In the name of God is the heading chosen by some researchers from a Middle Eastern country for their posters in an international conference on chemistry which has recently been held in Paris. This powerful message preceded the results of the researchers' work on the morphology, molecular structure, as well as the physical, chemical and mechanical properties of advanced polymeric materials. It was an unexpected statement, an unusual message, though certainly not an unprecedented one. It had nonetheless a striking effect in the context of a scientific conference attended by thousands of people
The question was raised in the 4th November copy of The New York Times when it entitled the editorial of Garry Wills (political and cultural historian), regarding the re-election of George W. Bush, "The Day the Enlightenment Went Out". Wills' theory, with which the directors of the newspaper palpably concur, is that Bush was re-elected because "many more Americans believe in the Virgin Birth than in Darwin's theory of evolution".
I would like to start with a brief news item in the August 1999 issue of National Geographic which gives some food for thought: "With 5,000 climbing routes, such as Double Dogleg and Walk on the Wild Side, California's Joshua Tree National Park attracts about 140,000 enthusiasts a year to test their skill on granite boulders. But some visitors view their metal bolts as defacements hammered into rocks.
Reports from the NSF, NRC, AAAS, and others urge over and over that we must teach "science as science is done," that "science is a way of knowing," that our goal should be to impart "scientific habits of mind," and that learning must be learner-centered and oriented toward process. Fine. But what does this really mean for science education, and especially laboratory education?
This chapter explores natural history exhibits, particularly dioramas, with regard to both art and authenticity. Dioramas are treated as a novel form of scientific model.
In this article, Robin Groesbeck, Traveling & Temporary Exhibitions Director at The Field Museum, Chicago, details the complex process of examining and packing the objects for "Splendors of China's Forbidden City: The Glorious Reign of Emperor Qianlong," the largest exhibit ever to leave the Forbidden City. The project was in collaboration with The Palace Museum, Beijing.