Filter by keyword: Visual communication

During the COVID19 pandemic, social networks became the main source of information and misinformation. In these spaces, image and immediacy prevailed when sharing information. Tiktok appears as an emerging social network with its own performance that promotes entertainment through rapidly making audiovisual content viral. This research studies TikTok as a means of scientific dissemination, analysing the audiovisual resources used and the content published to identify their impact on the social network's niche audiences.

Graphs are useful to communicate concisely about complex issues. Although they facilitate intuitive reading of data, trends, and predictions, hasty readers may still come to the wrong conclusions, especially if graphs are misleading due to violated design conventions. To provide evidence about how to prevent misinformation from spreading by misleading graphs, this two-survey experimental study investigates the effectiveness of four correction methods as debunking strategies to correct bar charts with manipulated vertical axes. All four methods showed positive effects. The most effective one is aimed at correcting the initial image by presenting an accurate alternative graph. A reduced effect remained visible after one week.

This essay takes a starting point in the well-known tension between the media logic and the scientific logic and the challenges when communicating science in a mediatized society. Building on the experience of engaging in research comics, both as a method for communicating science and a creative example of a meeting between science and art, we introduce a framework — a pedagogical tool — for how science communication can be understood through the two competing logics. We contribute to literature about the balancing act of being a ‘legitimate expert’ and a ‘visible scientist’, and suggest that the meeting between science and art can be understood as a lens for how to communicate science that goes beyond the deficit model.

This paper describes a school intervention focused on visual art and solar physics using science capital and STEAM methodologies to develop STEM engagement activities. Data from 40 children (aged 8–11) in two primary schools in the North East of England are presented, using pre- and post-intervention surveys which contained free-response and likert-scale questions. The paper presents a novel, and transferable, method of evaluating children’s drawings using online comparative judgement marking software, particularly suited to those without a background in qualitative research. Using comparative judgement this paper shows that the intervention led to a moderate increase in girls’ knowledge of solar physics.

The ocean has a vast capacity for absorbing heat and carbon dioxide, seriously threatening local habitats for marine life. Challenges in connecting wider society with this crisis may originate in its poor visibility for non-specialists: the data can be inaccessible and hard to relate to. In a series of immersive community workshops, participants created artworks combining recent physical ocean climate data recorded in Otago, New Zealand, with impacts on local species from published studies. We found that crafting visual stories was a powerful way to distill greater meaning from complex climate data, and engage participants with harmful changes underway locally.

Although Science Art (“SciArt”) is increasingly used in science communication as a way to make content more engaging or accessible, little is known about why artists pursue this practice or what they hope to achieve through their work. This project addresses these questions through a thematic analysis of interviews with 131 practicing science artists. We identify a diversity of goals for creating SciArt, only some of which involve communicating science.

Protest placards are an important part of School Strike 4 Climate (SS4C) protest culture and illustrate how protesters view, understand and share their environmental concerns. Many of the placards use humor to convey the messages of their creators. Bringing together science communication and humor studies, this paper examines the communicative functions of humor in Australian SS4C posters by asking to what extent protest signs can be understood as a vehicle of science communication. The paper reveals how humorous protest placards become the means of grassroots creativity, exploring bottom-up science communication in an ambiguous, but accessible and enjoyable form.

In an increasingly mediated culture, social institutions such as science, public health, and civic engagement exist within the same modes of discourse as popular media. As a human endeavor, science is also a cultural phenomenon, and there are webs of multidirectional and layered communication that occur between formal science communication, pop science, and, indeed, popular media. For public participants, engagement with science and entertainment may be one in the same. This essay draws from research of transformative works, fan studies, and memetics to examine how the public engages with science and popular media within digital cultures.

‘Don't Look Up’ makes no direct reference to climate change, yet functions as a climate communication film, satirising political and societal responses to the scientific evidence of climate change and to the lack of concerted global climate action. As a popular cultural story of climate inaction, ‘Don't Look Up’ importantly critiques existing values of late-capitalism in the form of speculative techno-fixes, extractive capitalism and celebrity commodity culture. Yet as a mainstream Hollywood film, it privileges global north perspectives. More diverse stories that go beyond apocalyptic imageries are required to more clearly centre climate justice within popular cultural imaginaries.

Public Engagement with Science calls for scientists to think more reflexively about their research, and how assumptions, power and contexts influence associated communication. To interrogate this, we utilised design to stimulate reflexive thinking about science communication through a residential ‘Engagement Incubator’ that took the form of a pop-up cardboard laundromat. Participants reported an increased appreciation for, and insight into, PES theory, and its relevance to their work. In addition, our experience of enacting PES theory, and reflexive thematic analysis of data collected through the process, deepened our own understanding of PES and reinforced our appreciation of engagement as reproductive, and inherently circular work.