The discussion on the state of the art of scientific publications in Latin American countries generally restricts itself to its supposedly low visibility. This affirmation is generally conditioned to the exclusive use of large international databases, mainly of the USA and Europe, which include thousands of scientific publications that have marginalized a large part of the scientific literature produced in peripheral countries. Given this fact of low visibility, it became imperative for some Latin American countries, beginning in the 90s (20th Century), to develop their own mechanisms of
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Silvia Cristina Pabon EscobarMaria Conceicao da Costa
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
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
Do we have to drag in the thought of Michel Foucault to show the political (and not neutral), partial and local (and not universal and non-historic), active (and not merely transmissive) face of science communication? Do we need the work of the controversial French intellectual to dispute the anxious search – almost a quest like that for the Holy Grail – for the “best practices” in the dissemination of scientific culture? If we read over the pages that Foucault dedicated to words and things, to the archaeology and genealogy of knowledge, to biopolitics, we have few doubts. Two elements, on the
Before analysing the role of the mediators in relation to scientific education, I deem it important to provide a short overview on how scientific museums evolved from the early curiosity cabinets to the modern web cast. Although the term “museum” is no longer adapted to the new structures employed for the diffusion of scientific and technical culture, the evolution of the means of presentation has indeed led to several forms of human mediation. This is of course the main topic we are going to take into consideration today, as it is an important element for the impact our exhibitions may have
"Knowledge and information are essential for people to respond successfully to the opportunities and challenges of social, economic and technological changes (...). But to be useful, knowledge and information must be effectively communicated to people", says the Food and Agricultural Organization. India is home to a number of ICT-enabled development initiatives, and we will look at one of them to learn how an effective communication strategy is used.
The Radio is an instrument of communication that has percolated to all the strata of the diverse Indian society. Its position has been consolidated through history as a regular companion and a source of information and entertainment. Its affordability, accessibility and non-reliance on costly resources have ensured its presence in almost all the households. It has become indispensable from kitchens, family rooms and even workspaces. It is one of the few or rather the only medium of communication after the print media wherein information dissemination still is primary and entertainment a
Historical background - The BBC Radio Science Unit has its roots in two radio networks, going back more than 40 years. In the late 1950s, BBC External Services (now World Service), appointed a science correspondent and began a weekly science magazine programme. Initially called `Science and Industry', it changed its name in about 1964 to `Science in Action'. It is still running today, after more than 2000 editions, probably making it the longest running science show on radio.
What makes a science story? Behind the scene there are many choices: what, how and when to broadcast. Decisions are made according to the general criteria of news values to which we add two groups: personal and emerging criteria. General criteria of choices are news values for the science stories. According to Tonner, stories containing human interest are important in everyday life, report less complicate discoveries and science as a part of the broader subject comes to the media easily.
Contemporary radio is under-studied by academic researchers, while on the contrary it expresses great exigencies of knowledge. Media studies examined deeply radio when it was the mainstream medium, i.e. in the Thirties, especially in the US also for marketing needs of a largely commercial broadcasting system.
The international symposium "Science on air: the role of radio in science communication" was held in Trieste on 1 and 2 October, 2004. To our knowledge, it is the first conference ever specifically held on science on radio, and it is certainly the first time science radio journalists, researchers, and media experts from 16 different countries met to discuss their journalistic practice and the role of radio in science communication. The main results are presented in this article.
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