Social studies in citizen science typically focus on existing project participants. We present results from an online survey of 1145 marine users to identify broader public interest in marine citizen science. Although we found considerable community interest, the most enthusiastic tended to have a higher education in science, were under 45 years old, primarily enjoyed SCUBA diving, and had contributed to scientific research in the past. The type of research organization involved in a project played a role in people's willingness to share information. The discourse of public participation in
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TEAM MEMBERS:
Victoria MartinLeslie ChristidisGretta Pecl
Public understanding of science and civic engagement on science issues that impact contemporary life matter more today than ever. From the Planned Parenthood controversy, to the Flint water crisis and the fluoridation debate, societal polarization about science issues has reached dramatic levels that present significant obstacles to public discussion and problem solving. This is happening, in part, because systems built to support science do not often reward open-minded thinking, inclusive dialogue, and moral responsibility regarding science issues. As a result, public faith in science
Learn how to create opportunities for young people from low-income, ethnically diverse communities to learn about growing food, doing science, and how science can help them contribute to their community in positive ways. The authors developed a program that integrates hydroponics (a method of growing plants indoors without soil) into both in-school and out-of-school educational settings.
A collaboration between two North Carolina state agencies allows in-school and out-of-school educators to share knowledge, engage students in in-school and out-of-school opportunities, and develop learning communities to advance science education in the state.
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TEAM MEMBERS:
Debra HallBenita TiptonLisa TolleyMarty Wiggins
Showing how various math and science topics relate to the real world is the key to motivating youth to pursue STEM careers. This idea is essential to the MIT (Massachusetts Institute of Technology) BLOSSOMS initiative.
BLOSSOMS, which stands for Blended Learning Open Source Science or Math Studies, is a program that freely provides interactive video lessons that teach teens how math and science pertain to everyday life, while encouraging critical-thinking skills. BLOSSOMS offers more than 200 online videos on various STEM topics, which are presented in a form that will provide youth with a
A museum decides to transfer its collections to another museum. After assessing its financial situation, reviewing its priorities and strategic aims, its opportunities and contexts, the museum makes the difficult decision to enter into negotiations with another, better-resourced institution in order to safeguard the collections in the public interest. Both museums agree to collaborate closely, and enable the former custodians to use the collection when appropriate in their exhibitions and displays.
The museum in question was Brooklyn Museum and Art Gallery, which in 2007 transferred their
The status of photographs in museums is receiving increased attention. This is exemplified by the debate over the transfer of the Royal Photographic Society collection held at the SMG’s National Science and Media Museum to the V&A (see Terwey, this issue), and the implications for photographs of a STEM (Science, Technology, Engineering and Mathematics) focus at the National Science and Media Museum. So it seems to useful moment to think about the terms under which photographs exist in museums collections. What are they doing there?
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TEAM MEMBERS:
Elizabeth Edwards
resourceresearchProfessional Development, Conferences, and Networks
I received the invitation to deliver a paper as part of a panel about photography at the Science Museum Group’s [SMG] inaugural research conference towards the end of 2015. A few months later, SMG announced its plans to give a significant part of the photography collection held at the National Science and Media Museum – one of the four institutions for which the umbrella group is responsible – to the Victoria & Albert Museum in London. What has proved to be a controversial decision will see 400,000 objects, originally the collection of the Royal Photographic Society, and now categorised as
This article will consider the alignment of scientific and media practice at the beginning of the nineteenth century. Over several decades after 1817 certain instrument makers began to specialise in the domestic entertainment market, transferring skills from optical instrument manufacture to the design of fashionable novelty devices. The instrument trade was expanding into a new middle-class market to exploit an increasing popular trade in optical novelties, exemplified by the 1817 Kaleidoscope craze and new interest among the middle classes for microscopes, telescopes, and magic lanterns
This article traces sound as it echoes through approaches to displaying the Science Museum’s acoustics collection over the course of the twentieth century. Focusing on three key moments in the collection’s historical development, the article explores the role of sound as both medium and object of museum display. Each moment exposes how the practice of using sound to interpret sounding objects was articulated and problematised by past generations of museum practitioners. Each moment, too, exposes the problem of sound as a potential threat to the cultural politics of a national museum
The Hugh Davies Collection (HDC) at the Science Museum in London comprises 42 items of electronic sound apparatus owned by English experimental musician Hugh Davies (1943–2005), including self-built electro-acoustic musical instruments and modified sound production and manipulation hardware. An early proponent of ‘live electronic music’ (performed live on stage rather than constructed on magnetic tape in a studio), Davies’s DIY approach shaped the development of experimental and improvised musics from the late 1960s onwards. However, his practice has not been widely reported in the literature
This article examines the 1935 Science Museum temporary exhibition on Noise Abatement, situating it in the sound historical context of inter-war Britain, and making an argument that the ‘way of hearing’ it advanced was part of an attempt to shape auditory perception in the interests of a class-bound culture of acoustic civilization. Further, the article uses this exhibition to mount an argument that museum scholars should consider sound not simply as a medium of engagement, but also as a politically interested and socially active field.