This report details a nine-month summative evaluation of the Underwater Dome Exhibit at the Seattle Aquarium. The study was undertaken to inform the Aquarium's development of short- term, cost-effective updates to improve visitor satisfaction and experience in the dome. The study sought to develop a baseline understanding of how visitors use and react to the exhibit, as well as to determine whether or not visitors understand that the dome represents the Puget Sound. Data was collected using observational and survey instruments (included in the appendix of this report).
This case study is an analysis of the art criticism of one undergraduate and eight graduate art education students about the work of contemporary artist Robert Rauschenberg. The purpose of the analysis is to identify the students' use or nonuse of four thinking strategies found in the practice of three professional art critics and to assess implications for classroom art criticism.
A strategy for heightening university students' awareness within aesthetic encounters is described. The strategy, called aesthetigrams, is the focus of on going qualitative research, the purpose of which is to improve teaching and learning in regard to aesthetics-in-the-classroom. A more long-term research goal is discussed briefly. It addresses the possibility for a definition of aesthetic experience to be derived from student-produced records of their encounters.
This study used a goal-oriented motivation framework. The goals that high school-age adolescents held for their out-of-school learning activities were investigated. Two different approaches to goals were examined: (a) goal setting-the process of specifying desired outcomes and a self-regulated learning strategy, and (b) goal content -the life aims that people have that direct their behavior. Sixty-six students were interviewed. Few of the adolescents used goal-setting techniques effectively; only eight had a plan or series of subgoals necessary for achieving their major goal. Goal content
It is an active time in both developmental psychology and art education. In developmental psychology some interesting new theoretical developments suggest a new level of maturity in the field. In art education there are some productive moves afoot that show that the tendency to emphasize spontaneous production in art class to the exclusion of understanding and appreciation is finally over. These are both welcome sets of changes; indeed, both are changes related to larger shifts in the cultural and intellectual climate of the 1980s.
The purpose of this research study was to investigate: students' schema structure for human evolution; their idiosyncratic conceptual change after visiting a museum exhibition; the role of alternative frameworks during learning; and the function of affect in learning. Thirty eleventh and twelfth grade high school students, eleven males and nineteen females, visited an exhibition on human evolution and participated in an opened-ended pre and post interview and Likert-type questionnaire. The interviews were transcribed, segmented by using shifts in natural language, and pre and post schema
My thesis is that museum exhibitions developed according to Freirean praxis would constitute a better learning opportunity for visitors, facilitate the process of evaluation, and enact the favoured museum principles of dialogic communication and community-building. This project constitutes a cross-fertilisation of adult education, cultural studies and museum practice. In the last few decades, museum professional practice has become increasingly well informed by cultural critique. Many museum institutions have been moved to commit to building communities, but the question of how to do so via
American educators and policymakers have often claimed that the arts can have powerful effects in education and that these effects may reverberate far beyond the arts. Arts education has been argued to have social, motivational, and academic repercussions. But are such claims rooted in empirical evidence, or are they unsupported advocacy? The studies in this issue review systematically what is known about the power of the arts to promote learning in non-arts domains. Thus, we focus here only on the claims that have been made about the effects of arts education on cognitive, academic outcomes
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TEAM MEMBERS:
Ellen WinnerLois Hetland
resourceresearchProfessional Development, Conferences, and Networks
Science, technology, engineering, and mathematics (STEM) permeate the modern world. The jobs people do, the foods they eat, the vehicles in which they travel, the information they receive, the medicines they take, and many other facets of modern life are constantly changing as STEM knowledge steadily accumulates. Yet STEM education in the United States, despite the importance of these subjects, is consistently falling short. Many students are not graduating from high school with the knowledge and capacities they will need to pursue STEM careers or understand STEM-related issues in the
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Steve OlsonJay LabovNational Research Council
In the American educational climate of today, "basic" academic skills are valued while the arts are considered a frill. Many major urban school districts have cut back on arts education in order to strengthen academic subjects. Even though most of our schools have some arts education, and even though most of our citizens say they want their children to be exposed to the arts in school, only one in four students in American schools sings, plays an instrument, or performs plays in class each week. When budgets are tight, the arts are almost always the first programs to be cut. This study
The authors examine SAT data from the College Board in order to examine the correlation between the number of years of art education and SAT scores. By studying twelve years of data, they find that studying art is associated with higher SAT scores, and that students who take four years of art courses have higher scores than those who take some art but less than four years' worth.
The authors seek to investigate whether studying the arts makes people more creative, and by extension, whether studying the arts builds creative thinking skills that can be deployed outside the arts. They do so through a series of meta-analyses examining existing literature, and find that the presence of an association between studying the arts and creative thinking depends on experimental design and the form of creativity measured.
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TEAM MEMBERS:
Erik MogaKristin BurgerLois HetlandEllen Winner