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Considering the needs of ferry riders in Puget Sound,
we propose leveraging Global Soundscapes
by creating an sound mapping activity for their ferry ride,
succeeding in giving participants a clearer sense of the natural environment using sound as a gateway.

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Sensory-rich activities: connecting people with the outdoors

Sound maps are a great way of encouraging people to slow down and tune in with the place they are in. By taking the emphasis off the visual, and tuning people into the sounds around them, they have proved effective with all the groups we have used them with - children, people with disabilities, older people, teachers, farmers and park managers.

What is a sound map?

Sound maps confront a bad habit that most of us have developed - we are so intent on getting somewhere that we miss much of what we are travelling through. Or a place is so familiar we fail to notice the detail that makes it special. And yet in woodlands, nature reserves, parks, gardens and countryside trails it is the moments of pause that can offer up the richest opportunities to absorb the places we are in.

As a technique, sound maps couldn't be easier. They are simple and cheap to make, in fact they look so simple it can be hard for people to believe they are going to have the effect that they do.

How to make a sound map

Sound maps are easy to make. Cardboard is good as you will often do this exercise when out and about. You could use any plain cardboard - the inside of a cereal box, a cardboard box, white card - make it big enough to draw and write on. Get a marker or pencil. And that's it!

How to use a sound map

Take a sound map and pencil or pen

Mark yourself in the middle of the sound map

Find a spot and stand or sit still

Stay still for a short while (try 5 minutes) and start to listen to what is making sound around you.

Mark on the card the sounds you can hear and where they are coming from, for example there may be a stream behind you, sheep in a field in front of you, brids singingabove and to your side. Be still and quiet and really focus on sounds you can hear.

You can draw, write or colour the sounds you can hear around you.

We used sound mapping with students with visual impairments as part of a recent sensory review of a nature reserve - the first step was to pick a good spot to stop and sit to do the mapping

The students said the sound mapping helped them slow down and pay attention to the detail around them, it also helped give them a better sense of the wider place - they could pick up the sounds of a road and a trainline for example which could prove to be useful for navigation

Another approach we've used is to combine different senses, so people record the shapes they associate with different sounds, or textures - if they could touch the sound what would it feel like?

"One of the ways we bring the farm to life is to use a 'Sound Map'. It is fantastic, and produces many different interpretations of sound, as well as a piece of artwork the children take home with them as a reminder of the day.
We have found that this is so beneficial with all the groups who visit, including those with special needs, that we have now introduced the sound map into every visit we do.
The children focus on more than they can see, or for those whose sight is impaired, their own visit comes to life instantly through sound.
With inner city children, whose excitement is infectious, the sound map also acts as a calming measure, where we can all regroup before we go pond dipping."
Patsy Pimlott, Park Hill Farm

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Creative activities: sound maps. Sensory Trust.

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Sensory-rich activities: connecting people with the outdoors Sound maps are a great way of encouraging people to slow down and tune in with the place they are in. By taking the emphasis off the visual, and tuning people into the sounds around them, they have proved effective with all the groups we have used them with - children, people with disabilities, older people, teachers, farmers and park managers.

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The OMNIMAX® Theater-why do we need one?

Cultural institutions with large format theaters across the country struggle with this question. It is an expensive and risky operation. Many wonder if we should focus our attention elsewhere or get rid of the theater entirely.

On Friday, June 6, 2014, an event took place that completely answered this question for me. The Saint Louis Science Center's OMNIMAX Theater organized a Remembrance Day in honor of the 70 th Anniversary of D-Day.

We started with a small plan to honor WWII veterans (any we could hope to find) with a "thank you" before the D-Day: Normandy 1944 film screenings that day. With the help of several organizations and word of mouth, the event grew into a day we will never forget. Twenty-five World War II Veterans and their families and friends joined us. Many tears were shed as we witnessed special moments over and over again.

Two veterans, Robert Bareford and Howard Pruett, who were deployed together at 6:30am on June 6th, on the same beach, met for the first time in front of the theater.

A group of active military came to take part in the celebration and they agreed to escort the WWII veterans to their seats.

Five veterans, John Grillo, Robert Bareford, Gene Goodrick, Clarence Goldsmith and Charlie Ryan, agreed to share their personal stories of the war with us. (Watch the video of their personal stories here.)

We shared their stories with a noticeably moved audience of more than 300 people. One came to watch his video on the big screen the week before but did not stay to watch the film. He wanted to watch the film together with the other vets.

