Earth from Space highlights state-of-the-art NASA technology, in particular, the suite of Earth observing satellites orbiting our planet, the data they collect, and how people are using these data for research and applications. Participants learn how NASA EOS data is collected through remote sensing systems, recognize the connection between this data and the area in which they live, and recognize the relevance and value of NASA data for understanding changes in the Earth related to where they live. The project informs K–12 students and lifelong learners of our increasingly advanced technological society and prepare students to enter the STEM-related workforce with content in oceanography, geology, climatology, glaciology, geography, and meteorology. Content is presented through hands-on exhibits and dynamic demonstrations using spherical display systems at OMSI’s main museum location and through a travelling program at rural libraries, schools, and other outreach venues throughout Oregon.
The Discover Aeronautics and Aerospace Gallery (Discover) engages students, families and the general public in the STEM research that makes major accomplishments in space and aeronautics possible. Great Lakes Science Center, home of NASA Glenn Visitor Center, developed the gallery in collaboration with NASA Glenn Research Center (GRC) to provide interactive learning opportunities, amazing NASA artifacts, and multimedia experiences that encourages them to discover more about STEM. The overarching project goal is to engage visitors in the important research of NASA GRC, and summative evaluation concluded that Discover is an immersive environment of interactive exhibits that increases visitors’ levels of knowledge about aeronautic and aerospace research. The Gallery successfully raises the profile of NASA GRC, and emphasizes the importance of research and experimentation for the challenges of flight – in the air and in space.
Discover is divided into mini-laboratory settings—Aeronautics Lab, Materials Lab, Rocket Lab and Power Lab—and the Discover Stage, an ideal environment for demonstrations, and presentations by astronauts and aerospace experts. When not in use for live productions, the stage hosts a video tour of NASA GRC’s impressive labs and test chambers. Visitors can experiment with a microgravity drop tower, plan a space mission, analyze slow-motion footage from a ballistic impact facility, see how motion and sound are affected by the vacuum of space, and more. Discover engages over 300,000 visitors a year in the STEM research necessary for flight. As part of the NASA Glenn Visitor Center, the Gallery exemplifies the Science Center’s dedication to sharing NASA content to inform, engage, and inspire students, educators, and the public. Discover immerses visitors in the exciting challenges and rewards of space exploration, and is a place of inspiration for tomorrow’s scientific leadership and workforce.
This report summarizes the content and shares ideas coming out of a convening organized in September, 2013 by the Alliance and The Henry Ford. Essays by educators, students, researchers and reformers explore how leaders from the worlds of education and museums can work together to integrate the nation’s assets into a Vibrant Learning Grid. Produced with the support of the Robert and Toni Bader Foundation.
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Center for the Future of MuseumsElizabeth Merritt
Hundreds of millions of youth and adults visit science centers across the world. Although science centers have long asserted that these visits play a critical role in supporting the science learning of the public, robust and unequivocal evidence is limited. The International Science Centre Impact Study (ISCIS), a consortium of 17 science centers in 13 countries under the direction of John H. Falk Research, was designed to empirically determine whether experiences at science centres correlated with a range of critical public science and technology literacy outcomes. Because of the complex and
This book describes results of the Museum Impact and Evaluation Study, headed by the Chicago Museum of Science and Industry. The project that began in January 1990 and was completed in 1992 explored relationships between museums and their visitors and was intended to help staff members understand how they develop these relationships, what characterizes these relationships, and how these relationships are maintained.
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Museum of Science and IndustryPeter AndersonBonnie Cook Roe
This chapter is a selection from the book "The Arts, Education, and Aesthetic Knowing." Should arts education have a more significant place in our schools? An emphatic 'Yes' comes from the editors and other contributors to this provocative volume. They build their case by drawing upon recent developments in cognitive theory and, in particular, upon contemporary thought regarding aesthetic knowing. They contend that aesthetic knowing constitutes a 'special mode of cognition' and they see aesthetic learning as vital to intellectual growth and development. They argue that the arts should
Family groups are a predominant museum-going demographic; an intact social group, within which members' actions and interactions of museum learning are socially and culturally constructed. Living history museums are the paramount of free-choice learning environments, full of possible avenues for exploration. The typical exhibits often contain little or no explanatory labeling, and a museum visitor's experience with objects and places becomes mediated through costumed interpreters instead of text. Utilizing a qualitative approach, this research was guided by questions concerning the learning
My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building. This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via
STEM learning ecosystems harness unique contributions of educators, policymakers, families, and others in symbiosis toward a comprehensive vision of science, technology, engineering, and math (STEM) education for all children. This paper describes the attributes and strategies of 15 leading ecosystem efforts throughout the country with the hope that others may use their lessons to deepen rich STEM learning for many more of America’s children.
This article reports on part of a larger study of how 11- and 12-year-old students construct knowledge about electricity and magnetism by drawing on aspects of their experiences during the course of a school visit to an interactive science museum and subsequent classroom activities linked to the science museum exhibits. The significance of this study is that it focuses on an aspect of school visits to informal learning centers that has been neglected by researchers in the past, namely the influence of post-visit activities in the classroom on subsequent learning and knowledge construction
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David AndersonKeith LucasIan GinnsLynn Dierking
This report proposes a comprehensive study to answer the question: How does conversation as a socially mediating activity act as both a process and an outcome of museum learning experiences? The study will examine museum learning across six kinds of museums and across different kinds of visiting groups. This proposal describes a model of museum learning that puts conversation among different kinds of coherent conversational groups at the core of museum learning. It focuses on ways that conversations are elaborated, enriched, and extended as a consequence of museum activity. The model recasts
This article characterizes the relationship between the museum and its visitors as a dialogic process that enables a play between the public narratives of the museum and the private narratives of the viewers. The museum is presented as a performative site where its dominant socially and historically constructed pedagogy engages in a critical dialogue with the viewer's memories and cultural histories. Five pedagogical strategies are provided to comprise a critical performative pedagogy in museums: performing perception, autobiography, museum culture, interdisciplinary, and performing the