During Year 1 of the Nanoscale Informal Science Education (NISE) Network, the Exhibits and Programs group, led by the Science Museum of Minnesota, conducted a marketing survey in an effort to find out what kinds of nano exhibits and programs institutions would find most useful, and what other forms of assistance the NISE Network could provide. Individuals from a total of 34 institutions (out of 48) completed the online survey for a 71% response rate. Key Findings: Respondents were most interested in the topics of nanoscience applied to biology, human body, and medicine (94%) and environmental
On two Saturday mornings, December 3 and December 10, 2005, two groups of Deaf adults were invited to participate in a focus group to try out the Multimedia Tour in the Star Wars exhibition and provide feedback on both its effectiveness and how it could be improved. The purpose of the focus group was to gain rich in-depth feedback from many people at once, particularly because it is so difficult to capture Deaf users in our exit interviews due to language barriers. Focus groups followed a topical framework surrounding what visitors enjoyed about the handheld, improvements they might make to
Partnering with National Musical Arts, the Science Museum of Minnesota seeks to develop BioMusic, a 4,000 sq. ft. traveling exhibition that explores the origins of music in nature and the connections between music and sound of living things. This project is based on planning grant ESI-0211611 (The Music of Nature and the Nature of Music) awarded to NMA. The project is based on the emerging interdisciplinary research field of biomusic, which includes musicology plus aspects of neuroscience, biology, zoology, environmental science, physics, psychology, math and anthropology. The exhibit sections -- "Humanimal" Music; Natural Symphonies; Ancient Roots; Music, Body and Mind; and World of Music -- use both music and natural sound to explore biodiversity, cultural diversity, the physics of sound and the brain. BROADER IMPACT: The exhibition is expected to travel for at least six years, reaching some two million people in 18 communities. It is to be accompanied by a six-part radio series (Sweet Bird Classics) for young children. Because of the connection to music and many other areas of public interest, this exhibition has the potential to attract and engage new audiences to science museums and stimulate their interest in STEM.
This article explores the use of exhibit development as an instructional strategy in the school and in the museum and how both approaches offer innovative alternatives to traditional learning. Linda D'Acquisto, managing owner of Kid Curators, LLC, discusses her work and the value of school museums. Marie Scatena, Youth Programs Manager at the Chicago History Museum, discusses the Teen Chicago project.
The article is a summary of the comments and discussions from the NAME-hosted "What's Going On? Hot Topics in Exhibits" session at the 2006 AAM conference. Paul Martin, Vice President of Exhibits at Science Museum of Minnesota, Janet Kamien, President of Janet Kamien Museum Consulting, Tamara Biggs, Director of Exhibits at the Chicago Historical Society, and Eugene Dillenburg, Exhibit Developer at the Science Museum of Minnesota, as well as other participants addressed the diverging attitudes between new and older exhibit professionals.
In this article, Jay Rounds, Director of Graduate Program in Museum Studies at the University of Missouri, St. Louis, explores the growing concern within the museum field about (a lack of) of exhibit creativity. Specifically, Rounds explores why creativity seems to be diminishing despite enhanced technical competencies.
This article presents some of the basic tools to keep in mind when developing a traveling exhibitions program. Michelle Torres-Carmona, Director of Scheduling & Exhibitor Relations at the Smithsonian Institution Traveling Exhibition Service, provides advice on developing a traveling exhibit (concept, collaborators, budgeting, contracts) and Whitney Owens, manager of the traveling exhibitions program at The Field Museum, Chicago, discusses how to best market the exhibition tour.
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TEAM MEMBERS:
Michelle Torres-CarmonaWhitney Owens
In this article, Darcy Fohrman, Principal of Darcie Fohrman Associates, summarizes the conversation at an AAM session, in which three young exhibition professionals (the "Young Bloods") and three experienced exhibition professionals (the "Silverbacks") debated issues related to planning and designing interpretive exhibitions. This article also includes post-session thoughts from the presenters.
This article explores the ways museums can utilize portable devices (i.e cell phones) as a way to engage visitors in their exhibits. Featured are three museums experimenting with this technology in their exhibit spaces. Authors include Wayne Labar, Vice President of Exhibitions and Theaters at the Liberty Science Center, Denise Bressler, an Exhibit Developer and Project Manager at the Liberty Science Center, David Asheim, Founder and CEO of Guide by Cell, Peter Samis, Associate Curator of Education and Program Manager of Interactive Educational Technologies, and Stephanie Pau, Associate
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TEAM MEMBERS:
Wayne LaBarDenise BresslerDavid AsheimPeter SamisStephanie Pau
The article is a summary of the comments and discussions a session at the 2006 AAM conference that addressed what museums in the fields of art, history, and science might learn from each other and how museums might benefit from "cross-pollination." Panel participants were Eric Siegel, Executive Vice President for Programs and Planning at the New York Hall of Science, Benjamin Filene, Director of the Public History Program at the University of North Carolina Greensboro, Deborah Schwartz, President of the Brooklyn Historical Society, and Jennifer MacGregor, Curator of Visual Arts at Wave Hill.
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Eric SiegelBenjamin FileneDeborah SchwartzJennifer MacGregor
In this article, Kathleen McLean, Principal of Independent Exhibitions, explores the importance of criticism for museum exhibitions. McLean includes a model of how to assess an exhibition as a chronicle of personal experiences. This article is a reprint from the "Exhibitionist" vol. 12, no. 2, Fall 1998.
In this article, Janet Kamien, principal of Janet A. Kamien Museum Consulting, discusses controversial museum exhibitions. Kamien uses recent examples to argue that all controversy associated with exhibits is "situational," and these controversies usually stem from issues within the museum and staff and rarely from the actual subject matter.