This document is the final evaluation report for the project, which focuses both on formative evaluation of the collaborative+interdisciplinary presentation creation process and summative evaluation of audience learning outcomes.
The Westchester Children’s Museum will develop Full STEAM (Science, Technology, Engineering, Art, and Math) Ahead, an integrated, module-based sequence of hands-on STEAM workshops adaptable for both in-person and virtual teaching for high-need 2nd to 6th grade students at Thomas Cornell Academy in Yonkers, NY and Waterside School in Stamford, CT. Project activities include program development, preparation, delivery, and evaluation to create programs that are replicable and sustainable while leveraging the museum’s resources to demonstrate how it can support their communities in need during unprecedented times. Full STEAM Ahead anticipates reaching 300 students from low-income and economically disadvantaged families.
Environmental Pedagogies and Practice is divided into four sections: changing environmental pedagogies, teaching practices, examples of transformative approaches and a toolkit of lesson plans. While the book focuses on environmental communication, the chapters offer insights that are also relevant in a range of science communication contexts.
This Research Advanced by Interdisciplinary Science and Engineering (RAISE) project is supported by the Division of Research on Learning in the Education and Human Resources Directorate and by the Division of Computing and Communication Foundations in the Computer and Information Science and Engineering Directorate. This interdisciplinary project integrates historical insights from geometric design principles used to craft classical stringed instruments during the Renaissance era with modern insights drawn from computer science principles. The project applies abstract mathematical concepts toward the making and designing of furniture, buildings, paintings, and instruments through a specific example: the making and designing of classical stringed instruments. The research can help instrument makers employ customized software to facilitate a comparison of historical designs that draws on both geometrical proofs and evidence from art history. The project's impacts include the potential to shift in fundamental ways not only how makers think about design and the process of making but also how computer scientists use foundational concepts from programming languages to inform the representation of physical objects. Furthermore, this project develops an alternate teaching method to help students understand mathematics in creative ways and offers specific guidance to current luthiers in areas such as designing the physical structure of a stringed instrument to improve acoustical effect.
The project develops a domain-specific functional programming language based on straight-edge and compass constructions and applies it in three complementary directions. The first direction develops software tools (compilers) to inform the construction of classical stringed instruments based on geometric design principles applied during the Renaissance era. The second direction develops an analytical and computational understanding of the art history of these instruments and explores extensions to other maker domains. The third direction uses this domain-specific language to design an educational software tool. The tool uses a calculative and constructive method to teach Euclidean geometry at the pre-college level and complements the traditional algebraic, proof-based teaching method. The representation of instrument forms by high-level programming abstractions also facilitates their manufacture, with particular focus on the arching of the front and back carved plates --- of considerable acoustic significance --- through the use of computer numerically controlled (CNC) methods. The project's novelties include the domain-specific language itself, which is a programmable form of synthetic geometry, largely without numbers; its application within the contemporary process of violin making and in other maker domains; its use as a foundation for a computational art history, providing analytical insights into the evolution of classical stringed instrument design and its related material culture; and as a constructional, computational approach to teaching geometry.
This project is funded by the National Science Foundation's (NSF's) Advancing Informal STEM Learning (AISL) program, which supports innovative research, approaches, and resources for use in a variety of learning settings.
Human-induced global change has triggered the sixth major extinction event on earth with profound consequences for humans and other species. A scientifically literate public is necessary to find and implement approaches to prevent or slow species loss. Creating science-inspired art can increase public understanding of the current anthropogenic biodiversity crisis and help people connect emotionally to difficult concepts. In spite of the pressure to avoid advocacy and emotion, there is a rich history of scientists who make art, as well as art–science collaborations resulting in provocative work
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TEAM MEMBERS:
Jennifer HarrowerJennifer ParkerMartha Merson
As a leader in the science museum field, the New York Hall of Science (NYSCI) is a destination for hands-on, interactive exhibitions and innovative programs. NYSCI’s Design-Make-Play (DMP) pedagogical approach to STEM learning recognizes that what is essential is not only the content—what is being taught—but how teaching and learning are imagined through the curriculum. This commitment to practice builds off of interest-based learning research, which emphasizes that all learners should feel a sense of efficacy and possibility. The hallmarks of this approach include deep personal engagement
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TEAM MEMBERS:
Amanda SolarshGina TesorieroMichaela LabrioleTara Chudoba
Abstract
In 2011, Donna DiBartolomeo and Zachary Clark enrolled in the Arts in Education Program at Harvard Graduate School of Education. Harvard Graduate School of Education is home to Project Zero, an educational research group comprising multiple, independently funded projects examining creativity, ethics, understanding, and other aspects of learning and its processes. Under the guidance of Principal Investigator Howard Gardner and Project Manager Katie Davis, the authors were tasked with developing a methodology capable of observing finegrained, objective detail in complete works of
Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.
Dialogical models in science communication produce effective and satisfactory experiences, also when hard sciences (like astrophysics or cosmology) are concerned. But those efforts to reach the public can be of modest impact since the public is no longer (or not sufficiently) interested in science. The reason of this lack of interest is not that science is an alien topic, but that contemporary science and technology have ceased to offer a convincing model for the human progress.
This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.
This paper is concerned with the interactions between information technology and the humanities, and focuses on how the humanities have changed since adopting computers. The debate among humanists on the subject initially focuses on the alleged methodological changes brought about by the introduction of computing technology. It subsequently analyses the changes in research that were caused by IT not directly but indirectly, as a consequence of the changes effected on society as a whole. After briefly summarising the history of the interactions between information technology and the humanities
This paper is concerned with the interactions between information technology and the humanities, and focuses on how the humanities have changed since adopting computers. The debate among humanists on the subject initially focuses on the alleged methodological changes brought about by the introduction of computing technology. It subsequently analyses the changes in research that were caused by IT not directly but indirectly, as a consequence of the changes effected on society as a whole. After briefly summarising the history of the interactions between information technology and the humanities