Filter by keyword: Visual communication

On February 11, 2020, the World Health Organization announced the name of a new disease, COVID-19. As the virus that causes the disease spread across the globe, the world went into crisis mode. The various actors of the COVID-19 crisis include, in part, politicians, scientists, health experts, citizens, journalists, front line workers, first responders, organizations, and so on. Their voices and their related communicative processes play out in the rhetorical arena that emerges from the crisis. Crisis memes are a particularly intriguing and salient part of the COVID-19 public discourse. Combining the theoretical implications of rhetorical arena theory (RAT) with multimodality and its close ties to social semiotics, this paper will analyze the unique nature of memes created during the cycle of a crisis.

This study explores how South African newspaper cartoonists portrayed the novel coronavirus during the initial months of the COVID-19 pandemic. We show how these cartoons respond to the socio-economic and cultural contexts in the country. Our analysis of how cartoonists represent the novel coronavirus explain how they create meaning (and may influence public sentiments) using colour, morphological characteristics and anthropomorphism as visual rhetorical tools. From a total population of 497 COVID-19-related cartoons published in 15 print and online newspapers from 1 January to 31 May 2020, almost a quarter (24%; n=120) included an illustration of the coronavirus. Viruses were typically coloured green or red and attributed with human characteristics (most often evil-looking facial expressions) and with exaggerated, spikey stalks surrounding the virus body. Anthropomorphism was present in more than half of the 120 cartoons where the virus was illustrated (58%; n=70), while fear was the dominant emotional tone of the cartoons. Based on our analysis, we argue that editorial cartoons provide a useful source to help us understand the broader discursive context within which public communication of science operates during a pandemic.

A global crisis such as the COVID-19 pandemic that started in early 2020 poses significant challenges for how research is conducted and communicated. We present four case studies from the perspective of an interdisciplinary research institution that switched to “corona-mode” during the first two months of the crisis, focussing all its capacities on COVID-19-related issues, communicating to the public directly and via media, as well as actively advising the national government. The case studies highlight the challenges posed by the increased time pressure, high demand for transparency, and communication of complexity and uncertainty. The article gives insights into how these challenges were addressed in our research institution and how science communication in general can be managed during a crisis.

Student engagement is an important predictor of choosing science-related careers and establishing a scientifically literate society: and, worryingly, it is on the decline internationally. Conceptions of science are strongly affected by school experience, so one strategy is to bring successful science communication strategies to the classroom. Through a project creating short science films on mobile devices, students' engagement greatly increased through collaborative learning and the storytelling process. Teachers were also able to achieve cross-curricular goals between science, technology, and literacy. We argue that empowering adolescents as storytellers, rather than storylisteners, is an effective method to increase engagement with science.

This research develops a conceptual framework for telling visual stories about science using short-format videos, termed SciCommercial videos, that draw upon marketing communication. The framework is illustrated by an exemplar, the Good Whale Watching video, which is explained using a visual rhetoric keyframe analysis. Finally, the effectiveness of the video is evaluated as a science communication tool using an empirical online survey with 1698 respondents. The results highlight the benefits of using video for storytelling about science by using our framework formula, modified from marketing practices, to produce videos that are Simple, Unexpected, Concrete, Credible, Emotional, Science Storytelling (SUCCESS).

Knowing how specific publics understand and experience science is crucial for both researchers and practitioners. As learning and meaning-making develop over time, depending on a combination of factors, creative possibilities to analyze those processes are needed to improve evaluation of science communication practices. We examine how first grade children's drawings expressed their perceptions of the Sun and explore their views of a major astronomical body within their social, cultural and personal worlds. We then examine how the observation of the Sun through a telescope led to changes in graphical representations, and how learning and meaning evolved after several months.

The Extreme Ice Survey (EIS) is an exemplary case for examining how to effectively communicate scientific knowledge about climate change to the general public. Using textual and semiotic analysis, this article analyzes how EIS uses photography to produce demonstrative evidence of glacial retreat which, in turn, anchors a transmedia narrative about climate change. As both scientific and visual evidence, photographs have forensic value because they work within a process and narrative of witnessing. Therefore, we argue that the combination of photographic evidence with transmedia storytelling offers an effective approach for future scientific and environmental communication.

Information visualization could be used to leverage the credibility of displayed scientific data. However, little was known about how display characteristics interact with individuals' predispositions to affect perception of data credibility. Using an experiment with 517 participants, we tested perceptions of data credibility by manipulating data visualizations related to the issue of nuclear fuel cycle based on three characteristics: graph format, graph interactivity, and source attribution. Results showed that viewers tend to rely on preexisting levels of trust and peripheral cues, such as source attribution, to judge the credibility of shown data, whereas their comprehension level did not relate to perception of data credibility. We discussed the implications for science communicators and design professionals.

Visual narratives, such as comics and animations, are becoming increasingly popular as a tool for science education and communication. Combining the benefits of visualization with powerful metaphors and character-driven narratives, comics have the potential to make scientific subjects more accessible and engaging for a wider audience. While many authors have experimented with this medium, empirical research on the effects of visual narratives in science communication remains scarce. This review summarizes the available evidence across disciplines, highlighting the cognitive mechanisms that may underlie the effects of visual narratives.

While academic interest in science comics has been growing in recent years, the creators of these materials remain understudied. This research aimed to explore the experiences and views of science comic creators through the lens of science communication. Qualitative, semi-structured interviews were conducted with 14 science comic creators. Interviewees felt that the visual, narrative, permanent, and approachable qualities of comics made them particularly adept at explaining science and bringing it to new audiences. Science comic creators often had complex identities, occupying an ambiguous territory between `science' and `art', but were otherwise unconcerned with strict definitions. They emphasised the importance of balance between entertaining and informing, striving to create an engaging visual narrative without overcrowding it with facts or compromising scientific accuracy. This balancing act, and how they negotiate it, sheds light on what it means to be a science communicator operating in the space between entertainment and information/education.