Boy Scout Troops 353 and 984 served as our color guard. As the boys carried their flags past a group of Battle of the Bulge veterans into the theater to practice, the veterans called themselves to attention, stood up, and saluted as the flags passed in front of them.

All visitors entering the Science Center were greeted by 100, 8-ft. American flags lining the driveway to the parking lot courtesy of Rick Randall and St. Louis Honor Flight.

These organizations helped us reach out to veterans and were on hand to engage our visitors:

Missouri Gateway Chapter 101st Airborne Division

Missouri Gateway Chapter Veterans of the Battle of the Bulge

Missouri Veterans History Project

The Mission Continues

U.S. 2nd Ranger Infantry Battalion of St. Louis, Inc.

Many visitors came to Science Center on Friday to say thank you to all who served. Toward the end of the afternoon, as I was standing by Sgt. Ganz from the Battle of Bulge group, a group of boys, probably 8 -10 years old, were listening to the sergeant talk about how he received his Purple Heart. One asked, "So did you get shot?" and he said, "Yes." He showed them the scars on his hands and pointed to his arm and leg where he got hit. The boy's eyes got really big. I could tell he was really thinking about this, and then he stuck out his hand to shake Sgt. Ganz's and said, "Thank you for your service." This was one of the many highlights of my day.

One of our goals at the Science Center is to be a convener for the community, to be a place where the people come together to learn and share and interact. Those of us who work in cultural institutions often hear that we should consider how to take our institutions from being nice to being necessary. I would say on this day and on many days, our OMNIMAX Theater is necessary.

Reprinted with permission from Jackie Mollet and the Saint Louis Science Center. The Saint Louis Science Center won the GSCA 2014 Award for Best Film Launch by a Theater for its launch of D-Day: Normandy 1944.

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Saint Louis Science Center Honors Veterans with Launch of D-Day: Normandy 1944

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Provided by Jackie Mollet, Sr. Director/Theater, Exhibitions and Visitor Services Saint Louis Science Center The OMNIMAX® Theater-why do we need one? Cultural institutions with large format theaters across the country struggle with this question. It is an expensive and risky operation. Many wonder if we should focus our attention elsewhere or get rid of the theater entirely.

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Read Mary Nucci's blog post about Part 1 of the GSCA ancillary materials survey

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Read Mary Nucci's blog post about Part 1 of the GSCA ancillary materials survey

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"Ancillary materials and educational outreach has always been among the criteria the NSF's Informal Science Education Program considers when it reviews proposals...We're interested in the learning experience extending beyond just seeing a film...We're looking for a project that's carefully designed as a total educational experience" ( Since 1976, giant screen film releases have been accompanied by a variety of ancillary materials, including teacher's guides, exhibits, books, and scientist presentations. As Hyman Field of the U.S. National Science Foundation noted, Germain, 2003).

Filmmakers and distributors invest time and money to create a suite of ancillary materials to accompany their films. But there has been no formal research that has considered whether these ancillary materials have achieved their goals or have an impact in either promoting lifelong learning or film attendance. In the 2005 The Big Frame article"Beyond Entertainment: Educational Impact of Films and Companion Materials," Barbara Flagg noted that (based on summative evaluation studies of 10 giant screen films) it was difficult to show any value of ancillary materials among adult audiences, while gains among student audiences was significant for only 2 of the 10 films; but that although it was possible to see gains in the use of ancillary materials, it was both difficult and varied based on the kind of material used.

Surveying the Community

Earlier in 2015, the GSCA Lifelong Learning Committee and the Research Task Force joined together to consider the question of the value of ancillary materials. We recognized that in 2003 the need for such research had been discussed at GSTA (a forerunner of GSCA): "Considering the costs involved in creating educational materials, especially in the current economic state of the industry, perhaps more research is needed to ensure the materials are accomplishing their intended goal" ( Germain, 2003).

It was clear that we needed to address this question to the educators and public audience who use these materials, but we first needed to understand how these ancillary materials were selected and developed, and the expectations for their use among the GSCA membership. To do so, we developed two matched surveys that included both multiple choice and open-ended questions. The Research Task Force survey was designed to understand how giant screen producers/distributors decide what ancillary materials to produce and their goals for the use of these materials; the Lifelong Learning Committee survey focused on the theater members to gauge their use and perceptions of the materials produced to accompany films.

