Before constructing a translation of scientific discourse in lay terms – and with this, calling forth the ghost of the public’s ignorance about science and technology – the operation which makes up the main task of specialized journalism in the coverage of related topics consists in the construction of a discourse of its own. However, this discourse frequently only amplifies and legitimates socially that which scientific laboratories and high tech companies offer as new, without critical opinions or contextualization. In addition to this, it is also generally characterized by linguistic operations which suppress uncertainties, doubts and considerations, thus contributing to the strengthening of the authority of specialists and of the distance which has been established – “by force” – between science and society.

The use of various expressive artistic forms in science centres and in interactive museums is becoming increasingly widespread. This paper proposes an interpretation of this phenomenon that emphasises how contemporary art contributes to experimentation with new forms of scientific communication. Furthermore, it examines the considerable overlap apparent between the themes addressed by contemporary artists and current scientific developments. Indeed, just as can be seen in science centres, artistic experimentation has assumed a new role: raising public awareness of what is happening around us today.

The scandal of the “biotechnology evangelist” erupted in Korea at the beginning of the new year: a commission from Seoul National University announced that it had proof that Dr Woo Suk Hwang, considered one of the world’s foremost experts on cloning by nucleus transfer, had manipulated the data concerning experiments in human cell cloning and the creation of eleven lines of stem cells from human embryos published in two different articles in the journal Science in 2004 and 2005.

“In a totally sane society, madness is the only freedom”, writes J.G. Ballard in his novel Running Wild. This is a dark and at first sight enigmatic statement, but it could be interpreted as a stunning synthesis of the relationship between health policies and the practices of freedom in modern history. A game that is not yet over and the results of which must therefore still be deciphered. What do we do when faced with policies that act only for our good, which preserve life, improve the conditions of health and safety? And besides, what does it mean if these policies are seen as a threat and our freedom seeks refuge in madness as the last stronghold of resistance? These are the questions Ballard asks in his story.

Do we have to drag in the thought of Michel Foucault to show the political (and not neutral), partial and local (and not universal and non-historic), active (and not merely transmissive) face of science communication? Do we need the work of the controversial French intellectual to dispute the anxious search – almost a quest like that for the Holy Grail – for the “best practices” in the dissemination of scientific culture? If we read over the pages that Foucault dedicated to words and things, to the archaeology and genealogy of knowledge, to biopolitics, we have few doubts. Two elements, on the one hand the central nature of discourse and “regimes of truth”, on the other the concept of biopower (a “power over bodies”), enable us to reflect both on the important specific features of modern science in comparison with other forms of production and organisation of knowledge, and on the central role of its communication.

The article reports the outcome of an analysis of the reception of Bertolt Brecht’s play, "The Life of Galileo", as presented by Giorgio Strehler (Milan, 1963) and Brecht himself in collaboration with Erich Engel (East Berlin, 1957), carried out on respective press reviews. The reviews were examined by the application of quantitative analysis based on the recurrence of determinate themes associated with images of science. In comparing the results of the analysis of each of the two press reviews, it appears that different images were conveyed by the same play performed in two different contexts for different audiences. Italy, in particular, showed a more frequent recurrence of the conflict between science and religion as a result of the ongoing cultural and spiritual authority of the Church, whereas in the German Democratic Republic’s communist regime, where Brecht is a troublesome but tolerated intellectual, the topics of the scientist’s freedom within the Establishment and intellectual courage were more frequent.

In recent years, courses, events and incentive programs for scientific journalism and the divulgation of science have proliferated in Brazil. Part of this context is “Sunday is science day, history of a supplement from the post-war years”, a book published this year that is based on the Master’s degree research of Bernardo Esteves, a journalist specialized in science.

From 1 to 3 June 2006, the 5th STEP Meeting devoted to the “Popularisation of Science and Technology in the European Periphery” was held in the city of Mahon in the island of Minorca (Spain). STEP ("Science and Technology in the European Periphery" [http://www.cc.uoa.gr/step/]) was founded in Barcelona in 1999, and gathers around hundred historians of science from all over Europe with a special interest in the role of Science and Technology in countries that traditionally have not played a leading role in the advancement of science and technology. The main results of the 5th STEP meeting are presented in this paper.

In this paper I use the concepts “understanding of science” and “appreciation of science” to analyze selected case studies of current science communication in Denmark. The Danish science communication system has many similarities with science communication in other countries: the increasing political and scientific interest in science communication, the co-existence of many different kinds of science communication, and the multiple uses of the concepts of understanding vs. appreciation of science. I stress the international aspects of science communication, the national politico-scientific context as well as more local contexts as equally important conditions for understanding current Danish science communication.

Before analysing the role of the mediators in relation to scientific education, I deem it important to provide a short overview on how scientific museums evolved from the early curiosity cabinets to the modern web cast. Although the term “museum” is no longer adapted to the new structures employed for the diffusion of scientific and technical culture, the evolution of the means of presentation has indeed led to several forms of human mediation. This is of course the main topic we are going to take into consideration today, as it is an important element for the impact our exhibitions may have on the public. Decisions and choices vary from structure to structure for reasons that are sometimes justifiable but that are more often than not economic in nature, since wages, which are in any case very high no matter which country plays host, come to bear heavily especially on the budget of small and medium-sized structures.