This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns
This article traces sound as it echoes through approaches to displaying the Science Museum’s acoustics collection over the course of the twentieth century. Focusing on three key moments in the collection’s historical development, the article explores the role of sound as both medium and object of museum display. Each moment exposes how the practice of using sound to interpret sounding objects was articulated and problematised by past generations of museum practitioners. Each moment, too, exposes the problem of sound as a potential threat to the cultural politics of a national museum
The Hugh Davies Collection (HDC) at the Science Museum in London comprises 42 items of electronic sound apparatus owned by English experimental musician Hugh Davies (1943–2005), including self-built electro-acoustic musical instruments and modified sound production and manipulation hardware. An early proponent of ‘live electronic music’ (performed live on stage rather than constructed on magnetic tape in a studio), Davies’s DIY approach shaped the development of experimental and improvised musics from the late 1960s onwards. However, his practice has not been widely reported in the literature
In January 1885, the Glaswegian Professor of Chemistry Dr Robert Carter Moffat organised a special operatic concert at St James’s Hall, London, to which he invited around two thousand scientists and musicians. The point of this invitation concert was that all the singers used bottled air. Moffat himself appeared between the various performances, wielding his mysterious Ammoniaphone, or bottled-air machine, a long silver tube which he flourished in the faces of his audience while describing its virtues with considerable animation. The premise of the Ammoniaphone was that since Italian opera
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
Large gaps in achievement and interest in science and engineering [STEM] persist for youth growing up in poverty, and in particular for African American and Latino youth. Within the informal community, the recently evolving “maker movement” has evoked interest for its potential role in breaking down longstanding barriers to learning and attainment in STEM, with advocates arguing for its “democratizing effects.” What remains unclear is how minoritized newcomers to a makerspace can access and engage in makerspaces in robust and equitably consequential ways.
This paper describes how and why
In this paper we investigated the role youth participatory ethnography played as a pedagogical approach to supporting youth in making. To do so, we examined in-depth cases of youth makers from traditionally marginalized communities in two makerspace clubs in two different mid-sized US cities over the course of three years. Drawing from mobilities of learning studies and participatory frameworks, our findings indicate that participatory ethnography as pedagogical practice repositioned youth and making by helping to foreground youths’ relationality to people, communities, activities and
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
This two-part evaluation consists of a baseline audience study as well as an outcome evaluation of the Full STEAM Ahead Teen Art-Science workshop sponsored jointly by ARTLAB+ of the Hirshhorn Museum and Sculpture Garden and the National Museum of Natural History Q?rius program. The first part of of the study establishes a baseline of art-science perceptions of 250 anonymous teens self-identified as art-oriented, science-oriented, or dually oriented. The second part compares workshop participant perceptions to the general population both before and after the workshop. Findings showed that
Evaluation of the "Making Sense" Art-Science workshop jointly sponsored by ARTLAB+ at the Hirshhorn Museum and Sculpture Garden and the National Museum of Natural History Q?rius youth program. Findings reiterate 2015 findings that youth experience the art-science integration as interdisciplinary and as such, arts-oriented students become more interested in and find a safe environment for studying science. Students who experience the integration as substantive discover a place for creativity in steps in the scientific process. The program also functions as an entree into both more intense youth
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
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