At the end of May, an email invitation was sent to all GSCA members who identified as Production or Distribution (402), inviting them to complete the Research Task Force survey. At the same time, the same email invitation was sent to all GSCA members who identified as Theater (566), inviting them to complete the Lifelong Learning Committee survey. Follow-up invitations were sent in June and July, with the survey closing on August 6. A total of 30 Producers/Distributors started the Research Task Force survey, but only 15 (or 4% of all invited) completed it. Thirty-four theater respondents, or 6% of those invited, completed the Lifelong Learning Committee survey. A summary of the results of the survey to Producers and Distributors are included below, and the results from the Theater survey will follow in Part II of this blog post in the coming weeks.

What producers/distributors said

Among the respondents, all agreed that their goals for their ancillary materials were to extend film learning, reach new audiences, and encourage viewers to act upon the film messages. Other goals include providing a benefit to teachers so they would continue to book their films, making it easier for theater staff so they don't have to create the materials themselves, helping teachers meet curriculum goals, and creating fans for future films.

More than 80% of the respondents said that they have produced websites, posters, educators' guides and Facebook pages for their film projects. Twitter accounts, visiting experts, standees, radio spots, books about the film, lobby kiosks, brochures, building banners and giveaways or incentives (such as t-shirts, stickers, posters, etc.) were produced by more than 50% of respondents. Social media packages, including such content as YouTube shorts, Instagram and Twitter posts, photos, and infographics were also created to accompany a film product. All producers/distributors have used a website to disseminate materials or mailed copies to theaters for distribution. Facebook, file-sharing sites such as Dropbox or Hightail, partner sites such as NASA and 4H, and direct email to teachers were also used to distribute materials.

The majority of respondents indicated that they produced different materials for each film, basing their decision primarily on film content, intended audience, access to external funding/requirements of external funders, and budget. Several noted that they tried to consider what the audience would like related to the content, but that they also look at what has worked in the past and what the new tech trends are. Some producers noted that they also work directly with the theaters to understand what to produce through advisory sessions, and that they are seeing that some theaters are moving away from physical materials and towards digital and social media.

Given the historical tradition of the educator guide as part of the film package, it was not unusual to see that producers/distributors were uniform in the importance of including activities to be used before and after the film, links to the film website, links to other websites, suggestions for post-film actions in the guide, and links to learning standards (state, province, federal, national). Several respondents felt that post-film actions were critical to include as they were the way to engage viewers' interest in the film content through activism or volunteerism for learning or call to action.

Interestingly, multiple producers/distributors suggested that educators' guides should do more by including age group specific activities, ways to involve parents, links to online interactive materials, and ensuring that the guide includes information about why what they saw/learned is relevant.

Very few respondents indicated that they track who is using their ancillary materials. Less than 50% track downloads on websites or distributed at the theater. Some indicated that they correspond with theater managers, collect information via theater surveys, or ask teachers to evaluate the materials.

Implications and next steps

It was clear from the open-ended comments on the survey that producers/distributors felt that ancillary materials were an important component to the giant screen experience but that they did not have a process in place to gauge whether the materials achieved their goals. Creating a tighter link between producers/distributors and users would be valuable not only to assess impact of ancillary materials, but also to recognize the changing nature of what an audience wants and needs.

It was also evident that although the GSCA membership wants and needs research data, that they are still not committed to participation in research projects. The Research Task Force and Lifelong Learning Committee want to provide value to the membership, and we look to the membership to provide us with insight on how best to partner with you to provide you with results you can use in the production, distribution and exhibition of films.

Where do we go next? In a future blog post, Alan Nursall, chair of the Lifelong Learning Committee, will detail the results of the theater surveys. We plan to use the combined results to survey end-users through connections at ASTC (Association of Science-Technology Centers), and possibly the National Science Teachers Association. We will also be reaching out to the GSCA membership to ask you to serve as research participants by distributing surveys to your educational connections and audience members. Participants in this first survey suggested the following specific questions for this next survey:

What are the biggest challenges that might prevent you from taking your class to see a museum film?

Is a curriculum connection important for film-related educational materials?

Do the materials influence your decision to book a trip?

How does social media influence your decision to see the film?

Is giant screen a motivator for students to want to learn more?

Do they survey students to see if they were able to comprehend more about the topic after they saw the film?

What type of film-related education activities work best in your classroom?

What is the ideal length of an activity?

Are you more/less inclined to use an activity based on a film clip?

What topics would you like to see in giant screen?

Do you mostly use printed or digital materials?

Do you get the materials before/after seeing the film?

Do you go to the film's website for materials before/after the film?

What do they want, how will they use it, what formats do they want? How much is too much? How much is sufficient?

Do they use the activities, and when (before/after screening)?

How do they get the materials and how much lead time do they need?

What are the roadblocks to receiving or using the materials?

