The ever-changing nature of academic science communication discourse can make it challenging for those not intimately associated with the field ― scientists and science-communication practitioners or new-comers to the field such as graduate students ― to keep up with the research. This collection of articles provides a comprehensive overview of the subject and serves as a thorough reference book for students and practitioners of science communication.
A review of two books recently published by Vieira & Lent, by the Casa da Ciência (House of Science) and by the Oswaldo Cruz Museu da Vida (Life Museum, Cruz/Fiocruz), "O Pequeno Cientista Amador – a divulgação científica e o público infantil", and "Terra Incógnita – a interface entre ciência e público" ("The Young Amateur Scientist - scientific divulgation and the youthful public", and "Unknown Land – the interface between science and the public") is presented.
The science & art research played an important role in the topics covered by JCOM because actually the convergence of languages and themes of art and science increasingly continue to act synergistically in the most diverse knowledge fields.
Several publications have sought to define the field of science communication and review current issues and recent research. But the status of science communication is uncertain in disciplinary terms. This commentary considers two dimensions of the status of discipline as they apply to science communication – the clarity with which the field is defined and the level of development of theories to guide formal studies. It argues that further theoretical development is needed to support science communication’s full emergence as a discipline.
Within the UNAM (The National Autonomous University of Mexico) there is an institution, the Dirección General de Divulgación de la Ciencia (DGDC) devoted to the popularization of science through different media such as museums, exhibitions, journals, books, radio and TV programs, internet, workshops for children, demos, shows, plays, summer courses and outreach programs. Most of these products and materials are planned, designed and manufactured by a multidisciplinary team of professionals in the DGDC. Some of our most outstanding projects are: the creation and operation of two science museums
Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.
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
“Dialogue” is the trendy word of the moment. The word “dialogue” can be found in the call to access European funding, in the works of Science Communication scholars, in presentations of science education projects, in the mission of new science centres. “Dialogue” is also a word reported by mass media regarding politicians' and scientists' speeches on general issues as well as on local or specific problems such as environment, health, energy, etc... This new magic word is frequently repeated and opens many doors (or perhaps it simply helps to make a good impression). However, there is the risk