历史上的科学与艺术

从历史的角度看,科学与艺术有着复杂的关系。对科学史与艺术史进行的横向和纵向比较表明：一方面,科学和艺术的发展在整体上呈现出明显的差异;另一方面,在不同的历史时期,二者又存在着时好时坏的关系。     

谈小学美术教学与多媒体技术的整合

随着《美术新课程标准》的颁布和美术新课程改革的深入,美术课堂教学无论从思想、方法、手段、过程、形式上都正在进行着深刻的变化。《美术新课程标准》第四部分“实施建议”中明确捉出：“教师应尽可能尝试计算机和网络美术教学,引导学生利用计算机设计、制作出生动的美术作品;鼓励学生利用互联网资源,检索丰富的美术信息,开阔视野,展示他们的美术作品,进行交流”。这些都明确了美术新课程对多媒体技术的要求,确立了多媒体技术在美术新课程中的地位。     

Documenting Collections: Cornerstones for More History of Science in Museums

Historians of science have recently become increasingly involved with collections and scientific instruments. This creates opportunities for a more significant role of history in museums of science, as well as more meaningful and contextualized exhibitions and educational programmes. However, complementing the mainstream focus on universal scientific principles with history requires structural and cultural changes in museums’ approaches and practices. In this paper we draw from recent collaborative work with historians of science at the University of Lisbon to reflect on the challenges museums face as they prepare for a more meaningful historical approach to science. We argue that documentation is crucial both before objects enter the museum and as regular collections practice. We propose a conceptual and methodological framework comprising two operational levels: documenting individual objects and documenting collections.     

从科学史看人文与科学精神的融合

科学文化与人文文化的关系问题,成为当代具有全局性、根本性的问题.两种文化的产生、发展及其分裂有其历史演变过程.当今,任何单一的文化都无法解决人类面临的困境,因而两种文化再次融合,共同解决人类生存与发展中面临的共同问题,已成为一种共识.科学史正是人文与科学精神之间架设的这样一座桥梁.     

Blindness,Art and Exclusion in Museums and Galleries

Drawing on interviews with blind people, this paper examines both their exclusion from museums and galleries and their responses to the art educational provision that is specifically designed to remedy that marginalisation. Blind visitors’ responses to these educational projects were polarised; respondents were either highly critical or very enthusiastic. This paper begins by outlining the interviewees’ criticisms which included; education officers’ misconception of how touch facilitates learning and aesthetic response, a lack of educational progression and blind people's exclusion from mainstream events. I then ask why, given these problems, did other respondents reply so favourably, suggest that these high levels of satisfaction had little to do with museum provision but were in fact the result of social interaction and of rare inclusion within the sighted community. I argue that, ironically, this sense of inclusion is premised on blind visitors’ structural exclusion from art institutions. Finally, the article examines those visitors who, illicitly or otherwise, already experience some aspects of the museum in multisensory terms, but maintain that until museums’ and galleries’ ocularcentric orientation is reconfigured, there will be little possibility for these rogue visitors to develop their knowledge of art. Likewise, without institutional change, educational events for the blind will continue to be an inadequate supplement to a structure that is and remains inequitable.     

Informal and Non-formal Education: An Outline of History of Science in Museums

Although a growing number of research articles in recent years have treated the role of informal settings in science learning, the subject of the history of science in museums and its relationship to informal and non-formal education remains less well explored. The aim of this review is to assemble the studies of history of science in science museums and explore the opportunities for the further use of the history of science in science museum education practice.     

Understanding and Engagement in Places of Science Experience: Science Museums,Science Centers,Zoos, and Aquariums

Science museums, science centers, zoos, and aquariums (MCZAs) constitute major settings of science learning with unique characteristics of informal science education. Emphasis will be given to the analysis of four specific characteristics of MCZAs that seem relevant for educational research and practice, namely, conditions of mixed motives and goals, staged popular science, and impact of physical layout, as well as the role of social exchange and participation. By doing so, we focus on the consequences of these characteristics for the learning processes and outcomes of visits of MCZAs. We show that outcomes encompass not only knowledge acquisition in a narrower sense but also changes in interest and beliefs.     

Science Education in U.S. Natural History Museums: A Historical Perspective

The role of education in United States natural historymuseums has a long andchanging history. The past century and a half has broughtchanges not only inhow the role of education in museums is viewed, but in therelevance it playsin overarching institutional decisions. As the educationalrole of natural historymuseums evolves, so do the ways in which education of thepublic on suchconcepts as the very nature of science is carried out inthese institutions. Lookingat past trends and future challenges will assist with theidentification of the role ofeducation in the natural history museum of the new millennium.     

在博物馆、科学中心和展览馆中利用数字技术学习

本文以博物馆和展览馆等利用数字化技术所提供的学习为综述对象,描述了博物馆学习的相关理论及发展;对在博物馆内、外利用数字化技术进行学习的趋势进行了预测;并针对未来发展趋势,对博物馆学习的设计者和开发者提供了相关建议。     

多媒体技术在中学历史教学中的应用

一、运用声音创设美育情境,激发学生的学习兴趣,使学生在生动活泼的美好氛围中,轻松地学习历史知识.     

科学·历史·人文·哲学--关于高等院校文科专业自然科学史教学的几点思考

作为教育性质的自然科学史学科,是以提高学生的科学素养为核心,科学素养、人文素养、哲学素养三者相得益彰、相互促进的课程。自然科学史教学的基本内容应当包括:基础知识理论的教育,科学思想的教育,科学方法的教育,科学精神的教育,人文精神的教育,哲学思想的教育。在讲述内容和教学活动中,要注意处理好若干关系。     

教育中的科学史与科学史中的教育

关于科学史在科学教育中的功能问题，一些案例说明，长期以来，实际上是教育目的规定着科学史的教育作用，将这种现象可称为教育中的科学史。而随着科学史研究的发展和科学史建制的形成，现在以科学史本身为本来认识科学史的教育作用，相应的，这可被称为科学史中的教育。在科学史的研究和传播过程中，从教育中的科学史向科学史中的教育转变，能够避免对科学史的辉格式解释和对科学历史的歪曲，也有利于真正认识科学史学科的教育功能。     

中学自然学科与审美教育

自然学科的审美教育具有审美因素的内隐性、审美过程的间接性和审美评价的客观性等特点。培养审美能力包括审美感知、审美体验、审美鉴赏、审美表达等四个方面。自然学科的审美教育，应渗透在教学的各种因素和教学的全过程之中，随着自然学科课程的深度开发不断提升审美教育的水平。     

中国艺术史学科的可能性、路径及艺术史学

中国艺术史学科虽然自成立以来就遭受质疑,但也不难予以合理的回应:西方的艺术史正在从艺术门类史而变得越来越具有艺术门类综合性和文化多元性;中国自身的文化、学术及艺术传统本身则具有艺术史书写的动力。中国艺术史学科的可能性来自于两方面:艺术史学科制度建立本身,中国式门类艺术汇通及古今学术汇通传统。艺术史学科路径可以有门类艺术史、宽视角门类艺术史、观念艺术史、比较艺术史、跨门类综合艺术史等。对艺术史学科路径的反思可能引导出艺术史学——对艺术史研究方法或路径的反思。中国艺术史学科可以由三个分支构成:艺术通史,跨门类、跨媒介或跨学科的艺术史,艺术史学。