A short outline of the evolution of communications at CERN since 1993 and the parallel growth of the need both for professional communications and, at the same time, the need for training in more and more complex competencies for the new profession.

The profession of explainer is still pretty much undefined and underrated and the training of explainers is many times deemed to be a luxury. In the following pages we make the argument that three main factors contribute to this state of affairs and, at the same time, we try to show why the training of explainers should really be at the core of any science communication institution. These factors are: an erroneous perception of what a proper scientific training means for explainers; a lack of clear definition of the aptitudes and role of explainers required by institutions that are evolving and diversifying their missions; and an organizational model based on top-down practices of management and activity development which underappreciates the potential of the personnel working directly with the public.

Science and wildlife films are very common and widely viewed. Yet, most of the makers of these films have entered the profession because of their knowledge or interest in science and wildlife. Given the potential for a rather circuitous route to the profession many filmmakers benefit tremendously from engagement in professional development. We have detailed the professional development needs of novice and expert science and wildlife filmmakers ranging from keeping current with technology to consideration of engaging audiences beyond the viewing. We have also addressed gaps in the current knowledge of the professional development of these filmmakers and how film festivals may be structured to meet the ongoing educational needs of these professionals.

In respect of the different modes of science communication including journalism, radio, online, I would propose that the process of making exhibitions and centres dedicated to science & technology is one of the hardest creative typologies. It also provides a very different type of engagement to other modes, in that it works in real time and space with real tangible objects and responsive media. The power of the real is also extended through the direct and collective involvement of people, providing a refreshing antidote to the potential alienating nature of social media and the ever-growing obsession with the virtual. In this paper I will discuss the skills required by a designer in order to solve the challenges contained within the client brief (the project document provided by the client), and therefore the skills a proper exhibition designer training programme should deliver.

The article draws on the case study of the European In-service training course ‘School and Science Museum: Cooperation for Improving Teaching, Learning and Discovering’ aiming to offer insights into the training of educators in museums. It discusses training and contributes suggestions in the context of the contemporary museum context as well as approaches to visitors' learning.

Science Journalism has been through a huge transition period in the past two decades as digital outlets compete with print media ― and that transition is continuing. It's left many science journalists unsure of their place in this new ecosystem and unsure of how best to use the new tools they have been presented with, such as social media. Now is an important time for training in this sector to ensure that journalists ― and the publications they work for ― can find their place again. There is also a real need for training for new writers ― to bridge the gap between their degree and their first job as a journalist.

BOOK: Content is king; News media management in the digital age.
Graham, G., Greenhill, A., Shaw, D.Andvargo, C., Eds (2015), London, U.K.: Bloomsbury

The ‘traditional’ media industry ― newspapers and magazines and the like ― have had a difficult time lately thanks to increasing competition online. This book's chapters consider ways the traditional media can reinvent themselves to secure their future. Two key themes that emerge from the chapters are the importance of building communities and the increasing role of credibility in today's highly-competitive media landscape. While this book does not focus on the science media, many of the conclusions are relevant to it, in fact some are cause for comfort for those involved with science journalism.

The use and availability of digital media is changing researchers' roles and simultaneously providing a route for a more engaging relationship with stakeholders throughout the research process. Although the digital realm has a profound influence on people's day-to-day lives, some researchers have not yet professionally embraced digital technologies. This paper arises from one aspect of a project exploring how university research and professional practices are evolving as researchers engage with stakeholders via digital media to create, share and represent knowledge together. Using researchers from the Open University (U.K.) as a case study, this paper reviews the extent to which they are developing multiple identities and functions in their engaged research through digital media.

The twenty-first century has witnessed a shift in science communication ideals from one-way science popularization activities towards more reflexive, participatory approaches to public engagement with science. Yet our longue duéee histories of science communication's antecedents focus on the former and have neglected the latter. In this paper I identify parallels between modern science communication ideals and an iconic Enlightenment text, Condorcet's Sketch for a Historical Picture of the Progress of the Human Mind (1795). I show that Condorcet's carefully negotiated balance between scientific reason and radical principles of democracy has much in common with twenty-first century debates about science communication.

"Genetically Modified Organisms" are not a consistent category: it is impossible to discuss such a miscellaneous bunch of products, deriving from various biotech methods, as if they had a common denominator. Critics are too often pre-emptively suspicious of peculiar risks for health or the environment linked to this ill-assorted ensemble of microorganisms, plants or animals: yet, even before being unscientific, the expression "GMO(s)" has very poor semantic value. Similarly, claims that recombinant DNA technology is always safe are a misjudgement: many unsatisfactory "GMOs" have been discarded, as has happened also for innumerable agri-food outcomes, obtained via more or less traditional field and lab methods. The scientific consensus, i.e. the widespread accord among geneticists, biologists and agriculturalists, maintains that every biotech invention has to be examined case by case, evaluating the unique profile of each new organism ("GMO" or otherwise): to assess its safety, the technique(s) used to produce it are irrelevant. Therefore, in considering "green" biotechnologies, a triple mantra should be kept in mind: 1. product, not process; 2. singular, not plural; 3. a posteriori, not a priori. Both people's and law-makers' attitude to agricultural biotechnologies should be reoriented, and this is an interesting task for science communicators: they should explain how meaningless and misleading the "GMO" frame is, debunking a historical, ongoing socio-political blunder, clarifying to the public what most life scientists have been recommending for several decades.