardenNational Association for Museum Exhibition
In this article, Eric Siegel, Director and Chief Content Officer at the New York Hall of Science, addresses examples of exhibitions that attempt to create experiences that communicate phenomena too big, small, slow, or abstract for normal sensory comprehension. This article also includes a case study by Gretchen Baker, Exhibition Development Manager at the Field Museum, and a case study by Tim Martin, Principal of Tim Martin Design.