This article explores the evolving relationship between science and the public, including models of public understanding of science and public engagement. It reflects on science museums' role in engaging with publics and highlights a new funding opportunity from the Wellcome Trust to further this knowledge base.
This article discusses the concept of ‘heroism’ in relation to science, medicine and technology. It unpicks the complexities of the concept and discusses its implications for historians of science and museum professionals.
Accounts of the life of Scottish engineer James Watt have tended to take a rather monocular approach to his life’s work – primarily concentrating on the steam engine. However, the evidence of Watt’s workshop, preserved at the Science Museum, points to the diverse nature of his interests, and particularly to the close integration of philosophical and pragmatic elements in his work. Here is the workplace of one of the savant-fabricants that Britain’s ‘Industrial Enlightenment’ depended upon. All was, however, underpinned by physical work and the creation of tangible artefacts that took into
From October 1965 to May 1966, the Science Museum in London displayed the American spacecraft Freedom 7, the first capsule in NASA’s Mercury programme to take a human on a suborbital flight. Archival records concerning this temporary display are extensive and contain photographic sources as well as written ones. This case therefore lends itself to a study aimed at evaluating the comparative merits of these two types of records, for understanding the logic at play in the display, and for retrieving at least part of the visitors’ experience. Visual sources emerge from this comparison as
Science museums and science centers exist (in large part) to bring science to the public. But what public do they serve? The challenge of equity is embodied by the gulf that separates a museum’s actual public and the more diverse publics that comprise our society. Yet despite growing scholarly interest in museums and science centers, few researchers have explored how these organizations seek to bridge that gulf. Adopting an institutional theory perspective, we argue that equity is a field-wide challenge in informal science education—a challenge that different organizations define and respond
This article argues that it is useful to see historical exhibitions as both responses and contributors to narratives about science that are circulating in the public sphere. It uses the example of the 1876 Loan Collection of Scientific Apparatus (which was the immediate predecessor of the Science Museum in London). The article demonstrates how, in promoting this huge exhibition and fighting for the necessary support and resources, leading scientific, cultural and political figures engaged with two rather different public interpretations of science’s past, present and future. One dealt with
When George Adams assembled a large collection of philosophical instruments for King George III in the early 1760s, he drew on a variety of printed books as sources of experiments and instrument designs. Most important of these was Mathematical Elements of Natural Philosophy by the Dutch mathematician and philosopher Willem ’s Gravesande, whose own collection of instruments is now in the Museum Boerhaave in Leiden. Papers in the Science Museum archives reveal the specific practices through which Adams used books such as Mathematical Elements in the course of his business. These techniques
The arrival of William Bally’s set of miniature phrenological specimens in Manchester for the Wellcome Collection exhibition Brains: The Mind as Matter (26 July 2013 – 4 January 2014) was an ideal time to reassess the mysteries of its production – was it made in Manchester or Dublin? In what context was it produced? Phrenology – the study of the shape and contours of the skull to determine mental faculties – has received attention from historians. But the origin and context of this object, although long part of the canon of 19th-century phrenology, has never been fully explored. Close
Rockman et al (REA), in partnership with Marti Louw and the University of Pittsburgh Center for Learning in Out-of-School Environments (UPCLOSE), conducted a summative evaluation in Fall 2012-Spring 2013 of a temporary museum exhibition at the Carnegie Museum of Natural History (CMNH) in Pittsburgh, PA called, Stories in the Rock. The exhibition highlighted CMNH researchers’ documentation of ancient petroglyph sites in Saudi Arabia using GigaPan technology to capture high-resolution, zoomable images of the rock art. The exhibition centers around an activity called the Explorable Image, a
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University of Pittsburgh Center for Learning in Out-of-School EnvironmentsCamellia Sanford-Dolly
In May 2012, the Penn Museum will present the traveling exhibition, Lords of Time, the Maya and 2012 – an innovative exploration of the ancient and modern Maya and their conceptions of time. The exhibition will include over 75 archaeological artifacts and groups, stone sculpture, historical materials, modern reproductions, digital media components, and interactive displays to actively engage visitors in the discovery of an ancient culture, as well as its legacy to the modern world. Themes of the exhibition will span the fields of astronomy, history, archaeology, anthropology, and comparative culture studies. The exhibition is a formal collaboration between the Penn Museum, the Honduran government’s Instituto Hondureño de Antropología e Historia (IHAH), and Harvard University’s Peabody Museum of Archaeology and Ethnology (Peabody). After its debut at the Penn Museum, the core of the exhibition will travel to other US venues through 2014.
Guastavino Vaulting: Palaces for the People will be a multi-formatted project to examine the history and creative contributions of Rafael Guastavino and his family, a Spanish immigrant family of the late 19th century whose adaptations of a traditional Mediterranean construction technique transformed the urban landscape of the United States. The formats will be a web site and a major gallery exhibition that will travel to the Boston Public Library, the National Building Museum, and the Museum of the City of New York.
The Bob Bullock Texas State History Museum (TSHM) in partnership with the Texas Historic Commission (THC) is implementing the installation of the French ship La Belle (one of the most important shipwrecks ever discovered in North America) into the Museum for long term exhibition and interpretation. The goal of this project is to place the ship's hull into the Museum in an accessible manner that: ensures stewardship; places its preserved cargo in context; and expands our existing scope of interpretation beyond Texas. The project will continue to enhance and expand our collaboration, bringing together a particularly well qualified team of academic historians, archeologists and exhibit development practitioners who will explore not only the significance of the ship and its impact on American history, but will also formulate how these concepts, objects and story will be interpreted to the broadest possible audience.