This project builds on an NSF-funded program which engaged youth in the creation of art-science experiences that use the biology and the experiences of migratory birds as a means for communicating the impact of a changing climate.
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TEAM MEMBERS:
Rebecca SafranShawhin RoudbariMary Osnes
The Arctic is warming four times faster as a result of climate change than any other region, but the impacts of this warming are not well known beyond the local communities in the region. The Alaska Pacific University (APU) will organize a one-year planning project to further develop relationships with four Indigenous communities along the Alaskan Yukon River who are experiencing environmental and social impacts from the climate crisis.
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TEAM MEMBERS:
James TemteJulie Brigham-GretteBlane De St CroixErin Marbarger
resourceevaluationMuseum and Science Center Exhibits
The linked repository contains select resources from the SICIIT NSF project (Supporting Science and Engineering Identity Change in Immersive Interactive Technologies). The project did not reach its main objective, mainly due to disruptions caused by COVID, but we hope that the materials will be a useful resource for follow-up research.
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TEAM MEMBERS:
Stefan RankAyana AllenGlen MuschioAroutis FosterKapil Dandekar
resourceresearchMuseum and Science Center Exhibits
This white paper describes outcomes from a conference about using non-science art in science education. Art and science are often combined for entertainment, education (STEAM) and inspirational value. However, in almost all cases the art is science-themed (scientific visualizations, science-inspired art, art about scientific topics, etc.). This conference asks the question “what about art for arts-sake?”. That is, what is the impact of non-scientific art in science education? Can non-science themed art be used to broaden perspectives about science? Can it cue people to think about science more
Artificial intelligence (AI) is in many of our everyday activities—from unlocking phones to running Internet searches to parking cars. Yet, most instruction on how AI works is only in computer science courses. The unique role that AI plays in making decisions that affect human lives heightens the need for education approaches that promote public AI literacy. Little research has been done to understand how we can best teach AI in informal learning spaces. This project will engage middle school age youth in learning abouts AI through interaction with museum exhibits in science and technology centers. The exhibits employ embodied interactions and creative making activities that involve textiles, music making, and interactive media. The research will build on three exhibit prototypes that teach about concepts including bias in data in machine learning, AI decision-making processes, and how AI represents knowledge. Female-identifying and Title 1 youth will be recruited as participants during the exhibit design iterations and testing. The 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
Researchers will explore two key research questions: 1) How can the design of interactive museum exhibits encourage interest development in and learning about AI among learners without a Computer Science background by using embodiment and creative making? and 2) How do embodied interaction and creative making mediate learning about AI in informal learning environments? The project will take a design-based research approach, iteratively building on existing exhibit prototypes and testing them in-situ with learners. Data sources and modes of analysis will include retrospective surveys to assess interest, content knowledge gain, creativity, learning talk analysis of audio recordings, and coding of embodied movements in video recordings. Learning talk analysis will identify instances of joint sensemaking during naturalistic interactions with our exhibit to reveal connections between sensemaking talk; learners' behaviors and embodied actions during real-time collaborative knowledge building; and outcomes in knowledge, interest, and creativity measures as elicited in retrospective surveys. The final set of exhibits will be rigorously evaluated with over 500 museum visitors. The key contributions of this work will include a set of rigorously tested exhibits, publicly available exhibit designs, a set of design guidelines for developing AI literacy museum exhibits, and an improved understanding of the relationship between AI-related learning and interest development, embodiment, and creativity.
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TEAM MEMBERS:
Brian MagerkoDuri LongJessica Roberts
“Not a place for me” is often one of the main reasons people choose not to visit art museums.
Such perceptions of art museums call for institutions to create wider and more diverse entry points for visitors. At the Art Institute of Chicago—envisioned by our first president as a “museum of living thought”—we seek to continually expand art historical narratives by bringing together a plurality of perspectives and voices to processes of research, scientific and creative inquiry, and to increasingly varied modes of public engagement with art. To achieve these goals we developed a multifaceted
Historic art objects provide a collection of materials that have been naturally aged for decades or even centuries. In addition to the intrinsic archival value of these materials, they are also models for understanding property degradation over long periods of time. This project aims to develop computational and experimental tools needed to understand how these changes take place. To accomplish this task a research network has been established between Northwestern University and leaders in cultural heritage science from the Rijksmuseum and the University of Amsterdam in the Netherlands, the National Research Council in Italy, and the Synchrotron Soleil in France. This new infrastructure promises to deliver a significant enhancement of research and education resources (networks, partnership and increased access to facilities and instrumentation) to a diverse group of users. The art objects central to the project provide a series of well-defined case studies for investigating complex materials systems that are both applicable to materials education and push the limits of the existing analytical tools, thus inspiring instrumental innovations across broad sectors of the physical sciences. Further development of these tools will enable art conservators to more effectively make informed decisions about treatments of works of art, and to understand long-term materials degradation more generally. The project will also deliver a significant enhancement of research and education infrastructure by a diverse group of users and will provide meaningful, international research experience to 50 participants, with a strong emphasis on scientists at the beginning of their careers. In addition, the connections between science and art will illustrate the creative aspects of both disciplines to a very broad audience, attracting a more representative cross section of people into science.
