What is it that really makes communicating science a good, moral thing to do? And are there limits to the potential ‘goodness’ of science communication? In this article, we argue it is time we consider what an ethics of science communication might look like. Not only will this help us figure out what doing the right, moral thing might be. It also invites us to think through one of the most perplexing, challenging and pressing question for this still emerging field: what are the core unifying features of science communication?

While science communication has become increasingly professionalised, philosophers have been far less active in, and reflective about, how we talk to the public. In thinking about the relationship between the ‘public intellectual’ and science communication, however,  philosophy has some important contributions to make, despite the differences of content and disciplinary approach. What, then, can both these professions learn from each other about how to engage with the public - and the risks that this might involve?

This article provides a starting position and scene-setter for an invited commentary series on science communication and public intellectualism. It begins by briefly considering what intellectualism and public intellectualism are, before discussing their relationship with science communication, especially in academia. It ends with a call to science communication academics and practitioners to either become more active in challenging the status quo, or to help support those who wish to by engendering a professional environment that encourages risk-taking and speaking-out in public about critical social issues.

This commentary is both a case study of the evolution of one public intellectual, and an analysis of how he has broadened his voice beyond the standard academic bubble. His story gives a perspective on the question of, “How do public intellectuals get their start?” They almost certainly begin as “mere” intellectuals — the public part comes later. But how? How does a studious academic go from following the media to being part of the media?

This issue sees the publication of several papers that contribute to our understanding of the challenges faced by researchers in communicating about their research, adding richness to our understanding of practices and policies in Zimbabwe as well as amongst non-Anglophone speakers working in Australia. The potential of incorporating documentary filmmaking tools and techniques into open science projects raises interesting questions about subjectivity, data and the collaboration skills needed for today's scientists.

Scientists for whom English is not their first language report disadvantages with academic communication internationally. This case study explores preliminary evidence from non-Anglophone scientists in an Australian research organisation, where English is the first language. While the authors identified similarities with previous research, they found that scientists from non-Anglophone language backgrounds are limited by more than their level of linguistic proficiency in English. Academic science communication may be underpinned by perceptions of identity that are defined by the Anglocentric hegemony in science, which dictates not only how academic science is communicated but also who can communicate it.

Peter Weingart and Lars Guenther suggest that the public's trust in science has become endangered due to a new ecology of science communication. An implicit theoretical base of their argument is that the integrity of science as an institution depends on the integrity of science as a profession. My comment aims to reconstruct and question this specific institutional understanding of science. I argue that rust in technologies of knowledge production might be a potential equivalent to trust in professions.

In considering the ethos of science, Robert Merton [1973] posited that openness and secrecy reflect opposing values in the accomplishment of science. According to Merton, scientific inquiry required that all interested parties have access to and freely share scientific information. In our current epoch, this importance of openness in science seems even more widely accepted. It is a given nowadays that scientists are expected to work as part of a team, not only within their own department, but also with other departments different disciplines. To work interdisciplinary scientists must become more communicative and critically talk about difference, which asks maximum transparency and open communication of the participants. However, against the adage that openness and participation in science is an inherent good, one easily forgets that the actual practice of collaborating may also require things are not said. Navigating everyday interactional challenges may depend on postponing issues to keep the process going, for instance because scientists still have to figure out what they find important in the collaboration with others. But also issues like, withholding sensitive problems or not critiquing each other's options viewpoints, leaving points shrewdly of the agenda, and excluding relevant actors from the meeting table. Despite the idea of open innovation, shared visions, beliefs and knowledge we must focus on silence for the good and the bad as well.

A short outline of the evolution of communications at CERN since 1993 and the parallel growth of the need both for professional communications and, at the same time, the need for training in more and more complex competencies for the new profession.

In respect of the different modes of science communication including journalism, radio, online, I would propose that the process of making exhibitions and centres dedicated to science & technology is one of the hardest creative typologies. It also provides a very different type of engagement to other modes, in that it works in real time and space with real tangible objects and responsive media. The power of the real is also extended through the direct and collective involvement of people, providing a refreshing antidote to the potential alienating nature of social media and the ever-growing obsession with the virtual. In this paper I will discuss the skills required by a designer in order to solve the challenges contained within the client brief (the project document provided by the client), and therefore the skills a proper exhibition designer training programme should deliver.