What may be defined as the "standard model" of the public communication of science began to develop in the second half of the nineteenth century, gained a clear structure (especially in an Anglo-Saxon context) in the first three decades of the twentieth century and dominated until the nineties. Roughly speaking, the model tends to describe science as a compact social (and epistemic) corpus, largely separated from the rest of society by a type of semipermeable membrane. That is, information and actions can flow freely from science to the rest of society (through the application of technologies
There is no use denying it: whenever a scientist gets a piece of news in a newspaper or on television concerning his own field of research, eight times out of ten he feels irritated. The reason does not solely depend on the fact that, in his opinion, the news given to the public is often rather inaccurate or centred on secondary aspects, sometimes even distorted. There is actually something more? Something deeper that the scientist can hardly grasp.
AAAS describes public engagement with science as intentional, meaningful interactions that provide opportunities for mutual learning between scientists and members of the public. Through the Alan I. Leshner Leadership Institute for Public Engagement with Science, AAAS empowers scientists and engineers to practice high-impact public engagement by fostering leaders who advocate for critical dialogue between scientists and the public and lead change to enable their communities, institutions, and others to support public engagement. This report, with additional work on understanding mechanisms for
Under a subcontract with Randi Korn & Associates, who conducted a study of the on‐site museum exhibit, RMC was engaged to conduct an evaluation of the Places of Invention online map site for the Jerome and Dorothy Lemelson Center for the Study of Invention and Innovation. The Places of Invention online map, part of the 3,500 square foot on‐site exhibit, was developed as a platform for collecting invention stories related to specific places or landscapes submitted by Smithsonian staff, Smithsonian Affiliations, and visitors to the online map. RMC investigated three key topics related to
The Science Museum has a rich tradition of exhibitions and galleries devoted to space exploration. Over several decades they have featured and highlighted examples of space hardware – rockets, satellites and spacecraft. The displays have dwelt on the technological and, sometimes, the scientific, with little consideration of the social, let alone of any cultural contexts in which the technology might be located. The Cosmonauts: Birth of the Space Age exhibition (2015) challenged this trend with an exposition that, while including uniquely historic space artefacts, situated them firmly and
Flying Scotsman is arguably the world’s most famous steam locomotive. The engine, a standard bearer of British engineering excellence and modernity in the 1920s, became, in the 1960s, a symbol of the dying age of steam. As Britain’s post war austerity and increasingly lesser role in the world gave way to Harold Wilson’s modernising ‘white heat of technology’ Britain’s ‘cult of the past’ took greater hold. Wistful nostalgia for the past can be seen across the cultural landscape of the 1960s in books, poetry, music, television and film. With a marked increase in the rise and popularity of
I argue in this article that the tangible proximity, the sensual evocative power of things is lost in a visit to the museum. Too often the aesthetic form of the exhibition utterly destroys the objects’ core material function. One of my contentions is that we cannot think with objects we are unfamiliar with, or cannot fully grasp and manipulate. In a museum we are compelled to admire the objects’ formal and abstract ‘beauty’. They have been robbed of their function: they are functionless. I address this long-standing dichotomy between form and function. I argue that Art has undesirably become
Like many who started out as an ‘assistant curator’, I came to work in museums after years of academic study. Evolving some and swapping other habits formed whilst at university has mostly suited my aptitudes and appetites. But a puzzle emerged: how might I hang on to the invigorating, indeed intoxicating practices of research? After a quarter century of being involved with projects that attempted working solutions to this museological conundrum, the following speculations outline a more considered response. On taking over as its director, Ian Blatchford bravely criticised previous decades of
This essay is an account of the making of England and her Soldiers (1859) by Harriet Martineau and Florence Nightingale. The book is a literary account of the Crimean War, written by Martineau and based on Nightingale’s statistical studies of mortality during the conflict. Nightingale was passionate about statistics and healthcare. Whilst working as a nurse in the Crimea, she witnessed thousands of soldiers die of infectious diseases that might have been prevented with proper sanitation. After the war, she launched a campaign to convince the British government to make permanent reforms to
Medical photography collections often remind us of the inescapable reality of human suffering and pain, and at the same time they oblige us to deal with questions of ownership and privacy. Medical photography collections are thus considered ‘sensitive’ collections within the museum context. This essay investigates privacy issues involved in the curating of historical photographic collections in museum spaces. When medical photography entered into non-medical domains privacy issues emerged. It is these privacy issues that cast a shadow of sensitivity on the medical material. But the
In this essay, I will approach museums both via their glass display cases and via the particular capacities offered by the term ‘co-production’. In doing this I will draw on two genealogies of co-production. The first is focussed on the political question of how public institutions and their publics might better collaborate. It is this ‘public policy’ variant of the term which has most explicitly influenced the use of the term ‘co-production’ in museums. The second comes from Science and Technology Studies (STS). ‘Co-production’, according to Shelia Jasanoff (2004, p 43), was first used in STS
This poster was presented at the 2016 Advancing Informal STEM Learning (AISL) PI Meeting held in Bethesda, MD on February 29-March 2. The third season of the national PBS series, SciGirls, is the first national children’s television series and website designed to engage and educate millions of children about citizen science. In each half-hour episode, a female mentor guides a group of ethnically diverse middle school girls as they learn about citizen science protocols and collect and share data for an established citizen science project. In addition to the videos, the SciGirls website presents