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Science in Museums: Science for All Ages

by columnist Kacie Rice,

Museum educators, as proprietors of informal learning for all ages, often run into a unique dilemma: how do we create educational science experiences that cater to both kids and adults? I was recently having a discussion about this topic with fellow Science in Museums blogger Cira Brown and our classmate Rachel Hacunda – we noted that museums (especially science and history museums) have increasingly and explicitly catered to a younger audience in the last couple of decades, arguably to the detriment of their adult visitors.

Don’t get me wrong – I’m entirely in favor of museums teaching science to children! That’s kind of my thing! As a museum educator, I’m fully aware of and supportive of the need to use learning theory and childhood development principles in crafting free-choice educational experiences for children – but have science museums taken this concept too far? It often seems that science museums can be either for children or for adults, but not for both at the same time – and I’d argue that this is a big problem for the field. At best, it “dumbs down” science for kids; at worst, it alienates both kids and parents by providing an experience that they can’t equally participate in together. We absolutely need our science museums to be not only child-friendly, but also actively adult-friendly. It’s a win for everyone.

As a case study, let’s look at the two major science museums in the Boston area: the Museum of Science (MOS) and the MIT Museum. MOS is a place many Bostonians remember going as children and hope to take their children one day; the MIT Museum is a place where grown-up science enthusiasts go to learn about recent research at MIT. One of these is almost entirely child-oriented, the other is strictly for adults (the MIT Museum’s website even states up front that content is aimed at those over 12). They fill different niches, but this inherently means that neither of them can fill the needs of an entire family.

The major issue is that kids and adults don’t visit science museum in a vacuum: kids necessarily have to visit museums with their parents. Why, then, is the science museum experience so often only for the kids? And when adults can participate meaningfully, such as in MOS’ recent (and fantastic) Design Zone exhibition (aimed at a middle school age range, but fun for pretty much everyone) – how can we market these exhibits to let parents know that, yes, their children can learn a lot here, but so can they?

I’d argue that marketing and public opinion is a big part of what we’re dealing with – science museums are often lumped together with children’s museum in the public consciousness. They’re hands-on, they’re interactive, and they’re so often just plain fun: these are all things that read as for kids in our culture. Adults gaze silently at art, they read about current research, they want the deeper meaning behind events and objects, and they want to get these things from experts, not figure them out for themselves – these are all major barriers to getting adults to feel comfortable just playing in museums. But playing is a valuable way to learn throughout a person’s whole life. When we play and interact, we lose inhibitions, we are free to make decisions and judgments, we are ultimately free to think critically with no consequences – and this is the real stuff of learning! This is exactly how we teach kids in museums, and we’d love to be able to create these same experiences for the adults who accompany them.

Another driving force behind the ongoing kiddification of science museums is the increasing reliance on learning theory. Now, obviously learning theory is a great thing, and something we should absolutely be using as a tool in creating educational experiences – but we should be using it as just that: a tool. Not every exhibit needs to explicitly target Piaget’s Concrete Operational stage. Increasingly, science exhibitions are aimed at very specific ages (see the above example of Design Zone, aimed at young teens), and rarely do they target the adult audience, or even other kids. But as anti-vaccine debates, climate change denialism, and the emergence of creationism as a “valid alternative” to evolution show, adults desperately need to learn science too.

In casual conversations, I hear a lot about the “dumbing down” of science exhibitions. It seems that educators try to present material in a way that kids can understand, without realizing that kids can understand a whole lot more than we give them credit for. We worry about introducing difficult topics too early, but in my experience, kids can handle science. Kids don’t have the fear of science that adults often develop after years of schooling. If a certain kid can’t handle a certain topic at a certain time, they’ll get to it when they’re ready – and when they’re ready, they’ll have the background knowledge of having at least engaged with the topic before. It hurts no one to give people too much information, but it is a definite problem to withhold scientific content for the sake of remaining approachable for the lowest common denominator.

