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.

In 2008 two collections were published: the Handbook of Public Communication of Science and Technology, edited by Massimiano Bucchi and Brian Trench, and Communicating Science in Social Contexts: New models, new practices, edited by Donghong Cheng and five other scholars from China, Canada, Belgium and Australia. These books try to define and draw the boundaries of science communication’s field from both a theoretical and empirical point of view. But do we need to establish it as a distinct research field? For a number of decades, a growing community of scholars and communicators is trying to reply positively to this question, but the need to look outside the disciplinary boundaries, to other academic fields, is still vital.

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.

The creation of a scientific culture through the experiences that can be offered in a museum is the central theme in the training of guides at Universum. Emphasising the social importance of science democratisation, providing the public with the chance to enjoy science itself, conceiving it as a human creation of extreme beauty, giving it the chance to be appreciated and enjoyed, presenting it from the different fields where an approach to it is possible, is something difficult to achieve outside a science museum and impossible without the intervention of the anfitriones.

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.

Explainers have a longstanding presence in science museums and centres, and play a significant role in the institutions’ educational agenda. They interact with the public, and help make visitors’ experiences meaningful and memorable. Despite their valuable contributions, little research attention has been paid to the role and practice of these individuals. From the limited research literature that does exist, we know that museum educators employ a complexity of skills and knowledge. We also know such educators have a variety of experiences and qualifications – this creates a rich diversity within the field. Finally we know that the content and quality of programmes designed to educate novice explainers vary across institutions. Should we work toward a shared identity across institutions? Or even a “professionalization”? The paper explores the state of the art of the discussion around that questions.

Science magazines have an important role in disseminating scientific knowledge into the public sphere and in discussing the broader scope affected by scientific research such as technology, ethics and politics. Student-run science magazines afford opportunities for future scientists, communicators, politicians and others to practice communicating science. The ability to translate ‘scientese’ into a jargon-free discussion is rarely easy: it requires practice, and student magazines may provide good practice ground for undergraduate and graduate science students wishing to improve their communication skills.

This article explores whether some scientists have now actually been developing a type of science apt to be published as a piece of news, yet lacking a relevant scientific interest. Possibly, behind this behaviour there may be the present working culture, in which scientists live under the pressure of the dictatorship of the Science Citation Index (SCI) of the reference journals. This hypothesis is supported by a study demonstrating that there is a direct relation between publishing scientific results in the press and a subsequent increase in the SCI index. Many cases are here described, selected among the papers published in Nature that – according to experts – have a media interest rather than a scientific one. Furthermore, the case of the Dolly sheep cloning is studied as a paradigm for a situation in which media coverage actually destroyed the research group.

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.