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A survey was conducted during the University of Manchester’s 2014 ‘Science Extravaganza’, which saw the participation of over 900 Key Stage 3 (ages 11–14) students in a range of interactive demonstrations, all run by active University researchers. The findings of this study suggest that a new approach is necessary in order to use these large science events to actively engage with school students about the career opportunities afforded by science subjects. Recommendations for such an approach are suggested, including the better briefing of researchers, and the invitation of scientists from outside academia to attend and interact with the school students.

Throughout the second half of the twentieth century a varied collection of pressure mechanisms were deployed from nuclear technology exporting countries — mainly from the US — to obstruct the development of a group of semi-peripheral countries’ autonomous nuclear capabilities. Argentina was part of this group. This article focuses on how “fear” of nuclear proliferation was used by US foreign policy as one of the most effective political artifacts to construct and protect an oligopolistic nuclear market.
Spread by the press and by some prestigious social science sectors from the US and some European countries, a persistent and dense discourse production was devoted over several decades to the bizarre practice of “calculating” the alleged hidden intentions of those semi-peripheral countries which aspired to dominate as many technologies of the nuclear
fuel cycle as possible.

Communication of scientific knowledge has been caught up in a pedagogical struggle between science literacy ideologies. The backseat role taken by the teaching of the philosophical and sociological aspects of science has come under fire by those calling for a broader view of science to be made public under the umbrella term “critical science literacy”. In this paper, we argue that the lack of unfinished science in museums — science still in the making or still being debated — is a paradigm case where the richer, fuller view of science is being denied air by the presentation of science as a finished, objective set of facts. We argue that unfinished science offers us the opportunity to present the full complexity of science, including its social and philosophical aspects, and thus enabling the “critical” of critical science literacy.

Scientists’ participation in science communication and public engagement activities is considered important and a duty. However, in particular, the science-media relationship has not been studied frequently. In this paper, we present findings from interviews with both scientists and journalists which were guided by the Theory of Planned Behavior. Results show that different behavioural, normative and control beliefs underlie scientists’ and journalists’ participation in science-media interactions. Both groups are positive about science-media interactions, but scientists perceive various disadvantages in this relationship while journalists perceive mainly practical barriers. Enhancing mutual understanding and further research is suggested.

This paper discusses the value and place of evaluation amidst increasing demands for impact. We note that most informal learning institutions do not have the funds, staff or expertise to conduct impact assessments requiring, as they do, the implementation of rigorous research methodologies. However, many museums and science centres do have the experience and capacity to design and conduct site-specific evaluation protocols that result in valuable and useful insights to inform ongoing and future practice. To illustrate our argument, we discuss the evaluation findings from a museum-led teacher professional development programme, Talk Science.

In this paper, we investigate who are the explainers who work is Brazilian science centres and museums. We used an online survey, which was answered by 370 people from 73 institutions out of a group of 200 scientific and cultural centres. Our results indicate that most of these professionals are young people between 18 and 25 years old, they hold a high school certificate or are attending university, and they have been working in this field for less than five years. Only a fifth declared that they had done professional training before starting their activities; about 60% said that they are not prepared to attend to disabled visitors. We believe that our study will improve the practice of science communication, contributing to the creation of training and professional courses.

To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and material sediments. Introducing the anthropological imagery of the trickster, I suggest that the project challenges a basic modern constitution — the separation of nature and culture — and brings the debate about climate change back into society.

“I hope to offer a unique artistic perspective on a topic which is hidden from our everyday view” States my application. Will I be able to fulfil this task? Here is a short summary of my experiences as a visiting artist researcher

The visiting artist researcher experiment discussed here brought together visual artists and climate scientists, amongst them my research group which studies storms. The artists’ stay led to a dialogue between our diverging perspectives and an open exchange of ideas. The exchange in my research group was more interactive than I had expected. Many conversations provided insights into ideas and work flows of the artists and, eventually, a new view on our storm studies.

The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.