If you have feedback on the materials, how would you like to give it?

Please feel free to leave your comments below.

Mary Nucci is a Research Assistant Professor at Rutgers, the State University of NJ. Her work focuses on issues relating to the communication and public understanding of science. She has served as a Board Member for GSCA, as chair/co-chair of the Lifelong Learning Committee, and currently chairs the GSCA Research Task Force.
The GSCA Research Task Force and Lifelong Learning Committee worked together to complete the ancillary materials surveys and will team on other potential work that enhances the GSCA membership. Click here for more information on their mandates and a list of their volunteer members.

References

Flagg, B. (2005). Beyond Entertainment: Educational Impact of Films and Companion Materials. The Big Frame, Spring 2005: 50-56, 66.

Germain, K. (2003). Educational Materials: Crucial Element or Costly Charade?

Appendix

Listed here are the basic questions included in the survey. Contact Kelly Germain at kelly@giantscreencinema.com for a copy of the full survey.

1. There are a variety of ancillary materials produced for giant screen films. What ancillary materials have you created for your film projects? Check all that apply.

2. If you create the same ancillary materials for each film please skip to Question 3. If you create different materials for each film, how do you decide what kinds of ancillary materials to make? Check all that apply.

3. Which of the following do you think are important to include in an educator guide? [Measures: Very important, Important, Somewhat important, Somewhat unimportant, Not important at all]

4. How do you disseminate ancillary materials? Check all that apply.

5. How do you determine who is using your ancillary materials?

6. What are your goals for viewers using your ancillary materials?

7. The results of this survey will be used for a follow up to K-12 educators to understand how they use ancillary materials. Are there specific questions you would like to be included in this follow up survey?

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Since 1976, giant screen film releases have been accompanied by a variety of ancillary materials, including teacher's guides, exhibits, books, and scientist presentations. As Hyman Field of the U.S. National Science Foundation noted, "Ancillary materials and educational outreach has always been among the criteria the NSF's Informal Science Education Program considers when it reviews proposals...We're interested in the learning experience extending beyond just seeing a film...We're looking for a...

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What is an amazing program you have used to complement a film at your science centre?

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What is an amazing program you have used to complement a film at your science centre?

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Read feedback from educators using a re-purposed planetarium show.

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At the Academy, we take feedback seriously. Below we've shared some of the feedback-both positive and constructive-that we received from educators for Habitat Earth in the Classroom.

Ever wonder what 38,000 animals are up to after dark?

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Teacher Testimonials: Habitat Earth in the Classroom

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How have teachers been using the film, short videos, and activities in their classroom?

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View film, short videos, and lesson plans.

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Discover what it means to live in today's connected world with Habitat Earth, an award-winning film that takes viewers on a journey through the vast networks of life on Earth. Inspire your students with this stunning 25-minute HD film, now available for free for educational use.

Main Themes of the Film

All life on Earth is part of a complex web of connections within and across ecosystems.

Humans are inhabitants of a global ecosystem; biological networks intersect with those built by humans.

Earth's natural systems are sustainable, finding strength in diversity, recycling water and nutrients, and powered by energy from the sun.

Teacher Tip: You can click the Settings cog in the YouTube footer to adjust the Quality to up to 1080HD, and you can also toggle on Full Screen. You can also select Closed Captions in over a dozen languages, including Spanish and Chinese!

Videos and Lessons for Your Classroom

Browse a suite of science-rich media designed specifically for classrooms and informal learning environments, including:

Short video clips and associated activities featuring stunning visualizations based on large-scale data sets to help students explore environmental principles and concepts

Model lessons which cover and integrate all three dimensions of the Next Generation Science Standards

Activities which demonstrate how media can be used in the classroom to engage students in science practices

Why do birds migrate? (2 minute video)

Why do birds migrate? See how seasonal changes and photosynthesis drive patterns in animal behavior. Track the movement of two migratory birds of prey-ospreys and turkey vultures-as they travel between North and South America over a single calendar year.

Best for Grades 5-12, Physical and Life Sciences

Energy in Chemical Processes and Everyday Life

Cycles of Matter and Energy Transfer in Ecosystems

Interdependent Relationships in Ecosystems

How Did Human Civilization Spread? (1 minute video)

Historic population and cropland data illustrate the relationship between the spread of human civilization and agriculture on Earth between 10,000 BCE and 2,000 CE.

