The knowledge deficit model with regard to the public has been severely criticized in the sociology of the public perception of science. However, when dealing with public decisions regarding scientific matters, political and scientific institutions insist on defending the deficit model. The idea that only certified experts, or those with vast experience, should have the right to participate in decisions can bring about problems for the future of democracies. Through a type of "topography of ideas", in which some concepts from the social studies of science are used in order to think about these
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Alessandro Luis PiolliMaria Conceicao da Costa
In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.
Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.
Despite the developed world’s climate-controlled interiors and easy access to all kinds of fresh produce at any time of year, our lives are still dependent upon the weather and climate. With global warming, our dependence is becoming even more apparent. I am an artist working with new technologies and last year I had the opportunity to go to Antarctica for two months on a US National Science Foundation-sponsored residency where I worked alongside scientists studying the global implications of Antarctic weather and climate change. The Antarctic is unlike any other place on earth. There, I
Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of
In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to
The world, all at once, has become a small world. Not only owing to TV, satellites and the Internet that allow us to jump from side to side of our planet in a click. But also owing to a phenomenon that evokes dry lands, devastating rains, tsunamis and hurricanes, torrid summers and melting glaciers: global warming. In the heated argument on this issue with so many people talking, in the past few years also artists have made their rising voice be heard. Artists-popularisers, aware of their role and of the considerable communication potential of the art medium. Because “One salient image
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Donato Ramani
resourceresearchProfessional Development, Conferences, and Networks
In this paper, the authors synthesize three types of research-practice partnerships (RPPs) for informal learning. The article includes descriptions of example partnerships between local researchers and informal educators from the Hive NYC Learning Network, Community Practice Research Collaboration, and California Tinkering Afterschool Network. The synthesis paper concludes with a review of characteristics commonly found in partnerships in informal science education.
At the end of the dark ages, anatomy was taught as though everything that could be known was known. Scholars learned about what had been discovered rather than how to make discoveries. This was true even though the body (and the rest of biology) was very poorly understood. The renaissance eventually brought a revolution in how scholars (and graduate students) were trained and worked. This revolution never occurred in K–12 or university education such that we now teach young students in much the way that scholars were taught in the dark ages, we teach them what is already known rather than the
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Robert DunnJulie UrbanDarlene CavalierCaren Cooper
Learning to See, Seeing to Learn: A Sociotechnical System Supporting Taxonomic Identification Activities in Volunteer-Based Water Quality Biomonitoring is an Innovations in Development proposal to further develop and study a cyber-enhanced informal learning environment to support observational practices and classification skills in a citizen science context. In particular, we focus on the taxonomic ID bottleneck that hampers the acquisition of high-caliber biotic data needed for volunteer-based water quality monitoring efforts.
The emerging field of the learning sciences one that is interdisciplinary, drawing on multiple theoretical perspectives and research paradigms so as to build understandings of the nature and conditions of learning, cognition, and development. Learning sciences researchers investigate cognition in context, at times emphasizing one more than the other but with the broad goal of developing evidence-based claims derived from both laboratory-based and naturalistic investigations that result in knowledge about how people learn. This work can involve the development of technological tools, curriculum
The lion's share of my current research program is devoted to the study of learning in the blooming, buzzing confusion of inner-city classrooms. My high-level goal is to transform grade-school classrooms from work sites where students perform assigned tasks under the management of teachers into communities of learning ( Bereiter & Scardamalia, 1989; Brown & Campione, 1990) and interpretation ( Fish, 1980), where students are given significant opportunity to take charge of their own learning. In my current work, I conduct what Collins (in press) refers to as design experiments, modeled on the