This article explains the concepts of disruptive innovation and catalytic innovation, a subset of disruptive innovation. Disruptive innovations challenge industry incumbents by offering simpler, good-enough alternatives to an underserved group of customers, whereas catalytic innovations can surpass the status quo by providing good-enough solutions to inadequately addressed social problems.
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Clayton ChristensenHeather BaumannRandy RugglesThomas Sadtler
In the paper I argue for a certain way of theorizing and studying learning. Learning is seen as situated in social practice, and in the pursuit of most learning persons are seen as moving around in social practice. They are involved in personal trajectories across various social contexts of practice. Even more so, these social contexts and the links between them, which persons learning draw on in their pursuit of learning, are institutionally arranged in various ways, and this affects the opportunities and nature of learning processes. These arguments about the nature of learning, theories of
In 2010 the Royal Society journal Biology Letters published an article, ‘Blackawton bees’, which caused something of a sensation: the findings, on bees’ foraging patterns, were original, but the true originality lay in the fact the experiments were in part devised, and the paper written, by a group of 8- to 10-year-old children at Blackawton Primary School in Devon (Blackawton et al., 2011).[1] The article attracted considerable media attention, troubling, as it did, the boundaries of professional science, and distinctions between scientific practice and education, not to mention the
Increasing numbers of museums and galleries worldwide have developed an array of working practices that might be termed 'participatory' or 'co-creative', which seek to involve visitors, non-visitors, community and interest groups with diverse forms of expertise and perspective in their activities. Frequently the central aim of such practices has been to strengthen relationships between a museum and its audiences through projects that are jointly conceived and developed with local communities. However, relatively little attention has been given to participatory practice within the work of
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Katy BunningJen KavanaghKayte McSweeneyRichard Sandell
This paper examines the approach of a major new gallery on information and communication technologies in the Science Museum, situating it in the context of current ideas around the history of technology and exploring the way the curatorial team addressed the challenges of display and interpretation. As a short discussion piece it looks at four broad questions: How has the concept of information, and more importantly an ‘Information Age’ been conceived across differing disciplines? What opportunities can user focused histories present to a gallery on information and communication technologies
Science centres and museums in Europe traditionally offer opportunities for public participation, such as dialogues, debates and workshops. In recent years, starting with the support of grants from the European Commission, the purpose of these initiatives is increasingly more connected with the policy making processes where science centres play a role as brokers between the public and other stakeholders. This article begins an investigation on how these two levels of participation – the participation of museums in policy, and the participation of visitors in museums – are related in seven
The paper aims to build a ground for thinking about museums’ role in society and the development of the twenty-first century learner. The first and second parts of the paper focus on the influences technological evolution and current global challenges have brought to our lives, and the consequent requirements for ‘new’ learning and skills. The third part examines how different elements of new pedagogies and approaches could reinforce the twenty-first century learner and could, moreover, inspire museums. The final part of the paper focuses on the specific contribution that museums could make by
This book offers museum learning researchers and practitioners--educators, explainers, and exhibit developers--a new approach for fostering group inquiry at interactive science exhibits. The Juicy Question game, developed at the Exploratorium in San Francisco, engages group members in a simple process of inquiry that helps them work together interrogate exhibit phenomena more deeply. and widens their both families and student field trip groups. The approach is easy to implement and yields clear results. The results are summarized in a set of practice principles that can be used by other
The Exploratorium's Going APE project (APE=Active Prolonged Engagement) developed 30 exhibit designs to encourage visitors to become more cognitively engaged with exhibits--to use exhibits as tools for self-directed exploration, rather than as authoritative demonstrations. To do this, the staff drew on work in the fields of education, visitor research, human factors engineering, computer interface design, and interactive exhibit development at other museums. The project also integrated evaluative research into exhibit development to maximize possibilities for visitor-authored questions
As with most attractions, COSI relies heavily on the map it provides visitors to facilitate wayfinding, marketing, and promotion. As the map is of significant cost, the Marketing department determined that they needed answers to several questions about the visitor use of the COSI map.
This survey was used as part of the AZA research agenda process. The Visitor Studies Initiative of the CEC has been gathering information about the evaluation and visitor research work that has been conducted at AZA institutions. The goal is to develop a plan for visitor research at our institutions going forward – to identify areas where we are excelling, as well as topics needing further research attention. The survey was sent to education professionals from 77 AZA institutions, and will be used identify holes in the existing framework and/or future opportunities for research.
This report discusses a front-end evaluation that aimed to determine what physical and perceptual barriers affect visitors’ use of the Henry Art Gallery, and how visitors currently interact with museum spaces and staff. These findings will support guest service training and changes in the museum’s physical infrastructure. This study utilized three main questions for exploring the visitor experience at the museum: 1) Are there barriers affecting visitors’ use of the Henry?; 2) What motivates visitors to use certain spaces at the Henry?; and 3) What experiences are visitors having with Henry