In the last decades, production of science and technology as well as science-society relationships started changing rapidly. Research is asked to be more effective, fast, accountable, trans-disciplinary, result-oriented, policy-driven and able to generate benefits for people and firms in the short and middle run. While a strong intensification of science-society relationships is occurring, an increasing number of actors and stakeholders are involved in research production. At the same time, pervasiveness of technology is rendering users an active part in technological development; economic and
There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality. But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality? This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make
"The Art of Discovery" discusses an ambitious educational program taught by the artist which incorporated locative media, contemporary art, site specificity, and creative work as a proposal for the integration of art, technology and science.
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve
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Jurij PavlicaSendi MangoTom Kersevan
Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on
Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.
The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.
In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on
Connected Science Learning is a journal around which all science, technology, engineering, and math (STEM) educators can gather. The National Science Teachers Association (NSTA) and the Association of Science-Technology Centers (ASTC) have partnered on this National Science Foundation (NSF)–funded project to leverage our extensive combined reach across the formal and informal STEM educator communities. NSTA represents about 50,000 K–12 science educators, while ASTC member science centers and museums are in communities across the globe, reaching 100 million visitors per year, many of whom are
My dream—many would call it a fantasy—is that someday, science will be as pervasive in society as sports. We already have professional science, but imagine the day that we have extensive programs that feature intramural science, after-school science, and that pick-up science activity at the local park. Passionate amateur scientists will exist in abundance: more amateur geologist rock collectors, more amateur paleontologist fossil collectors, more amateur astronomers who write research papers with professional astrophysicists, and more citizen science projects that provide critical data to
The Exhibit Designs for Girls’ Engagement (EDGE) project is a three-year Exploratorium-run, NSF-funded, research study aiming to identify the most important design attributes for engaging girls at STEM exhibits. We identified nearly 100 exhibit design attributes that had the potential for better engaging girls. To test those 100 attributes and their relationship to girls’ engagement, we studied more than 300 physics, engineering, math, and perception exhibits at the Exploratorium, the Science Museum of Minnesota, and the Arizona Science Center. The purpose of the EDGE research was to winnow
Today institutional and project leaders are faced with two critical dilemmas: (1) building the capacity to respond to the increasing evaluation and accountability demands of funders and stakeholders; and (2) managing the complexities of interconnected, multifaceted, ongoing institutional and cross-institutional work. These challenges require leaders to go beyond traditional approaches to professional development and consider the complex ways that systems of professionals communicate, interact, and evolve. This report draws from three years of research as part of the National Science Foundation