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Sep 21, 2009 Commentary

Social technologies and socialization of research

Whether we like it or not, and how many difficulties this may pose, scientific research and technology are becoming the “property” of everybody and increasingly will become subject of public guidance and political decision making. Socialization happens because what people think, want and do has become central to the development of science and technology. Socialization of research is simply happening because it is the development characteristic of a society in which knowledge is becoming the main driving force. And just like in agricultural or industrial societies in the past it leads to (re-)invent the institutions and mechanisms which allow the knowledge society to function properly. This note will further explore the developments contributing to the socialization of research and their impact on research and research institutes. It will focus more on technologies than on science per se, because applications and usage will become the main drivers.

Volume 8Issue 032009

Sep 21, 2009 Commentary

The socialisation of scientific and technological research

by Yuri Castelfranchi , Nico Pitrelli

In the last decades, production of science and technology as well as science-society relationships started changing rapidly. Research is asked to be more effective, fast, accountable, trans-disciplinary, result-oriented, policy-driven and able to generate benefits for people and firms in the short and middle run. While a strong intensification of science-society relationships is occurring, an increasing number of actors and stakeholders are involved in research production. At the same time, pervasiveness of technology is rendering users an active part in technological development; economic and social interests on science and technology are growing on a global scale; new democratic and ethical issues emerge. Despite the European institutions’ efforts, all those trends and phenomena are occurring in an extremely fragmented way. In this scenario, a fairly balanced and consistent co-evolution between science and society can no longer be taken for granted. This is just the starting point of the following comment section that, through the Luciano d’Andrea, Sally Wyatt, Erik Aarden, Jos Lejten and Peter Sekloča’s writings, aims to analyse the different aspects and questions around the socialisation of science and technology’s matter.

A different interpretation of science-society relations: the socialization of scientific and technological research

by Luciano d'Andrea

Science and technology: socialising what for whom?

by Sally Wyatt

Technoscience, technological cultures and socialisation

by Erik Aarden

Social technologies and socialization of research

by Jos Leijten

Public scientific communication: reflections on the public and its participation forms

by Peter Sekloča and Ernest Ženko

Volume 8Issue 032009

Sep 21, 2009 Commentary

Science and technology: socialising what for whom?

by Sally Wyatt

In the Handbook on the socialisation of scientific and technological research, edited by Wiebe Bijker and Luciano d’Andrea, ‘socialisation’ is used to both describe and prescribe the ways in which science and technology are used in society. In this comment, ‘socialisation’ is discussed from two other points of view. First, the ways in which science and technology are sometimes used to organize, structure and dominate the social are identified. Second, drawing on Merton’s norms of science, an argument is made against over-socialising science and in favour of acknowledging and preserving the ‘special’ nature of science, for its own sake and because, at its best, science can offer an alternative model for other social activities.

Volume 8Issue 032009

Jun 19, 2009 Commentary

The art of discovery

by Susie J. Lee

"The Art of Discovery" discusses an ambitious educational program taught by the artist which incorporated locative media, contemporary art, site specificity, and creative work as a proposal for the integration of art, technology and science.

Volume 8Issue 022009

Jun 19, 2009 Commentary

Contemporary arts in the Natural History Museum London: symbiosis and disruption

by Bergit Arends

The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.

Volume 8Issue 022009

Jun 19, 2009 Commentary

Science centres around the world see unrest for art and science in society

by Alessandra Drioli

In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on the final results of this phenomenon and on what will happen next. Also, emphasis should be put on the importance for each museum to define right from the start an ‘art policy’, even a complex one, but somehow structured, that may be employed at many levels according to the needs of the museum itself.

Contemporary arts in the Natural History Museum London: symbiosis and disruption

by Bergit Arends

Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan

by Claudio Giorgione

From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum

by Hannah Redler

Somewhere between art and science

by BridA, Tom Kerševan, Sendi Mango and Jurij Pavlica

The art of discovery

by Susie J. Lee

The theatre, (art) and science: between amazement and applause!

by Salvatore Fruguglietti

Volume 8Issue 022009

Jun 19, 2009 Commentary

The theatre, (art) and science: between amazement and applause!

by Salvatore Fruguglietti

There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication).It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

Volume 8Issue 022009

Jun 19, 2009 Commentary

Arts and science under the sign of Leonardo. The case of the National Museum of Science and Technology ‘Leonardo da Vinci’ of Milan

by Claudio Giorgione

Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

Volume 8Issue 022009

Jun 19, 2009 Commentary

From interventions to interactions: Science Museum Arts Projects’ history and the challenges of interpreting art in the Science Museum

by Hannah Redler

Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.

Volume 8Issue 022009

Jun 19, 2009 Commentary

Somewhere between art and science

by BridA , Tom Kerševan , Sendi Mango , Jurij Pavlica

There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.

Volume 8Issue 022009

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