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A substantial body of empirical research identifies participatory models of science communication as best practice for achieving social, ethical, or governance objectives, particularly where dialogue, inclusion and public influence are central. At the same time, storytelling has emerged as a widely used strategy for engaging audiences with scientific issues, helping audiences make informed decisions, and shaping community attitudes and behaviours regarding science-related topics. Drawing on narrative studies, this essay examines how storytelling contributes to audience engagement through processes such as narrative transportation, simulation, and p-responses. It argues that reading or listening to stories is not a passive activity, and that these forms of audience engagement can be understood as interpretive and affective involvement. Storytelling does not always support participation in the dialogic or co-productive sense (typically associated with participatory science communication), but it can always support some of the aims of participatory approaches, such as fostering reflection, empathy, and relevance. While remaining analytically distinct from participatory practices that involve audience input and influence, it plays a valuable and complementary role in science communication by enhancing audience accessibility and resonance.

Outreach on mental illness presents a unique challenge for science communication, in that it requires approaches to actively address associated stigma. A significant barrier to treatment and recovery, stigma shapes the lives of those diagnosed with mental illnesses alongside their clinical symptoms. Evidence suggests that active involvement of person(s) with lived experience (PwLE) may be a promising strategy to combat stigma. However, such interventions remain under-documented in low- and middle-income countries like India. To address this gap, we designed a series of innovative events, co-produced with PwLE. We engaged approximately 260 participants and displayed 191 creative artefacts. This article presents and reflects on our science communication practices to address mental illness stigma by integrating arts-based participation with principles from contact theory.

The climate crisis is no longer a crisis of knowledge, but a crisis of agency. Individuals wishing to act must overcome climate anxiety, feelings of powerlessness, and doubt associated with the complexity of the scientific realities of climate change. Rural communities offer much to learn about sustainable living and environmental solutions, but are rarely the site of many science communication initiatives due to inequities in funding, transit, and access to decision-makers. This practice insight explores how the act of performing in `We Built This City on Rock and Coal', an improvised theatre show about climate change in rural and remote communities in Ireland, supported performers to develop agency and transition towards taking pro-environmental actions in their own lives. Accessing environmental science expertise alongside space for emotional responses (both heavy and light-hearted) in specific contexts anchored by local knowledge helped practitioners create a platform for change and climate action.

Theatre is a privileged medium for expressing and conveying emotions. Emotions play a significant role in audience engagement when communicating to create awareness and knowledge about a given subject. The Marionet Theatre Company has created a series of theatre performances related to health sciences over the past few years, to expand knowledge and reduce the stigma frequently associated with certain diseases. In this report on practice, we present the process of developing the theatre performance Oxymoron, between solstices and equinoxes, exploring bipolar disorder and its consequences. The artistic team devised the performance after a series of interviews with both patients and mental health professionals. In this article, we discuss the process of its creation, identify dramaturgical connections between the performance and the interviews, and examine the emotional engagement it provoked in the audience. We conclude by assessing the effectiveness of theatre in communicating health-related subjects, most particularly by involving the audience emotionally.

SciArt is an evolving field that seeks to bring together art and science. Numerous SciArt spaces and initiatives exist, bridging the gap between the two and fostering interdisciplinary collaborations. However, personal and interpersonal obstacles have been identified for both artists and scientists within the context of SciArt collaborations and environments. Here, we first introduce key concepts about SciArt and then leverage theories from social psychology in the study of group dynamics, including social and group identity, group norms, and minority dissent and influence, to examine artist-scientist collaborations and their challenges. Drawing on social psychology frameworks, our goal is to inform and encourage the creation of Third Spaces that identify common ground between practitioners, foster balanced interactions, build shared group identity and new group dynamics, and ultimately move beyond discipline-specific identities and institutionalized environments.

This is the age of exoplanets. Thousands of planets around other suns have been discovered, upending settled science. Unlike spectacular imagery of other phenomena (e.g., nebulae), exoplanets are difficult to `directly' image, and exoplanet scientific imagery is visually limited. This practice insight is a qualitative case study of how artists and scientists at NASA's Exoplanet Travel Bureau co-imagined exoplanets as destinations of the future, with the artists playing an essential role of clarifying and extending scientific thinking. Using textual/visual analysis of how the Bureau's iconic series of exoplanet posters (launched in 2015) invited the public to visit exoplanet landscapes, this practice insight reflects on a recent historical instance of how exoplanets were visually communicated to the public in innovative ways, using overlapping scientific and artistic practices.

Cinema has long been a powerful medium for exploring and communicating scientific ideas. From its early days, film has served as both a tool for scientific documentation and a means of engaging the public with scientific concepts. While mainstream films have popularised scientific issues, independent cinema, distinct from Hollywood's commercial focus, offers more innovative and critical portrayals of science. By examining short films from the 2023 Braga Science Film Fest, this study investigates how independent films represent science and scientists. The findings reveal that while these films often depict scientists as adult white men, they challenge traditional stereotypes by avoiding common scientific tropes, like the mad scientist, and instead portray a more diverse range of scientific endeavours and behaviours, contributing to a nuanced understanding of science in society.