This paper relates to a special case of science-society mediation set up during the Science et Cité festival 2005. This national event took place in about twenty cities in Switzerland to promote a closer cooperation between science and society via art (theatre, music, dance, exhibitions, cinema, etc.), in order to reach the population at large. Results on the profile of the public, the role played by the cultural institutions involved, the motives of the visitors and the role of art in the science-society dialogue show that the goals aimed at by the festival's organisers were only partially
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Fabienne Crettaz von RotenOlivier Moeschler
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
A personal essay by a former public school teacher in the Teach for America program highlights the differences between school and afterschool education.
This article explores a variety of strategies for using museum floor staff as evaluation resources. Eric Siegel, Director and Chief Content Officer, discusses the New York Hall of Science's Science Career Ladder and how Explainers are involved in evaluation. Ryan Hill, Manager of Interpretive Programs and Curatorial Research Associate at the Hirshorn Musuem and Sculpture Garden, examines the The Guggenheim Museum's Gallery Guide as a case study on the value of feedback. Elizabeth Kunz Kollmann, Senior Research Associate and Evaluation Assistant at the Museum of Science in Boston, examines the
In this article, Mary Jane Taylor, Interim Director of Public Programs at Winterthur Museum & Country Estate, shares the Request for Proposal process associated with the "Made in China: Export Porcelain from the Leo and Doris Hodroff Collection at Winterthur" exhibition and the associated "Design your own plate" interactive. Evaluation results and RFP are included in this article.
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