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What it is
The Explanade is a hands-on museum of the parts of philosophy that relate to science. Concepts from epistemology (theory of knowledge) and metaphysics (theory of existence) are illustrated, as well as some key scientific ideas that comprise our present world view. Abstract ideas are made concrete and visual. Jargon is avoided. Relevance to everyday experience is emphasized, while maintaining a sense of fascination and wonder at profound ideas near the edge of human understanding.
In one sense this exhibit can be seen as the background of ideas that underlie or are implied by what other science museums present as facts. The information here is less about facts than about the nature of facts and how they are obtained.
Key questions
The viewer is presented at the outset with three questions that lead to the main philosophical themes:
1. What is the nature of the physical world?
2. How can I get an answer to this question?
3. What is the nature of my answer?
The first question is partly scientific and partly metaphysical. One goal of the Explanade is to delineate the boundary between these parts, while acknowledging that the boundary is fuzzy and moveable. The last two questions are epistemological. Naively, one would ask the first question first, and then realize one had to answer the second one before the first, and then realize the third question must be answered if one is true to the spirit of the first question. Ideally, we would answer the questions in reverse order, but in reality they are all being answered simultaneously and interactively, resulting in a complex process that involves feedback and constant reassessment. Such is the history of knowledge.
Why have this
There appears to be much popular confusion about the role and authority of science in everyday life. Citizens are required to make political decisions that they haven’t the knowledge to handle. Academic, religious, political and commercial entities attack science in the public arena, with general confusion the result. This exhibit attempts to bring some of the basic ideas behind scientific knowledge and method to the public in an accessible form, so as to reduce confusion. If the medium of communication of these ideas was only in print or electronic media, they would continue to be abstract rather than concrete. The engagement of the viewer with a phenomenon they can manipulate allows for a different kind of understanding more suited to visual or tactile learners. Most of our popular media concentrate on visual stimuli, so most people may be more accustomed to a visual learning mode.
Limitations
The Explanade focuses only on physical science and its philosophical underpinnings. Related questions in philosophy of mind, for instance, are not discussed. The emphasis is on not only a particular philosophical position as regards knowledge (a mix of realism and instrumentalism), but also a narrow cross section of opinions on current controversies is presented, particularly as regards the interpretation of quantum mechanics. These restrictions allow a relatively coherent picture of the world to be described, while other viewpoints are presented as alternatives to the main picture. Nevertheless, uncertainty is acknowledged throughout, particularly in regard to empirical knowledge. A distinction is made between practical and philosophical uncertainty.
Not all the key concepts in the philosophy of science can be illustrated concretely, so those that can’t be are not represented except in passing in the accompanying texts. It would not be possible to present a comprehensive overview of the complex issues in even the science-related portions of epistemology and metaphysics, so the sampling here is admittedly partial. The hope is that a viewer will come away interested in the questions, and will learn more on their own. Imparting just an awareness that there are such questions will be a success.
Not everyone will grasp the ideas presented. The audience is assumed to be adults who like to think. Children are most often the audience for hands-on science museums, but they aren’t usually able to think about thinking. Adults are more likely to grasp an abstract “big picture” idea, so the displays in this exhibit are aimed higher than in other science museums.
Organization of displays
Ideas are presented as displays or groups of displays. Each display has a physical demonstration of the central concept. A viewer stands before a display and reads text describing the operation of the display, and explanations of the illustrated ideas and their relevance to other ideas in the exhibit. In this regard, the displays are similar to those found in many science museums.
Guided mainly by the need to choose ideas illustrable by physical actions, the displays are organized into several groups. Groups of displays are organized within the main areas of knowledge (epistemology), existence (metaphysics), and world view (physics). Within the knowledge arena, for instance, there is a group of displays on illusions, as the specter of illusion or hallucination is often discussed in relation to empirical knowledge. One display on illusion would present a hologram, and discuss how one could determine that the illusion was not real, by passing one’s hand through it for example. The display would also note that a hologram is an example of the manipulation of waves, and the viewer should go to the group on waves in the physics arena to learn more about what that means. The displays can be experienced in sequence or one can jump from one to another following indicated links.
Display design
Most displays have a 2-foot high by 3-foot wide text panel, and a 1-foot high by 3-foot wide experiment panel underneath. These are attached to a 6’6” high easel with a light at the top for nighttime illumination. Some displays require more space, such as the light path for the speed-of-light display, and this is accommodated with extra hardware in the exhibit area. The footprint of the displays is about 3 feet square. Each one is independent, allowing placement in logical groups so as to present a set of coherent ideas at once.