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TEAM MEMBERS:
Kenneth ShullFrancesca CasadioOliver CossairtAggelos KatsaggelosMarc Walton
It’s a great job when you get to do stuff just for fun. For the last few days, I’ve been at the Science Museum of Minnesota, consulting on their new exhibit? Theatrical performance? Interactive game? called Infestation: The Evolution Begins. It’s a 3-part project funded by NSF to help teach key concepts of evolution to kids, and it’s looking pretty amazing.The first part is done, and it’s a theatrical event where the concepts are explained entertainingly, and the audience are introduced to little imaginary creatures called VISTAs. If you go to SMM today, you can watch the whole show yourself
Informal science learning (ISL) organizations that are successful at providing meaningful science, technology, engineering, arts, and mathematics (STEAM) experiences for Latino children, youth, and their families share some common traits. They have leaders and staff who believe in the importance of developing culturally relevant models and frameworks that meet the needs and acknowledge the legacy of STEAM in Latino communities. Such organizations are willing to take risks to create experiences that are culturally meaningful, garner funding and implement programs by working closely with their
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TEAM MEMBERS:
Cheryl JuarezVerónika NúñezExploratorium
Merging art and science, "Self Reflected" aims to communicate the incredible complexity of the neural signaling in our brains that makes us who we are. The artists, Dr. Greg Dunn and Dr. Brian Edwards, invented a novel technique called reflective microetching to simulate the microscopic behavior of neurons in the viewer’s brain as they observe this work of art. "Self Reflected" is currently on display in the Your Brain exhibit at The Franklin Institute in Philadelphia. This summative evaluation study explores museum visitors’ behavior, reactions, and learning outcomes as they interact with
This project, a collaboration of teams at Georgia Institute of Technology, Northwestern University, and the Museum of Design Atlanta and the Museum of Science and Industry in Chicago, will investigate how to foster engagement and broadening participation in computing by audiences in museums and other informal learning environments that can transfer to at-home and in-school engagement (and vice versa). The project seeks to address the national need to make major strides in developing computing literacy as a core 21st century STEM skill. The project will adapt and expand to new venues their current work on their EarSketch system which connects computer programming concepts to music remixing, i.e. the manipulation of musical samples, beats and effects. The initiative involves a four-year process of iteratively designing and developing a tangible programming environment based on the EarSketch learning environment. The team will develop three new applications: TuneTable, a multi-user tabletop exhibit for museums; TunePad, a smaller version for use at home and in schools; and an online connection between the earlier EarSketch program and the two new devices.
The goal is to: a) engage museum learners in collaborative, playful programming experiences that create music; b) direct museum learners to further learning and computational music experiences online with the EarSketch learning environment; c) attract EarSketch learners from local area schools to visit the museum and interact with novice TuneTable users, either as mentors in museum workshops or museum guests; and d) inform the development of a smaller scale, affordable tangible-based experience that could be used at homes or in smaller educational settings, such as classrooms and community centers. In addition to the development of new learning experiences, the project will test the hypothesis that creative, playful, and social engagement in the arts with computer programming across multiple settings (e.g. museums, homes, and classrooms) can encourage: a) deeper learner involvement in computer programming, b) social connections to other learners, c) positive attitudes towards computing, and d) the use and recognition of computational concepts for personal expression in music. The project's knowledge-building efforts include research on four major questions related to the goals and evaluation processes conducted by SageFox on the fidelity of implementation, impact, success of the exhibits, and success of bridging contexts. Methods will draw on the Active Prolonged Engagement approach (unobtrusive observation, interviews, tracking-and-timing, data summaries and team debriefs) as well as Participatory Action Research methods.
This work 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.
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TEAM MEMBERS:
Michael HornBrian MagerkoJason Freeman
With funding from the National Science Foundation, NOVA/WGBH Boston with the participation of 14 U.S. and 4 international science museums have produced an IMAX/OMNIMAX film titled, Special Effects. The 40-minute film shows the techniques and methods that special effects filmmakers use along with their understanding of the human visual system to create movie illusions. Multimedia Research implemented a summative evaluation focused on the following major outcomes: To what extent did the program appeal to adult viewers? To what extent did the program achieve its intended viewing goals? What