February 01, 2010

Call for Papers: Science and the Public 2010 UPDATED

Call for Papers: Science and the Public 2010

Imperial College & Science Museum, London.
3rd and 4th of July 2010.

Now in its fifth year, the Science and the Public conference aims to bring together the various strands of academia which consider science’s relationships with groups generally called ‘the public’. Delegates come from a wide range of disciplines: science and technology studies, history of science, geography, psychology, cultural studies, media studies, sociology, development studies, English literature, science policy studies and more.

Keynote Speakers: Professor Mike Michael, Goldsmiths, University of London, and Professor David Edgerton, Imperial College, London.

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January 31, 2010

Tech-nostalgia and Making Things: The Oxford Steampunk Exhibition

This weekend I finally got to the Steampunk exhibition - on at the Oxford Museum of the History of Science till the 21st February.

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January 24, 2010

Science, Technology and Paper Engineering

This video is achingly beautiful. A product of the high-low tech group at the MIT Media Lab, it shows a "pop-up book that sparkles, sings, and moves". You can find out a bit more here. Aside from the simple prettiness of this MIT project, I thought it was significant that the topics they choose to illustrate might be considered those of science and technology books: plants, fishes, clouds, planets, a city-scape, and plants again. On the whole, the effect here is to add sparkles to illustration, but the techniques they've developed could readily be applied to some of the challenges of communicating science inside the pages of a book.

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January 19, 2010

Turning old popular science into kid's clothing

Earlier today, Roy Greenslade posted a short piece on his Guardian's media blog about what he dubbed a 'new revenue stream' for magazine publishing. 108-year-old US science magazine Popular Mechanics has sold off a load of its old cover images to Old Navy (part of Gap) to be used on children's tshirts.

I think this is FASCINATING. Firstly, I was amused by Greenslade's slightly sardonic take on it as a matter of new media business models. Arguably, Popular Mechanics and its ilk have particular competition fromWired and other similar electronics-orientated publications, but ALL magazines are suffering in the age of the web. We consume media differently these days, as well as technology. Faced with a 21st century 'crisis' in the magazine business, publishers have decided to cash in on the nostalgia market. Still, I think the history of technology issue (in terms of the content of the magazine, not just media tech) is a really key aspect of this story.

I was also interested to see that it was kid's clothing that are going to carry the images. It seems weird, perhaps, that the market is a generation who were born nearly 100 years after some of these covers were first published (more to the point, it's a fair few decades before the parents who buy the tshirts were born). Arguably, there is something particularly youthful about this sort of tech-nostalgia A sense of youthful enthusiasm for technology, even when the youths pictured would, today, be OAPs.

Follow Greenslade's link to larger coverage of the story, over at the New York Times' media blog, and we can see that the publishers want to 'revive the days when children dreamed that flying cars were just around the corner'. Note, it was children who were dreaming: surely the magazines were produced for adults, or at least a multi-generational audience? (I don't actually know much about the history of this magazine... I am just guessing). It's noticeable that there is a lot of this sort of tech-nostalgia in kid's culture already. Phillip Reeve, anyone?

The NYT post also quotes the publisher as saying that the T-shirts represent a revival of efforts to interest children in mechanics. This is, I'm sure, nothing but PR fluff. However, I do think it is interesting to see the selling of tshirts articulated in connection to science education. For one thing it reflects the history of technology issue I flagged up at the start - kids' media is largely designed around the use of technology today, rather than building, understanding, making and controlling it (at least that's what colleagues researching kids science fiction tell me).

Glancing at some examples in the huge (and addictive...) gallery of Popular Mechanics covers, I found this one from December 1925 which really reminded me of Phillip Pullman's His Dark Materials trilogy. It's also worth noting the reference in this cover, from February 1939, to 'Davy Jones Locker' (not exactly kids books, but a story we associate with kids nonetheless), and the use of images of families too.

November 08, 2009

cartoons and science

History of science manga. Really. There's a whole series (well, of historical figures, a few happen to be scientists inventors). See the large-eyed child Einstein? I also love how in the Einstein as young man pictures, they manage an illusion to the sorts of images of old-Einstien we all know so well.

baby manga-Einsteinyoung man manga-Einstein

Found at the museum-shop at the Exploratorium. I also managed to pick up a few Max Axiom comics - big in the USA, haven't really figured over in Blighty yet. These feature a super-hero scientist (the Max Axiom of the title), thus applying a *completely* different culture of comics-style illustration to science communication from the Horrible books (Axiom really is a super-hero scientist in a superman mould. The much more British Horrible Science would just take the piss out of such an image). You can't con me with your pic of a semi-naked hunk, you're talking about the importance of variables.

Max Axiom

To finish on a slightly more conventional type of science in cartoons (i.e. fictional science stories), I saw a great talk from Bryan Talbot at the London Comica Festival this weekend. Talbot was talking about his new book Grandville, a historical scientific detective romance, with badgers: a sort of mix of steampunk and comic art's tradition for anthropomorphic-animal characters. In the talk Talbot discussed several of his key influences, which included Beatrix Potter, Rupert the Bear and Wind in the Willows. (I should add that it is a 'grown-ups' book, even if he does draw upon kid's media.) One of the points I found especially interesting was that, with Grandville, Talbot seems to be juxtaposing a steampunk aesthetic for technology with (via the anthropomorphic animals) more Romantic aesthetics of nature in children's literature. However, I asked Talbot if this was intentional, and he said it wasn't. He also emphasised the rather un-romantic way Beatrix Potter saw nature (e.g. Tying up kittens for accurate drawings. Talbot knows about Potter, see his Tale of One Bad Rat). All interesting stuff. The Comica festival goes on till the 26th of November.