Computer science education is rapidly being recognized as essential for all students to develop into successful citizens of the 21st century. A diverse group of stakeholders, including educators, business and industry, policymakers, and parents all agree on the importance of computer science. Significant workforce needs in particular are driving the push for computer science education. In comparison to all other U.S. job categories, computing is projected to have the largest percent growth between 2014 and 2024. And this projected growth may not even entirely capture the full number of
How did industrial museums cross the Atlantic? When the first American museums of science and industry were created in the 1920s, they looked to Europe in order to import what was seen at that time as a burgeoning cultural institution. In this article, I look at this process of appropriation through an analysis of the changing perceptions of European industrial museums as expressed in the reports, surveys and books written by the curators, directors and trustees of the New York Museum of Science and Industry. I will pay particular attention to the 1927 film Museums of the New Age, documenting
The Special Challenge of Exhibits on Evolution is a summative report that reviews published research on how visitors to science and natural history museums perceive evolution and exhibits on evolution.
This article concerns the conservation of historic doped fabric aeroplanes in the static museum setting of the Science Museum’s Flight gallery. It reviews historic sources, primarily archival and scientific research papers, to examine what doped fabric aeroplanes are made from, and why these materials were selected. It also discusses current conservation methods used for treating tears in the doped fabric covering of aeroplanes, and considers the ethical and practical limitations of these practices. An overview of the doped fabric aircraft collection currently held by the Science Museum is
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Ben RegelJannicke LangfeldtLouisa BurdenMary Ryan
This essay explores the extent to which residues of the practices inherent in nineteenth-century science lecture-demonstrations from the Royal Institution of Great Britain (RI) are evident in contemporary forms of Science Museum Group (SMG) Explainer presentations. The discipline of Performance Studies offers a number of models to discuss such a consideration and this essay draws particularly on the connected, transgenerational theories of vertical transmission, embodied knowledge and intertheatricality. Specifically, the focus is on three notable scientists, selected here for their particular
In December the Science Museum will open Mathematics: The Winton Gallery. The new gallery tells mathematical stories in relation to a broad spectrum of fundamental human concerns. One of the key exhibits is a newly acquired machine for modelling storm surges in the North Sea. Designed by Japanese engineer Shizuo Ishiguro, the object offers a way to explore the far-reaching impact and relevance of mathematical work.
Among the exhibits at the 2016 Leonardo da Vinci exhibition at the Science Museum, London, was one that purported to illustrate Leonardo’s experiments on friction. The models involved were the work of Giovanni Canestrini (1893–1975) who contributed to the 1939 and 1953 Leonardo exhibitions in Milan. This article discusses the original sources and history of these models, in the light of recent research into Leonardo’s work on friction. It concludes that, while being relevant to Leonardo’s study of mechanics, these models seriously misrepresent his experimental investigations of friction.
Peter Weingart and Lars Guenther have written a short but nevertheless comprehensive stock-taking of science communication and the issue of trust. I fully agree with almost all of their theoretical and critical observations. My aim is to critically discuss the understanding of trust as expressed in the traditional discourse on science communication. From my point of view, this concept of trust in science reveals severe shortcomings. As a consequence, communication strategies following this concept could even jeopardize trust in science.
Peter Weingart and Lars Guenther suggest that the public's trust in science has become endangered due to a new ecology of science communication. An implicit theoretical base of their argument is that the integrity of science as an institution depends on the integrity of science as a profession. My comment aims to reconstruct and question this specific institutional understanding of science. I argue that rust in technologies of knowledge production might be a potential equivalent to trust in professions.
Trust in science is, to a considerable extent, the outcome of communication. News and online media in particular are important mediators of trust in science. So far, however, conceptual works on mediated trust in science are lacking. Taking a cue from Weingart & Guenther, this commentary proposes a concept of mediated trust in science and for its measurement, and shows where it could be used in the science of science communication.
Science communication, whether internally or to the general public depends on trust, both trust in the source and trust in the medium of communication. With the new 'ecology of communication' this trust is endangered. On the one hand the very term of science communication has been captured by many different actors (e.g., governments, PR experts, universities and research institutions, science journalists, and bloggers) apart from scientists themselves to whom science communication means different things and whose communication is tainted by special interests. Some of these actors are probably
Scientist-turned-filmmaker Randy Olson makes a bold claim: scientists cannot adequately explain their own work. He attributes all of the issues facing science communication today ― false positives, an uninterested public, and unapproved grant proposals ― to scientists' lack of narrative intuition. Rather than turn to the humanities for help, Olson suggests scientists learn from the true masters of storytelling ― Hollywood filmmakers. His latest book examines the age-old divide between science and the humanities, as well as the new adversarial relationship between science and film, which he