This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher
This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher
In this paper, we investigate who are the explainers who work is Brazilian science centres and museums. We used an online survey, which was answered by 370 people from 73 institutions out of a group of 200 scientific and cultural centres. Our results indicate that most of these professionals are young people between 18 and 25 years old, they hold a high school certificate or are attending university, and they have been working in this field for less than five years. Only a fifth declared that they had done professional training before starting their activities; about 60% said that they are not
The 2nd annual conference of the ad hoc group Science Communication was dedicated to research on risk and uncertainty as important challenges for the present practice of science communication. The review firstly offers a short portrait of the ad hoc group Science Communicaiton as a newly established network of communication scholars and secondly reconstructs the course of the highliy spirited debate during the conference in Jena.
Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.
The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.
Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in
To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and
“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.
This set of comments reports experiences from a recent “science-meets-arts”-project in Germany, in which students from the University of Fine Arts in Hamburg (HFBK) shared day-to-day life in climate research groups for several months. The project was envisioned as a process of mutual inspiration with the aim of producing a joint exhibition and symposium at the end. This paper introduces the project as well as the subsequent commentaries and also presents some of my own observations.