The text panels are printed posters with color text and illustrations. Text colors correspond to the function of the text, such as concept, explanation and instructions. Since these colors are used consistently, the viewer soon knows to expect a certain function from a certain color text. Layout of the paragraphs is also consistent for the same reason.
Experiment panels are for the viewer to manipulate the physical effect, generally engineered to fit a standard format so that construction is easier and cheaper, and setup faster. When this is not possible, the format is changed accordingly. Examples of additions include audio speakers on the sides of the easel, tethered optical devices to look through, or a rotating jackpot wheel next to the easel (illustrating uncertainty and prediction).
Breakdown of ideas
Upon entering, the viewer can choose to investigate any of three areas: the nature of the physical world (current scientific worldview), how to get knowledge about the physical world (scientific method), or the nature of knowledge of the physical world (perception, empiricism, uncertainty, statistics). The three areas are interdependent logically, but can be experienced in any order as the viewer’s curiosity dictates.
The area about the nature of the physical world focuses on current pictures derived from quantum physics and relativity, with a background of classical physics. With these current pictures come current controversies, particularly about the interpretation of quantum mechanics. It is important to represent these controversies, because they show how our scientific worldview actually develops dynamically, and conveys the excitement philosophers and scientists feel when presented with an unsolved mystery. Most of the time, museums present science as a “done deal” yielding incontrovertible facts. Here, science is presented as always moving ahead on the edge of uncertainty.
The area about the nature of knowledge concentrates on empiricism and its issues, such as the problems of perception and imperfect knowledge. Illusions are presented as recognizable hurdles that can be overcome. Empirical knowledge may never be absolutely certain, but certainty is shown to be unnecessary in practical applications. Since knowledge of what exists depends on what actually does exist, metaphysics is developed in parallel together with epistemology. Instrumentalism contends that a physical theory is only a means of prediction, while realism claims that the theory is the best candidate for a description of what is actually out there, and we should believe it as the truth. The exhibit shows that both of these positions have their use.
The area about the scientific method also shows how we gain knowledge about our everyday world in a casual process we are often unaware of. The argument is made that our practical needs require an approach to learning that is more refined in science, but essentially the same philosophically.
The Explanade is a hands-on museum of the parts of philosophy that relate to science. Concepts from epistemology (theory of knowledge) and metaphysics (theory of existence) are illustrated, as well as some key scientific ideas that comprise our present world view. Abstract ideas are made concrete and visual. Jargon is avoided. Relevance to everyday experience is emphasized, while maintaining a sense of fascination and wonder at profound ideas near the edge of human understanding.
In one sense this exhibit can be seen as the background of ideas that underlie or are implied by what other science museums present as facts. The information here is less about facts than about the nature of facts and how they are obtained.
Key questions
The viewer is presented at the outset with three questions that lead to the main philosophical themes:
1. What is the nature of the physical world?
2. How can I get an answer to this question?
3. What is the nature of my answer?
The first question is partly scientific and partly metaphysical. One goal of the Explanade is to delineate the boundary between these parts, while acknowledging that the boundary is fuzzy and moveable. The last two questions are epistemological. Naively, one would ask the first question first, and then realize one had to answer the second one before the first, and then realize the third question must be answered if one is true to the spirit of the first question. Ideally, we would answer the questions in reverse order, but in reality they are all being answered simultaneously and interactively, resulting in a complex process that involves feedback and constant reassessment. Such is the history of knowledge.
Why have this
There appears to be much popular confusion about the role and authority of science in everyday life. Citizens are required to make political decisions that they haven’t the knowledge to handle. Academic, religious, political and commercial entities attack science in the public arena, with general confusion the result. This exhibit attempts to bring some of the basic ideas behind scientific knowledge and method to the public in an accessible form, so as to reduce confusion. If the medium of communication of these ideas was only in print or electronic media, they would continue to be abstract rather than concrete. The engagement of the viewer with a phenomenon they can manipulate allows for a different kind of understanding more suited to visual or tactile learners. Most of our popular media concentrate on visual stimuli, so most people may be more accustomed to a visual learning mode.
Limitations
The Explanade focuses only on physical science and its philosophical underpinnings. Related questions in philosophy of mind, for instance, are not discussed. The emphasis is on not only a particular philosophical position as regards knowledge (a mix of realism and instrumentalism), but also a narrow cross section of opinions on current controversies is presented, particularly as regards the interpretation of quantum mechanics. These restrictions allow a relatively coherent picture of the world to be described, while other viewpoints are presented as alternatives to the main picture. Nevertheless, uncertainty is acknowledged throughout, particularly in regard to empirical knowledge. A distinction is made between practical and philosophical uncertainty.
