'The Breathing City' is an Arts & Science collaboration between Urban Meteorologist, Dr Janet Barlow (University of Reading); Designer Chris Rose (University of Brighton); and Composer Holger Zschenderlein (University of Brighton). It centres on developing multi-sensory perspectives based on the interpretation and representation of scientific data.
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Janet BarlowChris RoseHolger Zschenderlein
In this paper we discuss our approach to designing two public exhibitions, where our goal has been that of facilitating and supporting visitors' own contributions to the exhibits. The approach behind our work sees the role of technology that is supporting people's experiences of heritage as moving away from delivery of information, and towards enabling visitors to create the content of the exhibit. This approach is aimed at encouraging active reflection, discussion and appropriation, in the tradition of human-centred interaction design. In the paper we present two installations, "Re-Tracing
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Luigina CiolfiLiam BannonMikael Fernstrom
This study traced the evolution of experiential education in American history museums from 1787 to 2007. Because of a decline in attendance, museum educators need to identify best practices to draw and retain audiences. I used 16 museology and history journals, books, and archives of museums prominent for using the method. I also interviewed 15 museum educators who employ experiential learning, one master interpreter of the National Park Service, and an independent museum exhibit developer. Experiential education involves doing with hands touching physical materials. Four minor questions
Renaissance East of England and Museums, Libraries and Archives Council East of England (MLA East of England) commissioned this research from the Research Centre for Museums and Galleries (RCMG) at the University of Leicester to investigate the impact that museums in the East of England region have on the attainment of secondary-age pupils completing an assessed piece of work as a result of their museum visit. Funding for the project has come from Renaissance, a £150 million programme to transform England’s regional museums, and MLA East of England. This exploratory research has emerged from
In mid-2007, the Sciencenter's executive director, Charlie Trautmann, traveled to Europe to survey a wide variety of science museums, centers, and other informal educational organizations and learn how they communicate the subjects of sustainability and global warming to the public. His report includes a new tool, called the "Museum Sustainability Index," which museums can use to assess their own progress in both becoming more sustainable organizations and communicating the science of sustainability to the public.
As mobile devices are increasingly merging into our daily lives, exhibition services are also facing innovation based on the newly available technologies. Our project addresses these new circumstances. We developed a mobile exhibition guide for the exhibition called "Mrs Brown's Big Day Out: Hamilton Women in the 1950s". That is organized by the Waikato Museum. The proposed system re-uses the TIP (Tourist Information Provider) system's framework and provides information via mobile devices to visitors on Victoria Street, which is an outdoor part of the exhibition. The information about a sight
Interviews conducted during the summer of 2006 with people in and around the international museum community suggest that the interests natural history museums share in common with each other and with other kinds of organizations and communities are creating an array of new links across institutional, social and cultural boundaries. These links are active, complex, networked relationships directed toward common purposes. Museums that are taking advantage of this emerging environment are becoming “hyperconnected hubs” across which knowledge is exchanged and action initiated. In forging a
This study analyzes the short-term consequences of visitors' use of different types of exhibits (i.e., “exemplars of phenomena” and “analogy based”) together with the factors affecting visitors' understanding of and their evaluation of the use of such exhibits. One hundred and twenty five visitors (either alone or in groups) were observed during their interaction and interviewed immediately afterwards. Findings suggest that the type of exhibit constrains the nature of the understanding achieved. The use of analogical reasoning may lead to an intended causal explanation of an exhibit that is an
The study aims to characterize contextual learning during class visits to science and natural history museums. Based on previous studies, we assumed that “outdoor” learning is different from classroom-based learning, and free choice learning in the museums enhances the expression of learning in personal context. We studied about 750 students participating in class visits at four museums, focusing on the levels of choice provided through the activity. The museums were of different sizes, locations, visitor number, and foci. A descriptive-interpretative approach was adopted, with data sources
To investigate how parents support children's learning at an exhibit on evolution, the conversations of 12 families were recorded, transcribed, and coded (6,263 utterances). Children (mean age 9.6 years) and parents visited Explore Evolution, which conveyed current research about the evolution of seven organisms. Families were engaged with the exhibit, staying an average of 44 minutes. Parents' and children's explanatory, nonexplanatory, and evolutionary conversation was coded. Overall, substantive explanatory conversation occurred in 65% of parent utterances, whereas nonexplanatory
Signs in both English and Spanish alert museum visitors when evaluation activities are taking place. Signs indicate whether filming, photography, or videotaping with audio are taking place.
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Oregon Museum of Science and Industry
This document outlines OMSI's general approach to consent, differentiating between adults and minors and between adults who have been explicitly “invited” to participate and those who are in non-invitational settings, then describes details of consent for each method and audience.
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Oregon Museum of Science and Industry