Cover -- Title Page -- Copyright Page -- Dedication -- Contents -- Foreword by Sir George Porter PRS -- Preface -- Prologue -- Part 1: The Growth of the Art -- 1.1 ORIGINS -- 1.2 DEMONSTRATION IN THE EIGHTEENTH CENTURY -- 1.3 DEMONSTRATION IN THE...
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Cover -- Title Page -- Copyright Page -- Dedication -- Contents -- Foreword by Sir George Porter PRS -- Preface -- Prologue -- Part 1: The Growth of the Art -- 1.1 ORIGINS -- 1.2 DEMONSTRATION IN THE EIGHTEENTH CENTURY -- 1.3 DEMONSTRATION IN THE EARLIER PART OF THE NINETEENTH CENTURY -- 1.4 DEMONSTRATION IN THE LATTER PART OF THE NINETEENTH CENTURY -- 1.5 CONTROVERSY ABOUT THE VALUE OF DEMONSTRATIONS -- 1.6 DEMONSTRATION IN THE TWENTIETH CENTURY -- 1.7 THE ROYAL INSTITUTION OF GREAT BRITAIN -- 1.8 DEMONSTRATION IN DISTANCE-LEARNING PROJECTS -- 1.9 INTERACTIVE SCIENCE CENTRES -- 1.10 THE USE OF DRAMA -- Part 2: The Science behind the Art -- 2.1 WHAT IS A DEMONSTRATION? -- 2.1.1 Introduction -- 2.1.2 Unconventional visual aids -- 2.1.3 Analogue demonstrations -- 2.1.4 Real experiments -- 2.2 PROBLEMS OF INFORMATION TRANSFER -- 2.2.1 Information -- 2.2.2 Usability of information -- 2.3 AUDIENCE PSYCHOLOGY -- 2.3.1 Introduction -- 2.3.2 Conditioning an audience -- 2.3.3 Varying the tension -- 2.3.4 Some properties of the brain -- 2.4 VISUAL AIDS AND EDUCATIONAL TECHNOLOGY -- 2.4.1 Introduction -- 2.4.2 Slides -- 2.4.3 Tape and slide combinations -- 2.4.4 The overhead projector -- 2.5 USE OF FILM AND VIDEO RECORDING -- 2.5.1 Introduction -- 2.5.2 Justification of the use of film -- 2.5.3 Use of complete programmes -- 2.5.4 A Variable-speed photography -- 2.6 CLOSED-CIRCUIT TELEVISION -- 2.6.1 Introduction -- 2.6.2 Displaying small details -- 2.7 MICROCOMPUTERS AND INTERACTIVE VIDEO-DISC -- 2.7.1 Microcomputers -- 2.7.2 Interactive video-disc -- Part 3: The Practice of the Art -- 3.1 GETTING STARTED -- 3.2 THE IMPORTANCE OF PREPARATION -- 3.2.1 Introduction -- 3.2.2 Mental and practical preparation -- 3.2.3 The mundane preparations -- 3.2.4 Rehearsal-the complete presentation -- 3.2.5 Rehearsal-individual experiments 3.3 THE IMPORTANCE OF VISIBILITY -- 3.3.1 Introduction -- 3.3.2 Slides -- 3.3.3 Size of apparatus -- 3.3.4 Visibility of details -- 3.4 THE IMPORTANCE OF PRESENTATION -- 3.4.1 Layout -- 3.4.2 Presentation technique -- 3.5 THE PROBLEMS OF THE TRAVELLING LECTURER -- 3.5.1 The value of a visiting lecturer -- 3.5.2 Very portable demonstrations -- 3.5.3 Taking some of the demonstrations on tour -- 3.5.4 Relying on local organisers -- 3.5.5 The complete travelling show -- 3.6 HOW DEMONSTRATIONS EVOLVE -- 3.6.1 Introduction -- 3.6.2 Practice in presentation -- 3.6.3 Evolution of style of presentation -- 3.6.4 Towards greater portability -- 3.6.5 Towards cheaper equipment -- 3.7 COPING WITH DISASTERS -- 3.7.1 Introduction -- 3.7.2 Disasters from outside causes -- 3.7.3 To apologise or not? -- 3.7.4 Turning disaster to advantage -- 3.8 DEALING WITH DIFFERENT AGE GROUPS -- 3.8.1 Different approaches -- 3.8.2 Lectures to undergraduates -- 3.8.3 The 7-11 age group -- 3.8.4 Dealing with difficult concepts -- 3.8.5 Dealing with mixed audiences -- 3.9 AUDIENCE PARTICIPATION -- 3.9.1 Different ways of participating -- 3.9.2 Playing games -- 3.9.3 Experiments with children -- 3.9.4 Help from the audience -- 3.10 SAFETY -- 3.10.1 Introduction -- 3.10.2 Teaching by example -- Epilogue -- References -- Index of Demonstrations -- Index