I think part of the problem here is assuming that people can only learn from those exhibitions, books, and lessons which are specifically aimed at them – but my experience has shown that this isn’t true at all. Personally, I remember visiting exhibitions “for adults” when I was a child – and I remember learning a lot from them! Even if I didn’t interact with the specific content the curators wrote in the labels, I remember seeing major works of art, huge dinosaurs, and recreations of the Battle of San Jacinto and being amazed that such things exist in the first place. When asked about memorable childhood museum experiences, adults will rarely cite carefully crafted age-appropriate interactives, but will talk at length about the Blue Whale at the American Museum of Natural History or the room of armor at the Metropolitan. These are displays that are minimally interpretive (sometimes a trait of adult-centered exhibitions), but that teach and inspire kids in intense, formative ways. And best of all: they’re exhibits that can give parents just as much joy and wonder.

We need to start thinking about what it is exactly that kids get out of museum visits – I’d predict that it would very closely align with what adults get out of them. It likely won’t be about the specific information imparted, but it can be about the experience of being around really cool stuff while doing really cool things – that’s something that all ages can get excited about! And, like play, it’s something that’s inherently educational at every level of development: isn’t that what we want out of a museum visit? The Higgs-Boson particle is inherently cool – we can’t assume that only particle physicists can understand it or relate to it. Show a kid a model of the Large Hadron Collider in Switzerland and tell them what it does. Try telling kids about cosmology, organic chemistry, molecular biology. There’s no way that stuff isn’t awesome, no matter how old you are or what you know about science.

People just need to feel comfortable enough engaging with material, and “dumbing down” scientific content for a younger age isn’t going to accomplish this for anyone. Everyone can tell when he or she is being talked down to (and yes, even kids pick up on this extremely quickly). Let’s have faith in our multi-age audiences to engage with science. I’d be willing to bet that they’ll rise to the challenge.

 

Science in Museums: Museums in the Virtual World

by columnist Catherine Sigmond

Last week the Exploratorium officially re-opened in its 330,000 ft. new building at Pier 15 in San Francisco after a $300 million, multi-year construction project.

The new museum at Pier 15, which is three times bigger than the previous location at the Palace of Fine Arts, boasts an array of exciting new exhibits on all sorts of topics. Visitors can enter the rain chamber, where they select a famous past storm and stand as the exhibit recreates the frequency, size, and velocity of its raindrops, or “The Colors of Water,” where they can match the daily color of the San Francisco Bay and investigate what factors cause it to change from day to day.

But this science museum doesn’t just exist in the physical realm- it also has an extensive virtual presence. It’s not that the museum simply has a really great website with excellent teaching resources (which incidentally it does- check it out here). Rather, visitors searching for ways to engage with the museum without actually settling foot inside the new building can enter an entire virtual world that the museum created in Second Life and use it to engage with exhibits and attend regular public events through an avatar that they create.

In the SciLands region of Second Life users can explore Exploratorium Island and its sister island, ‘Sploland, allowing them to examine over 100 virtual exhibits all while using instant messaging, gestures, and chats to communicate with others. The experience is completely dependent on visitors’ curiosity and creativity.

The museum’s virtual reality blog, Fabricated Realities, features some of the experiments and events that take place in these virtual spaces as well as others that occur in the mash-up between the real and virtual worlds.

Once, for example, the museum streamed a rare transit of the planet Mercury live from the telescopes at the National Optical Astronomy Observatory (NOAO) in Kitt Peak, Arizona, into the International Spaceflight Museum site in Second Life. An international avatar audience had the opportunity to pose questions to an avatar staff member on stage who answered questions, while a three-dimensional model of the orbit of Mercury hung over the stage allowing avatars to fly up and examine the orbiting planet.

