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This study explored how different presentations of an object in deep space affect understanding, engagement, and aesthetic appreciation. A total of n = 2,502 respondents to an online survey were randomly assigned to one of 11 versions of Cassiopeia A, comprising 6 images and 5 videos ranging from 3s to approximately 1min. Participants responded to intial items regarding what the image looked like, the aesthetic appeal of the image, perceptions of understanding, and how much the participant wanted to learn more. After the image was identified, participants indicated the extent to which the label increased understanding and how well the image represented the object. A final item asked for questions about the image for an atronomer. Results suggest that alternative types of images can and should be used, provided they are accompanied by explanations. Qualitative data indicated that explanations should include information about colors used, size, scale, and location of the object. The results are discussed in terms of science communication to the public in the face of increasing use of technology.

Shroeder Sorensen analyses in depth the close relationship of the TV-series Cosmos [1980] with the popular culture, in its broadest sense, at the time of its release. The novel application of Fantasy-Theme analysis to the rhetorical vision of the series reveals how it is the product of a very careful and successful design. The book also compares the original series with its 2014 reboot Cosmos: A Spacetime Odyssey [2014].

Marked by the diversity of initiatives linking science and art and by new presentation formats, the 15th Congress of the Network for Popularisation of Science and Technology in Latin America and the Caribbean (RedPOP) saw heated debates on science, culture, politics and society. Between 21st and 25th August, it brought together in Buenos Aires (Argentina) about 400 participants from 14 countries in order to share new visions, initiatives and research work in science communication. During the event, which included a vast cultural programme, a series of challenges were raised for the future development of the field.

Research suggests non-experts associate different content with the terms “global warming” and “climate change.” We test this claim with Twitter content using supervised learning software to categorize tweets by topic and explore differences between content using “global warming” and “climate change” between 1 January 2012 and 31 March 2014. Twitter data were combined with temperature records to observe the extent to which temperature was associated with Twitter discussions. We then used two case studies to examine the relationship between extreme temperature events and Twitter content. Our findings underscore the importance of considering climate change communication on social media.

The imagination of possible scientific futures has a colourful history of interaction with scientific research agendas and public expectations. The 2017 annual UK Science in Public conference included a panel discussing this. Emphasizing fiction as a method for engaging with and mapping the influence of possible futures, this panel discussed the role of science fiction historically, the role of science fiction in public attitudes to artificial intelligence, and its potential as a method for engagement between scientific researchers and publics. Science communication for creating mutually responsive dialogue between research communities and publics about setting scientific research agendas should consider the role of fictions in understanding how futures are imagined by all parties.

The Science in Public Conference, held this year at the University of Sheffield, generated animated discussion of a wide range of topics. Six commentaries cover conference themes around engagement with science and technology and how science and technology are shaping what it means to be human. The commentaries range from discussions of our relationship with expertise and how science communication can better act as a knowledge broker in a time of ‘alternative facts’ to exploration of fictional narratives and how they might be used to open up dialogue about science and technology.

Studying fictional depictions of robots and artificial intelligence in cinematographic science fiction narratives acquires a new level of relevance as legislators' approaches to the subject seem to be strongly influenced by popular culture. This panel of Science in Public 2017 presented various on-going investigations of this kind, showing that the critical mass in this area of research is growing

What is it that really makes communicating science a good, moral thing to do? And are there limits to the potential ‘goodness’ of science communication? In this article, we argue it is time we consider what an ethics of science communication might look like. Not only will this help us figure out what doing the right, moral thing might be. It also invites us to think through one of the most perplexing, challenging and pressing question for this still emerging field: what are the core unifying features of science communication?

This article addresses two major questions about women and science. Firstly, the commentary looks at the ways science and technology are discussed and represented all around us in society. Secondly, I ask whether this matters. The defining issue is therefore whether or not being human affects the type of science and technology that is conducted and valued within our society. By addressing these questions in science communication, we can add much to the debate about gender diversity and affirmative action being portrayed in our media and culture.

The “post-truth” age of “alternative facts” suggests both the urgent need for effective science communication and also its failure over the past thirty years. Two sessions at the Science in Public conference explored what could be done. Responsible Research and Innovation is presented as one possible way forward with the NUCLEUS project offered as an example. The result would be to transform “science communication” so that public engagement shares not only knowledge but the power that goes with it.