The creation of a scientific culture through the experiences that can be offered in a museum is the central theme in the training of guides at Universum. Emphasising the social importance of science democratisation, providing the public with the chance to enjoy science itself, conceiving it as a human creation of extreme beauty, giving it the chance to be appreciated and enjoyed, presenting it from the different fields where an approach to it is possible, is something difficult to achieve outside a science museum and impossible without the intervention of the anfitriones.
The Science House of the Federal University of Rio de Janeiro (UFRJ) is a space where science is approached through the perspective of culture, seeking interdisciplinarity, stimulating debate among different areas of knowledge, and building a closer and more pleasant relationship between society and scientific knowledge. Work with mediators has gone through significant changes over time and the paths chosen have been modified, re-evaluated and transformed. The presence of mediators can mean the possibility of dialog, conversation, informal chat, and sharing. It has been one of the main
In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.
Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of
In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to
The world, all at once, has become a small world. Not only owing to TV, satellites and the Internet that allow us to jump from side to side of our planet in a click. But also owing to a phenomenon that evokes dry lands, devastating rains, tsunamis and hurricanes, torrid summers and melting glaciers: global warming. In the heated argument on this issue with so many people talking, in the past few years also artists have made their rising voice be heard. Artists-popularisers, aware of their role and of the considerable communication potential of the art medium. Because “One salient image
Basing mainly on author's direct involvement in some science communication efforts in India, and other reports, this contribution depicts and analyses the present science communication/ popularization scenario in India. It tries to dispel a myth that rural people don't require or don’t crave for S&T information. It discusses need for science and technology communication, sustaining curiosity and creating role models. Citing cases of some natural, 'unnatural' and organized events, it recounts how S&T popularization efforts have fared during the past decade and a half. It's made possible using
Science musums and science centres are wonderful places to host, support and mediate the dialogue between science and society. In fact, they are a natural crossroad where scientists, general public, media and insitutions for formal and informal learning meet. During the recent political and health crisis concerning the rubbish treatment in the Italian region of Campania, the science centre "Città della Scienza" has promoted an unusual dialogue between citizens and scientists.
The past few decades have been marked by a rapid scientific and technological development. One of the most paradoxical, and perhaps more disturbing, features of this process is the growing divide between the increased importance science has acquired in economic and social life and a society persistently showing spreading signs of contempt, mistrust and, most of all, disinterest in research.
After serving the community for seven years, the Science Museum of Castilla-La Mancha (MCCM) has decided to renew itself. In this context, a survey of the needs and expectations of the people to which the museum is dedicated plays a major role for the changes planned to prove successful. Teachers are among the main users of the museum, staying at the core of all teaching-learning processes, and play a role as mediators between science and students. This paper analyses the judgements made by teachers about various types of events and teaching resources which are normally provided by science
ECSITE is the European network of science centres and museums (www.ecsite.net). The ECSITE Annual Conference, attended every year by several hundreds of professionals in science museums and science centres (870 at the last edition), and the ECSITE director forum, where full members of the association discuss on focused topics, are excellent observation points. Looking at what goes on in these meetings allows to track what is high on the agenda of the science-centre community, how the focus of interest moves, what are the main concerns of museum professionals.
For the purpose of this article, Science & Society (S&S) is referred to as that current of thoughts and those cultural initiatives aimed at fostering dialogue between research, scientific and technical output on the one hand and society on the other, so as to allow people to make conscious decisions about science and the sustainability of its developments. This concept underlies the elaboration of the MUSE cultural concept, the new Science Museum in Trent, Northern Italy.