Many of the exhibits featured on the island are based off of real-life components in the museum itself, such as a series of ever-larger dominoes that visitors can push in order to explore chain reactions relating to force and motion. However Second Life also allows the museum to create exhibits that would be impractical or unsafe to build in a real physical space. One great example is a virtual exhibit where users can visualize a nuclear chain reaction by dropping a Ping-Pong ball on a series of mousetraps loaded with other Ping-Pong balls and watching as they are continuously set off.

It’s hard to imagine exactly how it all works without taking a look at it yourself. If you’re new to Second Life or just plain curious, take a look at this “machinima” (a film made entirely in the virtual world) made by the Exploratorium’s Teacher Institute to highlight some of the cool exhibits and recent events in Second Life on Exploratorium Island and in ‘Sploland.

I’ll admit that at first I was a bit underwhelmed by some of the exhibits the video profiles. But as I kept watching I found myself more and more impressed by what I saw. The virtual space in Second Life could be great for prototyping new exhibit components, demonstrating large-scale scientific phenomena that would be difficult to recreate in a small room, and allowing both visitors and museum professionals from different parts of the world interact with one another.

For me, however, visiting the museum in Second Life will forever be second to a trip to the museum itself. Although there is a high level of social interaction on Second Life, it can never compare to seeing the reactions on people’s faces to the things they see and do in a science museum and the spontaneity of real conversation. I love that Exploratorium Island is a place where I can simulate what it’s like to orbit the Earth if I want to, but I’ll never be able to hold a bear skull in my hands or illuminate a light bulb by using my body to conduct electric charge like I can in real life.

So while it does have some cool features, I’m still undecided about whether or not I think this is something museums should devote a lot of time to.

How do you feel about museums in the virtual world? Is building a museum in Second Life something all museums should consider?

Science in Museums: Museums at the Movies, Pop Cultural Partnerships

by columnist Kacie Rice

We’ve all seen our fair share of movies that happen at museums (museum professionals around the country are surely tired of being asked if their jobs are like Night at the Museum or The DaVinci Code) – but what about bringing the movies to life in museum exhibits themselves?

Beginning May 23, Thinktank, a hands-on science museum in Birmingham, England, will be hosting The Pirates!: In an Adventure with Scientists: The Exhibition, based on the 2012 animated movie of the same title. The movie, released last year in the U.S. as The Pirates: Band of Misfits (some speculated at the time that this change was due to Americans’ perceived inability to think of “scientists” as a fun crowd – though I’d ask anyone who believes this to join my pub trivia team just to prove them wrong), is a stop-motion comedy from the Aardman Animation team (Wallace and Gromit, Chicken Run) that follows a group of pirates as they accidentally get tangled up with Charles Darwin’s search for the extinct dodo (I’d highly recommend checking it out if, like me, you’re into evolution humor). The movie manages to be at once funny and surprisingly smart – when was the last time you saw the H.M.S. Beagle namedropped in a kids’ movie?

The exhibition, funded by Sony Pictures Animation, will do double duty, both advertising for the movie and educating kids about piracy, filmmaking, and evolution. It features many of the clay puppets and sets from the movie and uses them as a jumping off point to teach kids about steering a galleon and using blue-screen technology. The museum will also be displaying a recreation of a dodo specimen from the Oxford University Museum of Natural History to link the exhibition to natural history and evolution themes.

I’ve noticed exhibits like Pirates cropping up sporadically for the last several years. The Perot Museum of Science, Dallas’ brand new flagship science museum, boasts a Tyrannosaurus rex scale model used in the 1993 movie Jurassic Park. The American Museum of Natural History in New York has hosted a series of events and exhibitions coinciding with the release dates of the popular Spider Man franchise of movies. These have included exhibitions on live spiders in 2007 and 2012, the latter of which was highly publicized and attended by Spider Man himself, Andrew Garfield.

