At the recent Math Core advisors’ meeting I attended, several exhibit developers, advisors, and designers mentioned how they had observed children building with blocks, constructing towers and houses, before and sometimes instead of focusing on the math. I noticed the same thing.
One particularly
long building sequence started when two girls, 4 years and 8 years, walked
up to Scaling Shapes, an exhibit about doubling the size of the object in three
dimensions, height, length, width. The exhibit has a large work surface with a
one-inch grid, loose one-inch cubes, and several block structures of assembled
cubes. A monitor shows a structure being enlarged by doubling all three
dimensions.
Standing at the exhibit,
one girl said to the other, “Do you want to build a house?” They swept all the
cubes to one side and started building a house for their three stuffed animals,
a giraffe, a puppy, and a bear. As they built, they talked about what they were
building, and who their animals were: “They’re all
triplets.” “They’re watching TV.” “Where should we put him?” the older girl asked holding up the
giraffe. “Let me deal with that!” the younger one replied, grabbing the animal.
The activity continued, sometimes with more building and problem solving (“How
do we make a window for the giraffe?”) and some times with more conversation.
This kind of activity
sequence occurs frequently in children’s museums, science centers and museums
and probably in every type of museum. While content specialists, advisors, exhibit
developers and designers who create exhibits all want to see our exhibits used
as we intend them to be, more than likely, it’s just not going to happen or not
going to happen right away.
Exploration and Play
Planned for or not, play
and exploration are an active, present, and inevitable part of the museum
experience. The problem solving, critical thinking, and the planned discovery
we intend for children and adults in exhibits require time and the opportunity to
explore, to develop a familiarity with and knowledge of the materials, objects
and even the context.
We can look to play for
some insights into what happens at exhibits and, for that matter, in many contexts.
What we think of broadly as children’s play with objects has two distinct aspects proposed by Corinne Hutt in 1970. In her play taxonomy, also referred to by Rennie and McClafferty (2002), she
identifies epistemic behavior, or
exploration, and ludic behavior, or
self-amusement, along with games with
rules.
What can this do? |
What can I do with this object? |
A new combination, a new round of exploration |
The need to explore and become familiar with something does not disappear with childhood and is not limited to toys or play. Adults certainly bring more information to each encounter, but the material (and even social) world is not static enough to remain familiar. When a new gadget or piece of equipment enters our life, when we try to open a particularly pernicious type of packaging, or we walk up to the rocket launcher at a science center, we take time to inspect, investigate, and explore before wholeheartedly committing to its use or to making something with it. In fact, Rennie and McClafferty suggest a paraphrase of Hutt’s two questions: “What can this exhibit do?” and “What can I do with this exhibit?”
Museum and Exhibit Context
In developing and
designing museum experiences, most of us, most of the time do so as if investigation,
play, and planned discovery to accomplish objectives were one and the same. They
are not. In fact, the distinctions among them are often material to the goals museums
have for learners in exhibits and programs. This disconnect seems to influence
not only how learners engage in those activities, but also how long they are
likely to remain with an activity and even the messages and understandings they
take away.
When a learner encounters objects,
tools, or materials at a maker table, a math exhibit, a harmonograph, or a
building platform, investigation begins. It is likely to be
relatively brief if there is some previous experience and familiarity with what
is being explored. With new objects or novel combinations of materials, however,
inspection and investigation are both longer and necessary for gathering information.
Museums, however, are not
the highly familiar, everyday environments of the kitchen or car. They are, in
fact, an intentionally prepared mix of familiar, unfamiliar, and often, rare
objects, materials, and mechanicals, presented in engaging and intriguing ways.
Since variety, novelty, and something out of the ordinary does characterize
museums, it is reasonable to expect that many visitors will require time to
explore, become oriented, and take in a museum and its exhibits. Similarly,
a certain level of investigation, or epistemic behavior, is likely for children
and adults to become familiar or reacquainted with an exhibit since most
visitors do not attend museums frequently.
At many exhibits, investigation
is likely to focus on what Hutt calls productive
behavior that is concerned with changing the material or the user’s skill in
using it. Changing the material may involve altering it by tearing, folding,
cutting, applying pressure, or dissolving; changing another material by
cutting, pounding, piercing, or illuminating it; or making something with it by
attaching, assembling, connecting, or sewing it. Combinations of these
processes are likely and expand the investigation. Another concern of productive
behavior is developing skills in using or working with a material, object, or
tool. Through familiarity and extended use, and through multiple tries at one’s own pace, the
investigator acquires skills, develops competence, and derives a sense of
confidence.
Lessons and Starting Points
Investigation, play, and productive behavior offer useful insights and lessons for planning
exhibits. While related to one another, they serve distinct purposes. While similar to many exhibit engagement behaviors, their focus is less on the exhibit's objectives and more on what its elements can do.
Through exploration that often informs–and is informed by–play, children and adults engage with an exhibit. They develop a familiarity with the materials, objects, tools, and the context. These are the very same elements an exhibit intentionally brings together in order to meet its specific objectives. Equally as important, exploration and play provide the learner with skill in using the materials and a degree of preparation that is valuable in pursuing and accomplishing the exhibit’s objectives.
Through exploration that often informs–and is informed by–play, children and adults engage with an exhibit. They develop a familiarity with the materials, objects, tools, and the context. These are the very same elements an exhibit intentionally brings together in order to meet its specific objectives. Equally as important, exploration and play provide the learner with skill in using the materials and a degree of preparation that is valuable in pursuing and accomplishing the exhibit’s objectives.
- Recognize the learner as someone inclined to investigate, play, and pursue objectives
- Channel these activities towards the exhibit's objectives
- Provide for these activities in exhibit design
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