In prior research and development, the project team developed PocketLab, a set of web-based hands-on science simulations for middle school classrooms. With this Phase I funding, the team will develop and test a prototype of CloudLab, a classroom management platform to extend the functionality of PocketLab. The prototype will include a portal so that a class of students can collaborate on experiments, a lab notebook to analyze experimental data with graphing tools, and a teacher dashboard to monitor student progress in real time. In the Phase I pilot research, with six middle school teachers and 150 students, the project team will examine whether the prototype functions as planned, whether teachers are able to integrate it within the classroom environment, and whether students are engaged while using the prototype.
This article examines certain guiding tenets of science journalism in the era of big data by focusing on its engagement with citizen science. Having placed citizen science in historical context, it highlights early interventions intended to help establish the basis for an alternative epistemological ethos recognising the scientist as citizen and the citizen as scientist. Next, the article assesses further implications for science journalism by examining the challenges posed by big data in the realm of citizen science. Pertinent issues include potential risks associated with data quality
Although with some reluctance, social sciences now seem to have accepted the challenge deriving from the growing digitisation of communication and the consequent flow of data on the web. There are actually various empirical studies that use the digital traces left by the myriads of interactions that occur through social media and e-commerce platforms, and this trend also concerns the research in the PCST field. However, the opportunity offered by the digitisation of traditional mass media communication — the newspapers in particular — is much less exploited. Building on the experience of the
In 2012, the Science Museum of Minnesota (SMM) received funding from the National Institutes of Health (NIH) to develop an exhibition utilizing objects from the former Museum of Questionable Medical Devices (QMDs), contextualizing them in the greater conversation about scientific skepticism and how people make healthcare decisions. The resulting exhibition, Weighing the Evidence, opened in December 2015. This kt, object-based exhibition is organized into four islands of artifacts with accompanying information and hands-on “Try It” interactives, which allow visitors to experience some
This is an extended discussion of the question that appeared in the Viewpoints department of the May/June 2015 issue of Dimensions magazine. It presents perspectives from science center and museum professionals about the role of 3D printing in their institutions.
This is a supplement to an article that appeared in the March/April 2016 issue of Dimensions magazine. We asked science centers, museums, and aquariums to share how they are making their facilities and their practices more green and energy efficient, and how they have used these efforts to educate their visitors and communities about energy efficiency and sustainability.
This is an extended discussion of the question that appeared in the Viewpoints department of the May/June 2016 issue of Dimensions magazine. It discusses whether smartphones benefit or detract from the museum experience from a variety of perspectives from the field.
To explore the role and impact of The Innovation Lab at Youth Radio, Rockman et al, an independent research and evaluation organization, conducted an external evaluation of the project. With funding from the National Science Foundation’s Advancing Informal STEM Learning (AISL) program, the Innovation Lab sought to develop and research a scalable, evidence-informed theory of action to engage underrepresented youth in Science, Technology, Engineering, and Mathematics (STEM) learning through the collaborative creation and dissemination of original journalistic media, technology, and curriculum
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
This article examines the 1935 Science Museum temporary exhibition on Noise Abatement, situating it in the sound historical context of inter-war Britain, and making an argument that the ‘way of hearing’ it advanced was part of an attempt to shape auditory perception in the interests of a class-bound culture of acoustic civilization. Further, the article uses this exhibition to mount an argument that museum scholars should consider sound not simply as a medium of engagement, but also as a politically interested and socially active field.