These pop-culturally relevant exhibits hold huge potential to attract audiences to museums – but do they do this at the cost of weakening a museums’ mission? I have to admit, when I first read about the Pirates exhibition in Birmingham, my first thought was that it seemed too commercial. The museum is using the props from the film to sell the exhibition and get bodies in the door – the question is: will they center the exhibition around these props to the detriment of real learning, or will they use children’s initial interest in the movie to really get them involved in history and science? Even more concerning: will the funding from Sony Pictures Animation force the museum’s hand in making an exhibition that promotes Sony’s profit-based interests over the museum’s educational interests?

I wondered if casual visitors might have the same reaction that I did – will they see an exhibition like this as a sign that the museum is “selling out” and weakening its educational mission? Will audiences place less trust in a respected cultural institution if it commercially associates itself with popular media? These questions echo fears raised in the 1990’s, when Chicago’s Field Museum partnered with McDonald’s and Disney to raise money to buy Sue, the famous T. rex fossil. Many in the museum field felt that this association would imbue the fossil and exhibition with dangerous corporate messaging that could derail the museum’s educational content. Fortunately, McDonald’s and Disney anticipated these fears and presented their gift as purely philanthropic – while a cast of Sue did travel to Disney World, the travelling exhibit was entirely educational and served to promote the museum’s mission across the country. In this case, the museum’s partnership with popular media corporations paid off: though the corporations did hold naming rights for the exhibitions (see: the McDonald’s Fossil Prep Lab), The Field Museum retained all intellectual rights and had the freedom to teach about Sue in a way that would not have been possible without the funding partnership (for more on this story, including the dramatic legal battle over Sue, I’d recommend Steve Fiffer’s fantastic 2001 book Tyrannosaurus Sue).

Does it benefit museums to use media corporations to capitalize on pop cultural trends and events? Many people decry popular media as devoid of substance, but in the examples above, movies have opened the doors to a variety of academic topics: piracy, technology, paleontology, and entomology. As funding grows increasingly scarce, do you think we’ll start to see museums like Harvard’s Peabody partnering with Paramount Pictures to create an Indiana Jones Hall of Archaeology? Do you think a trend like this would help museums or hurt them in the long run? I’m on the fence about this – while I believe that these kinds of exhibits would bring people in (I’d be the first in line for the Indiana Jones hall!) and provide much-needed funding, I also think they could make the public assume that the museum’s exhibits aren’t academically rigorous, weakening their trust in traditionally esteemed institutions.

As the Pirates exhibit won’t open until May 25th, we won’t know how Thinktank’s relationship with Sony will play out until the reviews start coming in. Until then, my hopes are high that kids will go in hoping to see their favorite pirate characters and come out wanting to read about Blackbeard, Mary Read, and, of course, the dodo.

 

Science in Museums: Metaphorically Transporting Exhibits

by columnist Cira Brown
I am currently enrolled in the Exhibition Planning class at Tufts, and I love it! I feel so lucky to be given the opportunity to curate our own exhibition as a class, which I’ve been told is quite rare for museum studies graduate programs. Together, we cover everything from object management, collections care, exhibition design, layout, marketing and budgeting. I’ve decided to be part of the exhibition design group, though we all gain experience in the various areas of planning an exhibition. Kacie Rice and Catherine Sigmond, the other contributors to the Science in Museums column, are in the class as well.
I’ve spoken previously about the recurring theme of balance that I find in exhibit development, and I’m finding that the same applies for exhibition design as well. The design itself needs to transform the space, but it also must not overshadow the content. This inherent tension makes for interesting conversations and decisions. Do we use our collection as inspiration for design motifs, or is that too literal and distracting? Should we use a color palette based on the artist’s works or create our own? Does our design aesthetic need to correspond to contemporary styles? Based on survey responses from the class, we’ve decided we want our visitors to feel “transported” and the design should evoke a sense of nostalgia – but what exactly does that mean? Nostalgia is subjective and implies different responses for various demographics. Similarly, the notion of “transporting” a visitor is unclear. Transported to where? A literal place or a figurative feeling? I find this inherent tension to be fascinating, and, as exhibit designers, our task is to translate these abstract feelings into tangible elements in the styling of a gallery space.
I’ve been thinking about my experience in this class and how it applies to a science exhibition context. Science visualization and high-resolution/micro/macro imaging provides such great opportunities for creating spaces, and I love seeing science museums use these elements to the extreme. In a way, science museums are have more freedom in the creation of immersive environments,because the exhibition may not entirely be based on artifacts, but instead on exhibits and experiences. I’ve been thinking a lot about the limits of design in these spaces, whether they suffer from being “over” or “under” designed, and how one would even make these qualifications. I’m also unclear if visitors respond better to highly stylized theatrical environments or more traditional gallery spaces, or whether its dependent on the activity or content in the area.
Anyway, I suppose I’ll use this space to plug our exhibition! Our opening reception will be on Monday, May 6th at 5:30pm, and our show runs from May 7th through May 19th. You can decide for yourself if we were successful in “transporting” you!

