Responsible research and innovation in science education: insights from evaluating the impact of using digital media and arts-based methods on RRI values

The European Commission policy approach of Responsible Research and Innovation (RRI) is gaining momentum in European research planning and development as a strategy to align scientific and technological progress with socially desirable and acceptable ends. One of the RRI agendas is science education, aiming to foster future generations' acquisition of skills and values needed to engage in society responsibly. To this end, it is argued that RRI-based science education can benefit from more interdisciplinary methods such as those based on arts and digital technologies. However, the evidence existing on the impact of science education activities using digital media and arts-based methods on RRI values remains underexplored. This article comparatively reviews previous evidence on the evaluation of these activities, from primary to higher education, to examine whether and how RRI-related learning outcomes are evaluated and how these activities impact on students' learning. Forty academic publications were selected and its content analysed according to five RRI values: creative and critical thinking, engagement, inclusiveness, gender equality and integration of ethical issues. When evaluating the impact of digital and arts-based methods in science education activities, creative and critical thinking, engagement and partly inclusiveness are the RRI values mainly addressed. In contrast, gender equality and ethics integration are neglected. Digital-based methods seem to be more focused on students' questioning and inquiry skills, whereas those using arts often examine imagination, curiosity and autonomy. Differences in the evaluation focus between studies on digital media and those on arts partly explain differences in their impact on RRI values, but also result in non-documented outcomes and undermine their potential. Further developments in interdisciplinary approaches to science education following the RRI policy agenda should reinforce the design of the activities as well as procedural aspects of the evaluation research

Using and composing the landscape, attending to the making of place through sound in London´s East End. Lila: a case study

Este artículo se basa en un proyecto de doctorado en torno al East End de Londres como área de campo. Se centra en el estudio de caso de Lila y, mediante el análisis de la narrativa del East End, analizaremos la importancia de los sentidos, especialmente del sentido del oído, su uso y composición del paisaje. A lo largo de este artículo, también analizaremos el concepto de paisaje sonoro en la fabricación de lugar, en especial en torno a la idea de que el paisaje sonoro se configura a través de los usos dados a un paisaje por sus habitantes. A su vez, argumentaremos en torno al concepto de cuerpo como entidad sensual (Latour, 2004) y la recuperación de esas cualidades, frente a la racionalización y estandarización de la vida cotidiana. Para ello, esta investigación se centrará en lo que podría ser visto como actos cotidianos, que son, de hecho, los bloques que construyen y habitan un paisaje. Sin embargo, como este trabajo inédito es sólo uno de los casos de estudio de esta investigación, no puede ofrecerse una revisión exhaustiva de toda la literatura disponible, aunque sí se presentan la literatura teórica más relevante para el estudio de caso.This paper is based on an ongoing PhD research project having London�s East End as its field area. It will focus on the case study of Lila and, through analysing her narrative of the East End, it will argue for the importance of the senses, notably of the sense of hearing, in using and composing a landscape. Throughout the paper, I will argue for the effect of attending to the soundscape in the making of place, notably around the notion that the soundscape is made by the uses given to a landscape and its inhabitants. I will also introduce my argument towards an awakening of our bodies as sensuous entities (Latour, 2004) and the recovery of those qualities instead of the rationalisation and standardisation of everyday life. For this, I will focus on the bearing of researching what could be seen as mundane everyday acts, that are, in fact, the constructing blocks of relating and inhabiting a landscape. However, because this paper is just one of the case studies of my research, I cannot offer an exhaustive review of all the literature that is in the research, I will though, present the theoretical literature that is most relevant to the case study

An emotional cartography of resonance

When we consider the relationship with the urban soundscape, this aural 'moment' is intrinsically intertwined with the body as part of the making of place. How can attending to the making of place through sound unveil an emotional cartography or the city? This paper will address these questions by exploring the processes that bind sound, emotion and place together. Elaborating on Nancy's (2007) concept of listening as methexis (participation) and LaBelle's (2010) idea of the moment of sound as a participatory event, this paper presents two extended vignettes taken from empirical research in London's East End, which used interviews and audio walks to examine sensory engagements with everyday urban spaces. It distinguishes an approach to the production of place that integrates aural perception, affect and emotion. It concludes outlining the importance of being re-acquainted with our ensounded body in order to explore geography from the sentient body to generate a fluid cartography that evolves at the same speed the soundscape does, making an argument for the importance of an embodied listening while strengthening the affective and emotional aspects of the urban soundscape.Cuando consideramos la relación con el paisaje sonoro urbano, este "momento" auditivo está intrínsecamente entrelazado con el cuerpo como parte de la creación del lugar. ¿De qué manera la atención a la creación del lugar a través del sonido revela una cartografía emocional o la ciudad? Este documento abordará estas cuestiones explorando los procesos que unen sonido, emoción y lugar juntos. Elaborando el concepto de Nancy (2007) de escuchar como metexis (participación) y la idea de LaBelle (2010) del momento del sonido como un evento participativo, este artículo presenta dos viñetas ampliadas tomadas de investigación empírica en el East End de Londres, que utilizó entrevistas y recorridos de audio para examinar los compromisos sensoriales con los espacios urbanos cotidianos. Distingue un enfoque de la producción del lugar que integra la percepción auditiva, el afecto y la emoción. Concluye subrayando la importancia de volver a familiarizarse con nuestro ensoñado cuerpo para explorar la geografía del cuerpo consciente para generar una cartografía fluida que evoluciona a la misma velocidad que el paisaje sonoro, argumentando la importancia de una escucha encarnada mientras se fortalecen los aspectos afectivos y emocionales del paisaje sonoro urbano.Quan pensem en la relació amb el paisatge sonor urbà, aquest "moment" auditiu està intrínsecament entrellaçat amb el cos com a part de la creació del lloc. De quina manera l'atenció a la creació del lloc a través del so revela una cartografia emocional o la ciutat? Aquest document abordarà aquestes qüestions explorant els processos que uneixen so, emoció i lloc junts. Elaborant el concepte de Nancy (2007) d'escoltar com a metexis (participació) i la idea de LaBelle (2010) del moment del so com a esdeveniment participatiu, aquest article presenta dues vinyetes ampliades preses d'investigació empírica en l'East End de Londres, que va utilitzar entrevistes i recorreguts d'àudio per examinar els compromisos sensorials amb els espais urbans quotidians. Distingeix un enfocament de la producció del lloc que integra la percepció auditiva, l'afecte i l'emoció. Conclou subratllant la importància de tornar a familiaritzar-se amb el nostre somiat cos per explorar la geografia del cos conscient per generar una cartografia fluïda que evoluciona a la mateixa velocitat que el paisatge sonor, argumentant la importància d'una escolta encarnada mentre s'enforteixen els aspectes afectius i emocionals del paisatge sonor urbà