Techniquest was established in 1986, and in 1995 moved to its current premises at Cardiff Bay, South Wales. This was the first purpose-built science centre in the UK. It receives around 200,000 visitors every year to its exhibition, and to its programmes for schools and public audiences in the theatre, laboratory, discovery room and planetarium. The author joined the Techniquest project in 1985, became a staff member in 1990 and was the Chief Executive from 1997 until his retirement in 2004. Techniquest has three “out-stations” in Wales, and is responsible for the supply and maintenance of
One of the most common, and probably one of the crucial questions about science centers and interactive exhibitions is often phrased as “Ok, it’s fun, but do they learn anything?”. What follows is not an attempt to answer this question; we will just use it as a starting point for a discussion about the role of explainers in science centers. Explainers are usually very motivated people, possessing a genuine interest in science and technology and a scientific background they are eager to share. And they feel everyone else should be as enthusiastic about science as they are. This is a legitimate
Before analysing the role of the mediators in relation to scientific education, I deem it important to provide a short overview on how scientific museums evolved from the early curiosity cabinets to the modern web cast. Although the term “museum” is no longer adapted to the new structures employed for the diffusion of scientific and technical culture, the evolution of the means of presentation has indeed led to several forms of human mediation. This is of course the main topic we are going to take into consideration today, as it is an important element for the impact our exhibitions may have
During the last annual conference of ECSITE (European Collaborative for Science and Technology Exhibitions; Helsinki, June 2005), for the first time two discussion sessions were devoted to explainers, the innumerable people – young students mainly – who welcome visitors at exhibitions, museums and festivals, who animate laboratories and science shows, who guide, explain and lately also stimulate and manage discussions and participatory procedures. Thanks to the involvement of the speakers, who agreed to submit a broadened version of their papers, JCOM is glad to host the proceedings of these
If we wish to attempt an initial analysis of the inquiry on the communication of science in Brazil, India and China that JCOM proposed in its three most recent issues, we should paraphrase Chinese science and science-fiction writer, Yan Wu: even though these three countries are emerging in the fields of economy and science, and are now part of a wide group of communicators, promoting numerous methods to divulge information, they don't yet have a sound theory on the communication of science to the public. This is not an insignificant problem because according to David Dickson, the director of
Science and technology: these are the mainstays China wants to concentrate on in order to stabilise its future as an emerging world power. Beijing plans to have the whole, enormous Chinese population literate in the scientific field within a few years. Scientific popularization is the key to what now, due to political influences and deep social disparities, seems remote.
The scientific institution in Brazil is marching to a good rhythm. Despite problems in funding (and in the very irregular distribution of such funds), universities and private research centers changed and grew over the last few years. In 1999, Brazil (whose external debt is over 50% of GDP), invested 0.87% of GDP in Research & Development: a percentage comparable to that of several Mediterranean countries.
In the summer of 2003, a survey was carried out at the At-Bristol Science Centre (UK) to determine the effectiveness of the hands-on activities of "Explore". The section evaluated included 43 interactive experiences divided into two themes. The first, "Get Connected", consisted of examples of the latest digital technologies, such as a television studio, virtual volleyball, and radars. The second, "Curiosity Zone", was dedicated to natural phenomena and subdivided into three additional groups: "Natural Forces" which presented various forces of nature, "Focus on Light", which dealt with the
In the field of scientific communication in Europe, science centres have gained increasing importance over the last ten years. Italy, beyond the City of Science in Naples, is also planning the set up of more science centres throughout the country. Their hands-on style makes them something between a museum and a fun fair and, beyond the issue of merit, no doubt the success of many science centres also depends on the fun offered. It is important then to be able to assess to what extent people can actually make use of the proposed themes. This report tries to point out the dialogue opportunities
In this essay, I will approach museums both via their glass display cases and via the particular capacities offered by the term ‘co-production’. In doing this I will draw on two genealogies of co-production. The first is focussed on the political question of how public institutions and their publics might better collaborate. It is this ‘public policy’ variant of the term which has most explicitly influenced the use of the term ‘co-production’ in museums. The second comes from Science and Technology Studies (STS). ‘Co-production’, according to Shelia Jasanoff (2004, p 43), was first used in STS
The Nanoscale Informal Science Education Network (NISE Network) is a national infrastructure that links science museums and other informal science education organizations with nanoscale science and engineering research organizations. The Network’s overall goal is to foster public awareness, engagement, and understanding of nanoscale science, engineering, and technology. As part of the front-end effort, this report, Part IIB, documents 19 nanoscale STEM programming, media, and school-based projects that have been completed or are in development as of 2005.
Supported in major part by the National Science Foundation, The Human Spark (THS) project includes a three-part national PBS television series hosted by Alan Alda and a multifaceted outreach initiative to engage public television stations and their partner science museums nationwide in order to extend the utilization and impact of the project. As an independent evaluator, Multimedia Research was contracted by Thirteen to capture how the collaboration between television station and science museum outreach grantees and their respective outreach activities meet the stated goals of the outreach