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Peer training provides Explainers with the knowledge, skills and confidence to facilitate high quality interactions with visitors. These are skills that carry into their academic, personal and professional lives. Explainers report better grades in school, improved communication skills and better understanding of diverse learning styles. By devoting this high level of time and attention to this valuable resource, we can truly see the significant influence the science center can have on this most valuable, and often underserved, museum audience.

The Exploratorium explainer program is not only important to the young people involved, but is an integral part of the museum culture. This initiative that started to help the youth of our community has blossomed into a program that has been very helpful to the science centre. In fact, the institution would not be complete without the fresh energy of the explainers. They help the Exploratorium to continue to give the real pear to its public.

The initiatives focusing the professional development of explainers are multiplying around the world, building an informal network of researchers, museums managers and directors, explainers, and regional/continental networks, as THE group, the Thematic Human Interface and Explainers group of Ecsite.The Workshop Sul-Americano de Mediação em Museus e Centros de Ciência e Escola de Mediação em Museus e Centros de Ciência, which took place in Rio de Janeiro in September 2008, was a further important step along this path. We believe it is worthwhile to offer to Jcom readers some of the workshop contributions concerning the training of explainers, to which we added an overview of the general problem presented by Lynn Uyen Tran (Lawrence Hall of Science at the University of California, Berkeley).

This article seeks to reflect on mediation in museums based on experiences that occurred in the “Learning in order to Teach” Project.  In this case, the mediation acquires specific characteristics because it deals with young deaf people learning art-related contents in order to teach other youth in their first language.  The most interesting aspect of this encounter between museum and deaf culture is a mutual, immediate and highly visible influence.  While museum-goers and professionals understand that the “gestures” used by the deaf are not random (rather, on the contrary, they make up a complex language), new signs are created by the students based on the contents that are worked with and discovered in the museum.  These new signs thus enrich the language itself and begin to circulate within the community.

This paper discusses three mediation concept approaches and, consequently, three facets of mediator action.  The approaches presented start with a bibliographical review of the concept of mediation present in education and scientific communication studies.  These approaches serve as a basis for interpreting a semi-directive interview with the director of the Museum of Morphological Sciences of the Federal University of Minas Gerais (UFMG).  They also help us reflect on the complexity of organizing the objectives of a museum action that takes into account the transformational role of the meaning of objects in interaction with different socio-cultural subjects.  In conclusion, the museum's purpose in organizing a museum action using socio-cultural mediation approach and with the mediator as a passeur libre among exhibit objects and visitors is highlighted.

Despite the developed world’s climate-controlled interiors and easy access to all kinds of fresh produce at any time of year, our lives are still dependent upon the weather and climate. With global warming, our dependence is becoming even more apparent. I am an artist working with new technologies and last year I had the opportunity to go to Antarctica for two months on a US National Science Foundation-sponsored residency where I worked alongside scientists studying the global implications of Antarctic weather and climate change. The Antarctic is unlike any other place on earth. There, I wanted to find a way to more closely engage with the issue of global climate change.

In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.

Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of special interlocutors in the dialogue between science and society.

In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to be paid to procedures and contexts. In search of a new humanism in contact with the natural universe.

The world, all at once, has become a small world. Not only owing to TV, satellites and the Internet that allow us to jump from side to side of our planet in a click. But also owing to a phenomenon that evokes dry lands, devastating rains, tsunamis and hurricanes, torrid summers and melting glaciers: global warming. In the heated argument on this issue with so many people talking, in the past few years also artists have made their rising voice be heard. Artists-popularisers, aware of their role and of the considerable communication potential of the art medium. Because “One salient image, sculpture or event can speak louder than volumes of scientific data”.