Changes in Science Education

Abstract:: Providing an overview of current issues in UK science education, this unit examines what type of science the curriculum should cover and for what purpose. The unit will introduce you to practical problems in the delivery of an effective science curriculum, and particular questions at all three educational tiers - primary, secondary and tertiary - will be touched on.

Science and Communication, Spring 2005

Abstract:: This seminar is intended to help students in the MIT/Woods Hole Oceanographic Institute Joint Program develop a broader perspective on their thesis research by considering some aspects of science in the large. The first part of the course challenges students to develop a thoughtful view towards major questions in science that can be incorporated in their own research process, and that will help them articulate research findings. The second part of the course emphasizes science as a social process and the important roles of written and oral communication.

Evaluated

Read the Fine Print

Abstract:: NBC's Lester Holt looks at the role vectors play every time an NFL quarterback throws a pass. With the help of former NFL quarterback Joey Harrington, NSF-funded scientist John Ziegert of Clemson University and NSF-funded mathematician Rhonda Hughes of Bryn Mawr College explain how to use vectors to calculate the speed and direction needed for a completed pass.

Abstract:: This advanced course in anthropology engages closely with discussions and debates about ethnographic research, ethics, and representation.

Abstract:: " This seminar is open to graduate students, and is intended to offer a synoptic view of selected methodologies and thinkers in art history (with some implications for architecture). It is a writing-intensive class based on the premise that writing and editing are forms of critical thinking. The syllabus outlines the structure of the course and the readings and Assignments and Labs for each week. The discipline of art history periodically surges into "crisis." The demise of formalism as a guiding tenet, or connoisseurial appreciation as a general guide, plunged the field into confusion during the 1970s when the battle raged over "social histories of art" or "revisionism;" in the late 1990s the debate was staged between "visual studies" versus "normative art history." The course takes this confusion as itself worthy of study, and seeks to make available some of the new methodologies that have emerged over the past two decades. The ultimate goal is to bring students closer to discovering their own individual methods and voices as writers of art historical prose. In broader terms, we will attempt to understand the historiography of visual art and images more broadly. Our efforts will be predicated on the conviction that art history can serve as a generative discipline for all humanistic disciplines, and even those that style themselves as "Bildwissenschaft" (or "image-science")."