Art and science represent two powerful human ways of investigating and understanding the natural and social world. Both are creative processes involving acts of observation, interpretation, meaning-making, and the communication of new insights. While standards of evidence may vary between the two fields, there are also many common practices. Many artists, for example, employ a range of computational, digital and engineering practices. Many scientists are guided in part by aesthetic considerations in the formulation of questions, theories, and models. In this report we share the results of a
This article seeks to reflect on mediation in museums based on experiences that occurred in the “Learning in order to Teach” Project. In this case, the mediation acquires specific characteristics because it deals with young deaf people learning art-related contents in order to teach other youth in their first language. The most interesting aspect of this encounter between museum and deaf culture is a mutual, immediate and highly visible influence. While museum-goers and professionals understand that the “gestures” used by the deaf are not random (rather, on the contrary, they make up a
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Daina LeytonCibele LucenaJoana Zatz Mussi
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.
Despite the developed world’s climate-controlled interiors and easy access to all kinds of fresh produce at any time of year, our lives are still dependent upon the weather and climate. With global warming, our dependence is becoming even more apparent. I am an artist working with new technologies and last year I had the opportunity to go to Antarctica for two months on a US National Science Foundation-sponsored residency where I worked alongside scientists studying the global implications of Antarctic weather and climate change. The Antarctic is unlike any other place on earth. There, I
Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of
In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to
The world, all at once, has become a small world. Not only owing to TV, satellites and the Internet that allow us to jump from side to side of our planet in a click. But also owing to a phenomenon that evokes dry lands, devastating rains, tsunamis and hurricanes, torrid summers and melting glaciers: global warming. In the heated argument on this issue with so many people talking, in the past few years also artists have made their rising voice be heard. Artists-popularisers, aware of their role and of the considerable communication potential of the art medium. Because “One salient image
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.
Explore findings from a groundbreaking research and evaluation initiative investigating the long-term impacts of museum programs for teens. Drawing on reflections and input from hundreds of program alumni across the United States, this study documents powerful effects on participants, including lasting engagement with arts and culture, significant personal and professional development, and increased leadership skills and civic engagement.
This report summarizes findings from a research-practice partnership investigating STEM-rich making in afterschool programs serving young people from communities historically under-represented in STEM. The three-year study identified key dimensions related to (1) How STEM-Rich Making advances afterschool programmatic goals related to socio-emotional and intellectual growth for youth; (2) Key characteristics of programs that effectively engage youth historically marginalized in STEM fields; and (3) Staff development needs to support equity-oriented STEM-Rich Making programs.
This poster was presented at the 2016 Advancing Informal STEM Learning (AISL) PI Meeting held in Bethesda, MD on February 29-March 2. The project will provide much needed empirical results on how to promote children’s STEM engagement and learning in informal science education settings. The project will yield useful information and resources for informal science learning practitioners, parents, and other educators who look to advance STEM learning opportunities for children.
This poster was presented at the 2016 Advancing Informal STEM Learning (AISL) PI Meeting held in Bethesda, MD on February 29-March 2. Earth Partnership: Indigenous Arts and Sciences (IAS) refines a model for integrating Indigenous and Western STEM education utilizing a 10-step framework for ecological restoration, project-based learning, and professional development. Through community dialogues and a collaborative design process with Native Nations of Wisconsin, Earth Partnership is developing an Indigenous Arts and Sciences approach that has allowed Native participants to voice their insights