Science in Museums: Can Science Museums Crowdsource Exhibit Content

by columnist Catherine Sigmond.

New York’s Intrepid Sea, Air, and Space Museum wants your photos for a new crowd-sourced exhibit on the Space Shuttle Enterprise.

The museum is creating a special exhibition entitled Space Shuttle Enterprise: A Pioneer to fill its halls after the real shuttle was badly damaged last fall during Superstorm Sandy. First unveiled in 1976, Enterprise was the first reusable spacecraft that launched as a rocket yet landed on a runway like an airplane. The exhibition will provide a brief history of this revolutionary vehicle as well as artifacts from the early age of space exploration, video clips and archival image, and will feature large crowd-sourced display of photographs from shuttle fans from around the world.

As Elaine Charnov, Vice President of Exhibitions, explains in an interview with Mashable, crowdsourcing provides the opportunity to harness people’s electricity and enthusiasm about the story of Enterprise’s arrival in New York City in July 2012, while adding an element to the exhibition that is truly citizen-generated.

Visitors can upload photos of their space shuttle moments to the museum’s website or post them to Instagram and Twitter, and even add their own captions. The museum will then choose the best pictures and the ones with the best captions to include in the exhibition and on the museum’s website until the real shuttle is repaired.

I’m always intrigued by crowd-sourced projects, and this initiative makes me wonder about other ways crowdsourcing could be utilized in designing exhibitions for science museums. Many museums are already running great educational initiatives for citizen science, like the Museum of Science’s Firefly Watch, which asks visitors to share their observations of fireflies in their backyard to help local scientists with their research.

But while the Intrepid Sea, Air, and Space Museum’s new display invites visitors to participate in the museum’s activities while invoking a sense of nostalgia about one of the museum’s feature objects, it doesn’t do much to facilitate audience participation in scientific activities. So is there a way for science museums to successfully incorporate visitor-generated content into their exhibitions spaces in a way that allows the visitor to both participate in an exhibition’s design and creation as well as contribute to important scientific research?

Unlike many art institutions that are revolutionizing the ways in which they curate exhibitions through crowd-sourcing (check out the visitor-curated exhibitions using the uCurate program at the Sterling and Francine Clark Art Institute in Williamstown, MA for example), science museums will likely struggle to incorporate user-generated content into exhibitions that are typically hands-on and experiment-based in nature.

Though it’s difficult to think of the forms that a crowd-sourced science exhibition might take, it’s certainly interesting to contemplate the ways in which science museums could take audience participation in science to the next level. What would a crowd-sourced science exhibition look like? Would it have to remain photography-based in nature, or are there ways of involving the crowd in designing traditional hands-on science exhibits?

The Intrepid Sea, Air, and Space Museum’s new crowd-sourced display certainly raises a lot of questions about the possibilities of involving visitors in designing science exhibitions.

As you brainstorm how (or if) crowdsourcing will play a role in the future of exhibition design in science museums, you can check out some of the photos that have been uploaded to the Intrepid’s website here.

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