Not all the key concepts in the philosophy of science can be illustrated concretely, so those that can’t be are not represented except in passing in the accompanying texts. It would not be possible to present a comprehensive overview of the complex issues in even the science-related portions of epistemology and metaphysics, so the sampling here is admittedly partial. The hope is that a viewer will come away interested in the questions, and will learn more on their own. Imparting just an awareness that there are such questions will be a success.
Not everyone will grasp the ideas presented. The audience is assumed to be adults who like to think. Children are most often the audience for hands-on science museums, but they aren’t usually able to think about thinking. Adults are more likely to grasp an abstract “big picture” idea, so the displays in this exhibit are aimed higher than in other science museums.
Organization of displays
Ideas are presented as displays or groups of displays. Each display has a physical demonstration of the central concept. A viewer stands before a display and reads text describing the operation of the display, and explanations of the illustrated ideas and their relevance to other ideas in the exhibit. In this regard, the displays are similar to those found in many science museums.
Guided mainly by the need to choose ideas illustrable by physical actions, the displays are organized into several groups. Groups of displays are organized within the main areas of knowledge (epistemology), existence (metaphysics), and world view (physics). Within the knowledge arena, for instance, there is a group of displays on illusions, as the specter of illusion or hallucination is often discussed in relation to empirical knowledge. One display on illusion would present a hologram, and discuss how one could determine that the illusion was not real, by passing one’s hand through it for example. The display would also note that a hologram is an example of the manipulation of waves, and the viewer should go to the group on waves in the physics arena to learn more about what that means. The displays can be experienced in sequence or one can jump from one to another following indicated links.
Display design
Most displays have a 2-foot high by 3-foot wide text panel, and a 1-foot high by 3-foot wide experiment panel underneath. These are attached to a 6’6” high easel with a light at the top for nighttime illumination. Some displays require more space, such as the light path for the speed-of-light display, and this is accommodated with extra hardware in the exhibit area. The footprint of the displays is about 3 feet square. Each one is independent, allowing placement in logical groups so as to present a set of coherent ideas at once.
The text panels are printed posters with color text and illustrations. Text colors correspond to the function of the text, such as concept, explanation and instructions. Since these colors are used consistently, the viewer soon knows to expect a certain function from a certain color text. Layout of the paragraphs is also consistent for the same reason.
Experiment panels are for the viewer to manipulate the physical effect, generally engineered to fit a standard format so that construction is easier and cheaper, and setup faster. When this is not possible, the format is changed accordingly. Examples of additions include audio speakers on the sides of the easel, tethered optical devices to look through, or a rotating jackpot wheel next to the easel (illustrating uncertainty and prediction).
Breakdown of ideas
Upon entering, the viewer can choose to investigate any of three areas: the nature of the physical world (current scientific worldview), how to get knowledge about the physical world (scientific method), or the nature of knowledge of the physical world (perception, empiricism, uncertainty, statistics). The three areas are interdependent logically, but can be experienced in any order as the viewer’s curiosity dictates.
The area about the nature of the physical world focuses on current pictures derived from quantum physics and relativity, with a background of classical physics. With these current pictures come current controversies, particularly about the interpretation of quantum mechanics. It is important to represent these controversies, because they show how our scientific worldview actually develops dynamically, and conveys the excitement philosophers and scientists feel when presented with an unsolved mystery. Most of the time, museums present science as a “done deal” yielding incontrovertible facts. Here, science is presented as always moving ahead on the edge of uncertainty.
The area about the nature of knowledge concentrates on empiricism and its issues, such as the problems of perception and imperfect knowledge. Illusions are presented as recognizable hurdles that can be overcome. Empirical knowledge may never be absolutely certain, but certainty is shown to be unnecessary in practical applications. Since knowledge of what exists depends on what actually does exist, metaphysics is developed in parallel together with epistemology. Instrumentalism contends that a physical theory is only a means of prediction, while realism claims that the theory is the best candidate for a description of what is actually out there, and we should believe it as the truth. The exhibit shows that both of these positions have their use.
The area about the scientific method also shows how we gain knowledge about our everyday world in a casual process we are often unaware of. The argument is made that our practical needs require an approach to learning that is more refined in science, but essentially the same philosophically.
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