- An overview of a talk I gave on taking science journalism "upstream" (including a brilliant comments thread).
- Another talk overview, this time about scientists online political engagement on the run-up to the election.
- Some extra notes on science and comedy, linked to a post I wrote for the Guardian's science blog festival.
- A brief outline of the Rhys Morgan and Miracle Mineral Solution story, and what that means as an example of inter-generational health communication in a digital age.
- A post linking to my second piece for the Guardian's science blog festival, this time on the physicist, bomb-builder, balloon-launcher, political activist, cowboy(ish), teacher and museum-maker Frank Oppenheimer.
Wednesday 29 September 2010
what you've been missing
A little taste of what you've missed if you haven't directed your reader to this blog's new location:
Thursday 2 September 2010
Saturday 28 August 2010
Should fans get a life? (or tell us a lot about public engagement?)
I have a guest post over at Matthew Nisbet's new Age of Engagement.
The blog had featured a post about modern fan culture and marketing. I couldn't help but fold this into some thoughts on science communication. Can an awareness of tensions and connections between fan culture and entertainment marketing have applications for work aiming to connect members of “the public” with scientific ideas and communities? I left a comment and Nisbet asked me to expand as a post.
It's something I've thought about a bit over the last few years. I discussed the notion of a rhetorical reference to a community of readers in my PhD, and discussed audience-to-audience interaction with students when teaching courses on science online and science's interactions with fiction. I also wrote an article a couple of years back about branding and children's literature which involved some study of social marketing. I should admit the blogpost was slightly hastily put together though, grabbing through some disparate ideas on something that there probably should be more research into. There's a load more I could say around the topic, I'm still working out how to put them together, and what would make the right case study. I'd love to hear further thoughts (or examples, from science and/ or fan culture), either here of over at the Big Think post itself.
Nisbet's been blogging about science communication for a while. His 'Framing Science' at scienceblogs is mentioned in my list of blog recommendations for prospective students last month). His new blog promises to maintain this interest, but take a broader look at communication, culture and public affairs, as well as reinvigorate his interest in the relationship between science and religion (see his introductory post for more details).
He's been setting up in his new home with a prestigious quantity of posts for the start of term. I've already been interested to read pieces reflecting upon the NYTimes article about peer review, and (re)framings of nuclear power. The Big Think site it is hosted on is sometimes known as the YouTube for ideas, and there are a fair number of videos in blogposts (which I'd say is a good thing, something and plan to experiment with myself in the next year).
So, go read my ramblings on fan culture and public engagement, let me know if you have any thoughts, and do add Nisbet's new blog to your list of regular reads.
The blog had featured a post about modern fan culture and marketing. I couldn't help but fold this into some thoughts on science communication. Can an awareness of tensions and connections between fan culture and entertainment marketing have applications for work aiming to connect members of “the public” with scientific ideas and communities? I left a comment and Nisbet asked me to expand as a post.
It's something I've thought about a bit over the last few years. I discussed the notion of a rhetorical reference to a community of readers in my PhD, and discussed audience-to-audience interaction with students when teaching courses on science online and science's interactions with fiction. I also wrote an article a couple of years back about branding and children's literature which involved some study of social marketing. I should admit the blogpost was slightly hastily put together though, grabbing through some disparate ideas on something that there probably should be more research into. There's a load more I could say around the topic, I'm still working out how to put them together, and what would make the right case study. I'd love to hear further thoughts (or examples, from science and/ or fan culture), either here of over at the Big Think post itself.
Nisbet's been blogging about science communication for a while. His 'Framing Science' at scienceblogs is mentioned in my list of blog recommendations for prospective students last month). His new blog promises to maintain this interest, but take a broader look at communication, culture and public affairs, as well as reinvigorate his interest in the relationship between science and religion (see his introductory post for more details).
He's been setting up in his new home with a prestigious quantity of posts for the start of term. I've already been interested to read pieces reflecting upon the NYTimes article about peer review, and (re)framings of nuclear power. The Big Think site it is hosted on is sometimes known as the YouTube for ideas, and there are a fair number of videos in blogposts (which I'd say is a good thing, something and plan to experiment with myself in the next year).
So, go read my ramblings on fan culture and public engagement, let me know if you have any thoughts, and do add Nisbet's new blog to your list of regular reads.