Best for Grades 5-12, Earth Sciences

Natural Resources

Human Impacts on Earth Systems

View data: In North America , Around the Globe

Ideas for Using Video in the Classroom

Hook students on the topic
Media can serve as a "hook" that opens up the lesson. Videos can activate prior knowledge, engage the student with something mysterious or visually appealing, or establish a purpose for learning. Lessons that use video clips in this way include:

Engage students in science practices
Visualizations based on aggregated data provide the unique opportunity to engage your students in various Science Practices highlighted in the Next Generation Science Standards, including asking questions, analyzing and interpreting data, and constructing explanations. Lessons that use video clips in this way include:

Reinforce other hands-on lessons
Videos often tell stories that reiterate or reframe science concepts your students are mastering through active, hands-on lessons. Lesson that use video clips in this way include:

Need a list of simple techniques to encourage active viewing of media, or to encourage group sharing?

Free Educator Guides

Each guide includes key concepts, glossaries, behind-the-scenes articles, guiding questions and answers, and linkages to the Next Generation Science Standards.

Next Generation Science Standards

Crosscutting Concepts
Disciplinary Core Ideas Grade 3
Grade 4 Depending on your grade level and subject matter, your expected use of the full film will undoubtedly differ from other K-12 teachers. Here we list the scientific ideas that shine through in Habitat Earth. Considering focusing on one or more. Consider using one of the below as a lens through which to explore content featured in the full film. Remember that this will affect the specific learning outcome for your students; don't aim to use all three! Grade 5

Energy and Matter

Cause and Effect

Systems and System Models

" Life Science

" Earth and Space Science
Middle School

ESS2.E: Biogeology
Living things affect the physical characteristics of their regions.

" Life Science

" Earth and Space Science
High School

ESS3.C: Human Impacts on Earth Systems
Human activities have had major effects on the land, vegetation, streams, ocean, and air. But individuals and communities are doing things to help protect Earth's resources and environments.

" Life Science

LS1.C: Organization for Matter and Energy Flow in Organisms
Plants, algae (including phytoplankton), and many microorganisms use energy from light to make sugars through the process of photosynthesis.

LS2.A: Interdependent Relationships in Ecosystems
Organisms, and populations of organisms, are dependent on their environmental interactions both with other living things and with nonliving factors.

LS2.B: Cycles of Matter and Energy Transfer in Ecosystems
Food webs are models that demonstrate how matter and energy is transferred between produces, consumers and decomposers.

LS2.C: Ecosystem Dynamics, Functioning, and Resilience
Ecosystems vary overtime; disruptions to physical or biological components can lead to shifts in all its populations.

LS4.D: Biodiversity and Humans
Changes in biodiversity can influence humans' resources.

" Earth and Space Science

" Life Science

LS1.C: Organization for Matter and Energy Flow in Organisms
The process of photosynthesis converts light energy to stored chemical energy.

LS2.C: Ecosystem Dynamics, Functioning, and Resilience
Anthropogenic changes in the environment can disrupt an ecosystem and threaten the survival of some species.

LS4.C: Adaptation
Changes in the physical environment, whether naturally occurring or human induced, have contributed to the expansion of some species, emergence of new species and decline-and sometimes extinction-of some species.

LS4.D: Biodiversity and Humans
Humans depend on the living world for the resources and other benefits provided by biodiversity. Human activity is also having adverse impacts on biodiversity. Sustaining biodiversity is essential to supporting and enhancing life on Earth.

" Earth and Space Science

Step inside the trunk of a tree to follow the path water takes from the roots to the top of a Douglas fir.

Visit an underwater forest near Point Lobos, California, to learn what a kelp forest food web looks like.

Earth's rotation changes the angle at which sunlight hits the planet's surface, creating the different seasons.

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Stay curious-every Thursday at NightLife. Sign up for event updates and exciting announcements.

(Because night owls know best.)

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An adventure in your inbox. (And a discount, too.)

Sign up for the Academy's monthly newsletter and get a promo code for 10% off at our online retail store.

Now's a great time to start window-shopping at the Academy Store.

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Watch this film featuring diverse ecosystems, view data visualizations, and grab science lessons which model the Next Generation Science Standards.

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Use the plus sign in the lower right to add a box like this one. Include a link to an image, a video, or a link (see below).

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Session: Beyond the Theater: Creating relevant experiences for museum cinema audiences (ASTC's 2016 Annual Conference (September 24 - 27))

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Cinemas and planetariums are important in visualizing scientific content. But the film is just a start. Extensions such as websites, guides, and scientist presenters all extend learning. This session will present industry survey results on the use and value of these "ancillary" materials as well as innovative ways film content is being expanded through hand-on experiences.