The debate on Darwin’s theory of evolution is a unique case for observing some particular ways in which science is perceived and experienced in society. It is a dispute which is really not very scientific at all, since it ultimately derives from the attempt to discredit a corroborated scientific explanation (and to limit its teaching) by fundamentalist fringe groups of religious and political movements of various extraction. However, it is undeniable that the clash between creationists and evolutionists must also involve, in a critical and self-reflective way, the communicative weaknesses of science and its inability to assert itself as a widespread and fully shared culture, as was also stressed by the Nature magazine in April 2005. With an international viewpoint, ranging from the United States to Europe, from Australia to Italy, in this dossier we try to make a summary investigation of the current state of the debate, with a particularly attentive eye on the communicative strategies that contend in the two fields.

In May 2004 the Balì Museum, Planetarium and interactive science museum, was opened to the public in Italy: 35 hands-on exhibits designed according to the interactive tradition of the Exploratorium in San Francisco, an astronomic observatory for educational activities, a Planetarium with 70 places. With a total investment of about three million euros, about two thirds of which were spent on restructuring the splendid eighteenth-century villa in which it is housed, the undertaking may be considered a small one in comparison with other European science centres. Three million euros: perhaps enough to cover the cost of only the splendid circular access ramp to the brand-new Cosmocaixa in Barcelona, an investment of one hundred million euros. But the interesting aspect of the story of the Balì Museum (but also of other Italian stories, as we shall see) lies in the fact that this lively and advanced science centre stands in the bucolic region of the Marches, next to a small town of only 800 inhabitants (Saltara, in the Province of Pesaro and Urbino), in a municipal territory that has a total of 5000. Whereas in Italy the projects for science centres comparable with the Catalan one, for example projects for Rome and Turin, never get off the ground, smaller ones are opening in small and medium-sized towns: why is this? And what does the unusual location of the centres entail for science communication in Italy? This Focus does not claim to tell the whole truth about Italian interactive museums, but it does offer some phenomenological cues to open a debate on the cultural, economic and political premises that favour their lives.

The American particle physics community is in jeopardy and may end up drowning in a boundless sea trying to grasp at non-existing funds, dragging US physics and science as a whole to the bottom. This is a price the most powerful and high-tech country of the world cannot afford, as warned by the editors of a report published in late April by the National Academy of Sciences1. Behind so much alarm is the International Linear Collider (ILC) – a large particle accelerator facility which, according to the report, should be built on American territory, if research on the elementary constituents of nature is to survive in the United States. The ILC will probably cost a total of five hundred million dollars in the first five years, whereas billions will have to be invested in the subsequent seven years. Hardly impressive, however, if compared with the Superconducting Super Collider (SSC), the biggest and costliest machine ever conceived in the history of science. Devised to describe the first instants of the universe, as many will recall, the SSC project was severely hampered by political and bureaucratic plots in 1993, when the Clinton administration decided to halt work on the accelerator, after ten years and approximately two billion dollars already spent.

In their essay which appeared in 1972 in Models in Paleobiology, Stephen Jay Gould and Niles Eldredge, introducing the theory of punctuated equilibrium, stressed the fact that no scientific theory develops as a simple and logical extension of facts and of patiently recorded observations, and that the particular vision of the world that the scientist adheres to is able to influence, even unconsciously, the way in which data are collected, selected and then interpreted. Scientists, being aware of the existence of an intrinsic problem of prejudice in their scientific research activity, know that, in order to produce original and innovative ideas, it is fundamental to try to revolutionise their research image, to look at reality in a new light, to read data with alternative viewpoints.

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 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.

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 people of Val di Susa (Italy) blocked the construction of the new high-speed railway line that should connect Turin with Lyons (France). This project is regarded as a strategic achievement for the economic development of the European Union, but local communities have a different concept of development and are asserting their rights through ad hoc experts’ reports and the production “from the bottom” of new specialised knowledge. We shall describe these events as a case study to put ecological democracy to the test of facts, also through a comparison with the experimental actions taken in some Southern countries of the world. From Europe to Brazil, the debate on health and environmental risks resulting from modernisation is upsetting democratic societies and urging new forms of participation in the decision-making process. There is a clash between different “concepts of the world”, in which communication strategies play a crucial role and from whose outcome the society in which we wish to live in will emerge.

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.

Medicalisation means first of all a science – medicine – going beyond its boundaries: from the art of healing individuals, or systematically classifying useful information to treat diseases affecting individuals, it gradually turns into a pervasive development of knowledge and practices that, from the 18th century onward, are applied to collective issues, which traditionally are not regarded as medical issues, thus moving toward large-scale protection of the social body health. The physical wellbeing of people, as well as the protection and improvement of their health condition, become one of the main objectives of the political power, which aims not only at dealing with social marginalisation and poverty to make them productive, but also at “planning society as sphere of physical wellbeing, optimal health and longevity”.