Wednesday 25 August 2010
Mechanical metaphors in kid's body books
This is the cover of Usborne's classic kid's book How Your Body Works. The book has been around in some form since 1975, so you might have seen it before. I'm interested in it for many reasons, but this blogpost is going to focus on the way it reflects an oft-used metaphor when it comes to explaining the human body, that of a machine.
Comparisons of the body to machine are sometimes seen in a negative light; endemic of a mechanistic worldview which is overly-reductive approach to something as complex and beautiful as the human body.
Yawn.
Ok, a "yawn" is over-trivialising the anti-mechanist critique, but I want to argue that kid's body books employing robot metaphors are a bit more complicated than that (personally, I think you can say the same of Blake's Newton, but that's another story). My central point is that mechanical analogies provide a diverse set of cultural referents. Machines comes in a range of sizes, shapes and styles, and people use and think about them in a range of ways. Further, both machines and the way cultures have understood them has changed over time.
Perhaps a mechanical analogy allows some form of abstraction, providing some distance from specifics when handling issues like reproduction, infection and digestion. For example, the section outlining what happens when a blue robot loves an orange robot very much.
Such abstraction may also provide an expository role. Yes, the human body is a lot more than, for example, a set of bellows (below), but the image filtered down the multitude of things going on inside a person's chest so we can learn about one thing at a time. Reduction for explanatory purposes isn't (necessarily) to say the world really is that simple.
Mechanical analogies for specific systems (e.g. lungs as bellows) is one thing, but when it becomes a matter of depicting the whole body, we start moving towards associations with robots. The metallic skeleton on the cover of the Usborne book isn't necessarily a robot, but there is something robot-like about him.
There are a wide range of cultural associations that might come with such allusions. Think of Dr Who, and robots are nearly always symbols of what is inhuman or a lost humanity (e.g. their nod-to-Metropolis Cybermen, or hide-behind-the-sofa Daleks). But think of Wall-E, or these smiling robot tshirts I spotted recently, or these robot cookies. Robots can be your friends. At the Science museum this week you can "meet Kaspar the friendly humanoid robot".
There's a nice study of robots in children's literature by Margaret Esmonde in this 1982 collection of essays on machines in science fiction. According to this study, the robot or cyborg is generally a benevolent character in children’s stories, often acting in loco parentis or as a reasonably sympathetic step-brother. Even where there are "bad" robots, they tend to be destroyed with the aid of "good" ones. Her only example otherwise being Dr Who. Interestingly, such child characters tend to be boys - a robo-brother, not sister - though she does mention one, it is very much an exception to the rule. I also wonder if there is something to be said about the childlike representation of robots in not only fiction, but news stories (even research projects) too; that we take the sometimes limited abilities of robots as a reason to pat them on the head and go "aww".
The gender and generational points are just as an aside though, my main reason for mentioning Esmonde's study is that the robot of children's popular culture may well be a very sympathetic, even empathetic, character. Just because it is not human, doesn't mean it is inhuman. Esmonde describes a few fascinating case studies. For example, a picture book produced to illustrate the UN declaration on rights of the child: a little boy lives a secure and caring life under the love and protection provided by his robot guardian. ‘Nosey’ people intervene and separate them, so the robot returns, disguised as a human and takes the boy back and they live happily ever after.
Esmonde traces mechanical characters in children’s fiction back to L. Frank Baum's Oz series. There is Tik-Tok, pictured, who you might know from the 1985 movie (see also this io9 piece on Pre-Golden Age SF Robots), and possibly the most straightforwardly mechanical man, the Tin Woodman, who everyone knows from the musical ("if I only had a heart"). Esmonde also discusses the lesser-known Chopfyt, a fascinating character made from cast-off "meat" parts of the two other men. She stresses these characters were all relatively ambiguous in their humanity, there isn't the humans vs robots distinction which is so often played out in Dr Who. She also argues that Baum is content to leave these questions unanswered.
In my introduction I stressed that technologies and our cultural ideas about them have changed over time. With this in mind, it's interesting to see a very Tik-Tok style robot re-used in Phillip Reeve's steampunk-ish Larklight books which self consciously re-uses old futuristic tropes of the robot to play with hopes, fears and other aesthetics surrounding them. Reeve is an extremely complex writer when it comes to images of technology, I haven't space to discuss it here, but there are some brief notes on him buried in this paper. Or just read his books (the Mortal Engines series too, and do it before they are all movies).
