To address this challenge of depicting a world we can't see, the NISE Network Visualization Laboratory at the Exploratorium invited artists and scientists to explore ways of representing the nanoscale through a series of commissions, installations, and residencies in 2006. Drawing from a spectrum of artistic media and approaches, the results of these experiences are documented in this report. The PDF is a printable, archival document of the ArtNano website that was produced by the Exploratorium for the NISE Network in 2007.
What if every kid had access to a real workshop? Like the ones in the corners of garages across the country: a basic array of tools, bits and pieces of hardware, piles of scrap materials and fasteners, plus stacks of unsorted boxes containing the remnants of projects gone by. Visualize also that the workshop held a few musical instruments-guitars, a keyboard, some percussion-as well as art supplies: markers, paints, clay, and the tools to shape it, ribbons glitter, beads, fabric, etc. n top of this, picture the workshop having a few hands-on exhibits to explore and manipulate-a vacuum chamber
There is a growing commitment within science centres and museums to deploy computer-based exhibits to enhance participation and engage visitors with socio-scientific issues. As yet however, we have little understanding of the interaction and communication that arises with and around these forms of exhibits, and the extent to which they do indeed facilitate engagement. In this paper, we examine the use of novel computer-based exhibits to explore how people, both alone and with others, interact with and around installations. The data are drawn from video-based field studies of the conduct and
Marshall Barnes was chosen by Larry Bock, founder of the USA Science and Engineering Festival as a late addition to the USASEF after viewing Marshall's impressive SuperScience for High School Physics activities for National Lab Day and his emphasis on advanced concept science and technologies. Marshall was given free booth space to set-up an exhibit that featured what is now being called "STEAM" or Science, Technology, Engineering, Art, Math and was fairly interactive. Marshall's booth emphasized his actual research that the visitors could take part in or analyze themselves. He had a VCR, TV, CD player, MacBookPro laptop and his own invention - the Visual Reduction Window. There were four elements to the exhibit. There was a TV monitor that showed a scene from a movie that you could view with 3D glasses for TV that Marshall invented that work even with one eye closed. At different times that same monitor would feature footage from an experiment that Marshall conducted to produce one of Nikola Tesla's ideas that Tesla never accomplished - a wall of light. This same footage could be analyzed by the visitors - frame by frame, on the Mac computer to see exactly how the principle of resonance produced the wall of light from the build-up of reflections off a physical wall created by strobe lights. Visitors could also listen to hyperdimensional music that Marshall produced that takes any kind of music to a new listening experience. Based on the concept that music is a coded language with cues and instructions that are cognitively recognizable when translated, Marshall invented techniques and technologies that allow such translations and brought examples for visitors to listen to. They included an upcoming radio show theme and the soundtrack to a documentary on the reality behind Fox TV's FRINGE. The music featured song elements that move around between the speakers and make you feel like the music is alive. The most dramatic of all was the Visual Reduction Window, again invented by Marshall, that made kids look transparent and at times, almost completely invisible. Based on his famous research into invisibility, which is documented at the Santa Maria Experiment exhibit in the Santa Maria Education Visitor's Center in Columbus, Ohio, the effect of real life transparency is stunning and Marshall, the world's leading expert on invisibility research was able to describe the physics behind what he was doing and its applications in the real world. His approach to invisibility is superior to those methods pursued by Duke University and others, trying to do the same with metamaterials, and is based on a completely different model of invisibility that he calls, Visual Density Reduction or VDR. Using VDR techniques, Marshall can make attack helicopters, small gun boats, tanks and many other things invisible, which is why he doesn't reveal the current level of his research, due to National Security reasons. Overall, the exhibit was a wild success and serves as a model for a traveling exhibit for informal science at malls, fairs, science centers, and other festivals.
The youth-based ITEST proposal, Invention, Design, Engineering and Art Cooperative (IDEA), will provide 100 students in grades 8-12 from the East Side of St. Paul, Minnesota with IT experiences in engineering and design. The content focus is mechanical and electrical engineering, such as product design, electronics, and robotics with an emphasis on 21st century job skills, including skills in advanced areas of microcontrollers, sensors, 3-D modeling software, and web software development for sharing iterative engineering product design ideas and maintaining progress on student product development. These technologies are practical and specific to careers in engineering and standards for technological literacy. During the three-year project period, a scaffolding process will be used to move students from exploratory activities in Design Teams in the 8th and 9th grades to paid employment experiences in grades 10-12 as part of Invention Crews. All design and product invention work will be directly connected to solving problems for local communities, including families and local businesses. For grades 8 and 9, students will receive 170 total contact hours per year and for grades 10-12, 280 contact hours per year. The participant target goal is 75% participation by girls, and African-American and Latino youth. Students participating in this project are situated within the country's most diverse urban districts with students speaking more than 103 languages and dialects. The schools targeted by this project average 84% of students receiving free or reduced price lunches, and have a population with 81% falling below proficiency in the Grade 8/11 Math MCA-II Test. To achieve the project goals of recruiting underrepresented students, and supporting academic transitions from middle and high school to college and university, the project team aggregated an impressive group of project partners that include schools, colleges, universities, and highly experienced youth and community groups, technology businesses that will provide mentoring of students and extensive involvement by parent and family services. Every partner committed to the project has a longstanding and abiding commitment to serving students from economically challenged areas.
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TEAM MEMBERS:
Anika WardKristen MurrayRachel GatesDavid Gundale
resourceevaluationMuseum and Science Center Programs
Star Wars: Where Science Meets Imagination is a National Science Foundation funded project which developed a national traveling exhibition on science and technology themes depicted in the Star Wars movies. The Museum of Science, Boston (MOS) developed the exhibition in collaboration with Lucasfilm Ltd. and Science Museum Exhibit Collaborative (SMEC). The exhibition will travel to members of the SMEC in Los Angeles, Portland, Fort Worth, St. Paul, Columbus, Philadelphia, and Boston. Other venues will display the exhibition after the Collaborative tour. Tisdal Consulting was contracted to
The focus of this paper is to turn our attention to the arts as an understudied area within the computer-supported collaborative learning community and examine how studying the learning of arts and programming can open new avenues of research. We document, describe, and analyze urban youths’ media arts practices within the context of the design studio, particularly by focusing on how collaboration, computation, and creativity play out within this context. We utilize a mixed methods design that draws upon three approaches: (1) participant observations; (2) media arts object analyses; and (3)
Based on work in media studies, new literacy studies, applied linguistics, the arts and empirical research on the experiences of urban youths’ informal media arts practices we articulate a new vision for media education in the digital age that encompasses new genres, convergence, media mixes, and participation. We first outline the history of how students’ creative production has been used to meet the goals of media educators and highlight new trends in media education that are instructive for creative production. Our goal is to introduce and situate the new ways in which youth are