Whether we like it or not, and how many difficulties this may pose, scientific research and technology are becoming the “property” of everybody and increasingly will become subject of public guidance and political decision making. Socialization happens because what people think, want and do has become central to the development of science and technology. Socialization of research is simply happening because it is the development characteristic of a society in which knowledge is becoming the main driving force. And just like in agricultural or industrial societies in the past it leads to (re-
Technoscience is deeply linked to national cultures across terrains as diverse as medicine, agricultural biotechnologies, ICTs, energy technologies, etc. Understanding the cultural dimension of technoscience is vital for the project of socialisation. This project should be embedded in technological and political cultures, taking variation in cultural approaches to technoscience, national identity and political decision-making seriously. Socialisation of science and technology in Europe should therefore approach socio-technical developments in a way that allows for the emergence of
In the Handbook on the socialisation of scientific and technological research, edited by Wiebe Bijker and Luciano d’Andrea, ‘socialisation’ is used to both describe and prescribe the ways in which science and technology are used in society. In this comment, ‘socialisation’ is discussed from two other points of view. First, the ways in which science and technology are sometimes used to organize, structure and dominate the social are identified. Second, drawing on Merton’s norms of science, an argument is made against over-socialising science and in favour of acknowledging and preserving the
Recent data delivered by Eurobarometer show how Europeans tend not to perceive science and technology as important factors for the Europe’s future. While showing the scarce development of scientific culture in Europe, these data allow to understand how science and technology are exposed to risk of social marginalization, notwithstanding the results they are attaining. In order to interpret this quite contradictory picture, an analytical framework revolving around the notion of “science and technology socialization” is proposed and developed. Implications of such an approach on research
In the last decades, production of science and technology as well as science-society relationships started changing rapidly. Research is asked to be more effective, fast, accountable, trans-disciplinary, result-oriented, policy-driven and able to generate benefits for people and firms in the short and middle run. While a strong intensification of science-society relationships is occurring, an increasing number of actors and stakeholders are involved in research production. At the same time, pervasiveness of technology is rendering users an active part in technological development; economic and
The present article investigates public understanding of HIV/AIDS related issues that touch the thought structure of common citizen, among the Indian public. Analysis is based on a representative sample collected from 10 states of India. The authors have also analysed the relative cultural distance at which men and women, as separate groups, could be placed. The relative cultural distance, for each of the selected issues, has been computed and it was found that men, as a group, are closer to scientific thought structure compared to women.
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Surjit SinghGauhar RazaS N MisraPushpa Dahiya
"The Art of Discovery" discusses an ambitious educational program taught by the artist which incorporated locative media, contemporary art, site specificity, and creative work as a proposal for the integration of art, technology and science.
There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve
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Jurij PavlicaSendi MangoTom Kersevan
Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on
Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.
The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.
In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on