The Maryland Science Center, in cooperation with the Johns Hopkins Medical Institutions (JHMI) and the University of Maryland, Baltimore, developed and produced BodyLink, a unique health sciences update center. The group did so with support from the National Institutes of Health SEPA (Science Education Partnership Award) Program, BodyLink, which is modeled after the Maryland Science Center's praised SpaceLink space science update center, will make today's medical and health news clear and relevant for visitors, young and old. Science and technology centers have long struggled with ways to acquaint visitors with the latest and greatest discoveries in health and biomedical science, and to interpret the significance of these findings for all ages. Museums can no longer be content with presenting only basic science, and need to expand their role as public communicators of science by presenting cutting-edge research, and by interpreting and explaining this information for visitors. BodyLink is a 1,500-square foot multimedia center where visitors can discover and appreciate the wonders of cutting-edge medical research (basic research, as well as clinical research) through interactive exhibits, stunning imagery, and facilitated demonstrations in a multimedia driven programmable space. BodyLink also includes WetLab, an open-access microbiology laboratory facility that allows visitors to conduct scientific investigations using state-of-the art research technology. Visitors can extract DNA from wheat germ, test common anti-microbial products on live bacteria, and learn Gram staining techniques, among other activities. Bodying will further serve school groups, general museum visitors, and remote-learning participants through the interactive website. BodyLink also incorporates an internship program for graduate students from the Maryland Science Center's collaborating universities. These internships give the graduate students an opportunity to interact with the general public to enhance their scientific communication skills and give them first-hand experience with investigating public understanding of scientific research.
Summative evaluations of museum exhibitions are generally conducted with the aims of measuring whether an exhibition met its goals, identifying areas for improvement, and assessing impact. In many cases, evaluation studies also serve to advance the field by providing lessons for funders, policy makers, or practitioners beyond the project. This report includes details from summative evaluations that included recommendations, particularly those that might be useful for lessons learned and suggestions for improvements to the exhibitions that were evaluated. Using a bottom-up method of review, the
This report presents findings from interviews conducted with staff from CAST and the Boston Museum of Science about their collaboration on the Engagement and Thinking in Designed Informal Science Learning (ISL) Settings project. The interview asked respondents to discuss the goals of the project and how they related to their organization’s mission, how the partnership and the project developed, each partner’s roles on the project, how the collaboration was conducted, strengths and challenges in the collaboration, the impact that the project had on each partner organization, and future plans
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TEAM MEMBERS:
CASTBabette MoellerPilar Carmina Gonzalez
Mythbusters: The Explosive Exhibition is a traveling exhibit based on the popular television show. When housed at the Museum of Science and Industry, Chicago, it included a traditional, interactive free flow exhibition space followed by a live facilitated show. This paper describes results from an experimental study about the effects of the Live Show on the learning of and attitudes towards science. A pre-test was given to 333 children entering the exhibit. A post-test was given to 80 children after they walked through the free-flow portion of the exhibit and to 191 children after they watched
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TEAM MEMBERS:
Museum of Science and IndustryAaron Price
Feinstein and Meshoulam’s study examines the nature of equity work in museums and science centres across the U.S. Based on 32 interviews with leaders from 15 informal science education organisations, the authors identified two different perspectives, client and cooperative, each with its own strengths and implications for informal science education.
This annual report presents an overview of Saint Louis Science Center audience data gathered through a variety of evaluation studies conducted during 2014. This report includes information on the Science Center's general public audience demographics and visitation patterns, gives an overview of visitors' comments about their Science Center experience, summarizes major trends observed in the Science Center's tool for tracking educational programs, and presents highlights from front-end evaluations of a new exhibit about the Mars rovers.
Life on Earth is interactive software installed as a museum touchtable exhibit that uses data about over seventy thousand (70,000) species from several databases to help visitors explore and deepen their understanding of biodiversity, evolution and common ancestry, and the history of life on earth (DeepTree/ FloTree). Some installations also include a smaller exhibit that poses puzzle challenges about evolutionary relationships among species (Build-a-Tree (BAT)). The exhibit was installed at four natural history museums across the U.S. – the Harvard Museum of Natural History (Cambridge, MA)
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TEAM MEMBERS:
Harvard UnivesityJim HammermanAmy SpiegelJonathan Christiansen
Interactive surfaces are increasingly common in museums and other informal learning environments where they are seen as a medium for promoting social engagement. However, despite their increasing prevalence, we know very little about factors that contribute to collaboration and learning around interactive surfaces. In this paper we present analyses of visitor engagement around several multi-touch tabletop science exhibits. Observations of 629 visitors were collected through two widely used techniques: video study and shadowing. We make four contributions: 1) we present an algorithm for
In 2010 the Royal Society journal Biology Letters published an article, ‘Blackawton bees’, which caused something of a sensation: the findings, on bees’ foraging patterns, were original, but the true originality lay in the fact the experiments were in part devised, and the paper written, by a group of 8- to 10-year-old children at Blackawton Primary School in Devon (Blackawton et al., 2011).[1] The article attracted considerable media attention, troubling, as it did, the boundaries of professional science, and distinctions between scientific practice and education, not to mention the
Increasing numbers of museums and galleries worldwide have developed an array of working practices that might be termed 'participatory' or 'co-creative', which seek to involve visitors, non-visitors, community and interest groups with diverse forms of expertise and perspective in their activities. Frequently the central aim of such practices has been to strengthen relationships between a museum and its audiences through projects that are jointly conceived and developed with local communities. However, relatively little attention has been given to participatory practice within the work of
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TEAM MEMBERS:
Katy BunningJen KavanaghKayte McSweeneyRichard Sandell
This paper examines the approach of a major new gallery on information and communication technologies in the Science Museum, situating it in the context of current ideas around the history of technology and exploring the way the curatorial team addressed the challenges of display and interpretation. As a short discussion piece it looks at four broad questions: How has the concept of information, and more importantly an ‘Information Age’ been conceived across differing disciplines? What opportunities can user focused histories present to a gallery on information and communication technologies
When exchange telephony was first marketed to the British public by the early telephone companies in the late nineteenth century it was as an intuitive technology requiring no specialist knowledge or training. This has gone unquestioned in subsequent telephone historiography but, as this article demonstrates, telephone instruments and systems were not always unproblematic or easy to use. Whilst other scholars have discussed important factors in the development and uptake of telephony, such as business economics and intellectual property, this article focuses on usage, and argues that