Born from individual basement tinkerers and garage-mechanic hobbyists, the Maker Movement has evolved to support a strong community among makers. Makers increasingly gather together in makerspaces, hackerspaces, tech shops, and fab labs, where groups composed of diverse ages, genders and backgrounds are motivated to learn with and from one another how to use and combine materials, tools, processes, and disciplinary practices in novel ways. The growth of the international Maker Faires’ annual showcases of makers’ inventions and investigations have become celebrated meccas of maker culture
The Baltimore Symphony Orchestra (BSO), in collaboration with the Psychology Department of the University of Maryland Baltimore County (UMBC) and Octava (a technology company), are conducting a pilot exploratory research project to assess the effectiveness of delivering informal science learning (ISL) to adult audiences through live music in a concert hall environment. The first half of the study is being timed to coincide with the 2016 annual meeting in Baltimore of the League of American Orchestras. Audiences will be introduced to the core idea that symmetry is a central concept both in science and in music, and they will experience these ideas via the orchestral music of pieces such as Aaron Copland's Appalachian Spring and Beethoven's Symphony. No. 5. The project goals are: to test whether and the extent to which informal STEM learning can occur among adults (ages 18+) during live orchestral performances and how the science content may enhance the audience experience; and to develop assessment tools for measuring audience learning and retention of scientific concepts delivered in connection with live musical performances both through interactive technology and through traditional program notes. It 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 pilot study will investigate the interaction of key variables related to the audience composition, the learning formats (use of app technology, program notes, or not), and the science concepts. The tablet application technology, under continued development by Octava, presents unobtrusive program notes that act as a concert companion in real time as a concert proceeds. The mixed methods research methodology will produce quantitative and qualitative data using pre- and post-test instruments and focus group interviews. A follow-up questionnaire will be sent to participants six weeks after the performances to ascertain whether what was learned was retained over a period of time. Dissemination of project findings will be to professionals in science, science education and music fields.
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TEAM MEMBERS:
Jessica AbelLinda BakerTonya RoblesCarol Bogash
As part of an overall strategy to enhance learning within maker contexts in formal and informal environments, the Innovative Technology Experiences for Students and Teachers (ITEST) and Advancing Informal STEM Learning (AISL) programs partnered to support innovative models in Making poised to catalyze new approaches in STEM learning and innovation. Employing a novel design and development approach, this Early Concept Grant for Exploratory Research (EAGER) will test the feasibility of integrating Making concepts with real world micro-manufacturing engineering principles within the context of intense, multi-year team apprenticeship experiences for high school students. The apprenticeship model is particularly novel, as current Making research and experiences predominately take place in afterschool and summer programs for up to 25 youth. The proposed apprenticeships will require a two year commitment by a small cohort of Texas high school students, which will provide an opportunity to examine the feasibility and impact of the effort longitudinally. The cohort will learn to think critically, solve problems, and work together as a Making Production Team (MPT) in a customized makerspace in their high school, constructing engineering-based science kits for implementation in a local elementary school. Not only will the students enhance their content knowledge while developing design and development skills but the students will also receive stipends which will address two very practical needs for the targeted high need population - employment and workforce development. Few, if any, efforts currently serve the targeted population through the contextualization of Making within a supply chain management and micro-manufacturing framework that extends the Making experience by integrating the student designed products into elementary classrooms. As such, this project will contribute to essentially unexplored areas of Making research and development.
Six high school students from high poverty, underserved Texas communities along the Texas-Mexico border (colonias) will be selected for the Making Production Team (MPT). In Years 1 and 2, the students will meet regularly during the academic school year and over the summer with Texas A & M University undergraduates, graduate students, and the project team to learn key aspects of Making and manufacturing (i.e., ideation, prototyping, design, acquisition, personnel, and production) through hands-on making activities and direct instruction. Concurrently, a research study will be conducted to explore: (a) the actualization of the model in an underserved community, (b) the effectiveness of problem-based learning to train students in the model, and (c) STEM knowledge and self-concept. Data will be collected from multiple sources. An adapted version of the Academic Self-Description Questionnaire will be administered to the students to assess their STEM technical knowledge and skills as well as their self-concept in relation to STEM domains. Remote and in person interviews will be conducted with the students to track the evolution of the primary dependent variables, STEM learning and self-concept, over time. Program facilitators and partners will be interviewed to examine the feasibility of the making experience within the given context and for the targeted students. Finally, the students' diary reflections, products, and video recordings of their work sessions will also be examined. Time-series quantitative tests and in-depth qualitative methods will be used to analyze the data.
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TEAM MEMBERS:
Francis QuekSharon Lynn ChuMalini NatarajarathinamMathew Kuttolamadom
This paper introduces an ongoing research project on the use of electronics workshops in engaging underprivileged Latino middle and high school students in STEM – Science, Technology, Engineering and Mathematics. The project focuses on the practice of circuit bending – taking apart and creatively manipulating the circuits of children's toys to produce novel sound output. The main goal of the project is to design, develop and test curricula and materials that inspire learning in adolescents. Second hand, discarded or low cost electronics are used in the workshops as a low cost platform for
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TEAM MEMBERS:
Garnet HertzGillian HayesAmelia Guimarin
The Art of Science Learning Project (AoSL) is a National Science Foundation (NSF)-funded initiative, founded and directed by Harvey Seifter, that uses the arts to spark creativity in science education and the development of an innovative 21st century STEM workforce. This research was guided by three main hypotheses: (1) Arts-based innovation training, compared to traditional innovation training, improves an individuals creative thinking skills including critical thinking, divergent thinking, problem identification, convergent thinking and problem solving; (2) Arts-based innovation training
Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.