Getting back to non-fiction, let me introduce you to The Body Owner’s Handbook (Nick Arnold & Tony De Saulles, 2002). This is part of Scholastic’s Horrible Science series, and structured out under the narrative conceit an instruction manual for the human body. In some respects, this is quite straightforward body as machine stuff. As are later points in the text which refer to the digestive system as a ‘fuel storage tank and conveyor belt’ and a ‘body repair shop’ is used to discuss cell replacement (The Body Owner’s Handbook, 2002: 22, 28). It is quite self-aware about this, and seem to expect the audience to be as well. As mentioned in my post about poo books, in some respects make fun of the distance provided by the mechanistic imagery (whilst also applying the convenience of it).
However, I think The Body Owner’s Handbook is slightly different from How Your Body Works in the way it conceives of its technological metaphor. For a start, it combines it with a loose narrative of a childlike Frankenstein monster. I'm drawing a line under the Shelly comparisons now. It is fascinating and arguably key to understanding the book, but a whole other blogpost. Suffice to say this is a slightly more "meaty" approach to (bio)technology and a (post)modern critique.
Monsters aside, The Body Owner’s Handbook seems to be applying a machine metaphor rooted in consumer technology. As with a lot of the books in Horrible Science, the language and imagery is heavily influenced by advertising styles (though, it should be noted with their tongue firmly in cheek):
In some respects such a contemporary consumer-tech model of the body allows for a connection with a sense of individualism: note the location of the apostrophe in the book’s title, it is body-owner singular. Yet, this note on race is emphasised by arguing that bodies are all the same underneath; the sense that everybody’s body is the same is very important to the scientific stories of the book. Perhaps this is the curtailed (and occasionally illusionary) individualism of interaction with branded technology. To some extent such identities come, to some degree, pre-packaged. Pink microscope anyone?
Moreover, such pre-packaged advanced tech comes with a greater degree of ineviable black-boxing. There are right and wrong ways of interacting with its surface, but its internal workings are a relative mystery to users. As many writers on technology have argued - indeed many writers on post/ late modernity have argued - the quantity of specialisation that goes into producing much contemporary means they come with greater mystery. Personal computers make one of the nicest examples of this. In the early 1980s, many personal computer users not only programmed but actually made their own kit. By the early 1990s, even the professionals could only produce one small aspects. Perhaps then, mechanical metaphors no longer provide simplicity? (if they ever really did)
Significantly, The Body Owner’s Handbook warns: "The body isn’t designed to be opened by non-experts and this can result in serious body breakdowns" (p12). In some respects this is in some contrast to a line in one of the first Horrible Science books, also about the body:
Perhaps the most important thing to keep in mind is that they are only interesting as examples of what adults choose to produce for children. Personally, I think this is fascinating in itself, but it isn't necessarily a sign of what children themselves think. In the light of a spate of "wrong superheroes" stories last week, this is something to keep in mind. If you want to know what children think, ask them. Musing about the media presented to young people is interesting and worthwhile when understood on it's on terms, but it doesn't tell us what is going on in the heads of actual children.
My main point, however is that if we do want to think through some of the symbols involved in technologically informed explanations of bodies, is pays not be reductive/ simplistic about machines.
Comparisons of the body to machine are sometimes seen in a negative light; endemic of a mechanistic worldview which is overly-reductive approach to something as complex and beautiful as the human body.
Yawn.
Ok, a "yawn" is over-trivialising the anti-mechanist critique, but I want to argue that kid's body books employing robot metaphors are a bit more complicated than that (personally, I think you can say the same of Blake's Newton, but that's another story). My central point is that mechanical analogies provide a diverse set of cultural referents. Machines comes in a range of sizes, shapes and styles, and people use and think about them in a range of ways. Further, both machines and the way cultures have understood them has changed over time.
Perhaps a mechanical analogy allows some form of abstraction, providing some distance from specifics when handling issues like reproduction, infection and digestion. For example, the section outlining what happens when a blue robot loves an orange robot very much.
Such abstraction may also provide an expository role. Yes, the human body is a lot more than, for example, a set of bellows (below), but the image filtered down the multitude of things going on inside a person's chest so we can learn about one thing at a time. Reduction for explanatory purposes isn't (necessarily) to say the world really is that simple.
Mechanical analogies for specific systems (e.g. lungs as bellows) is one thing, but when it becomes a matter of depicting the whole body, we start moving towards associations with robots. The metallic skeleton on the cover of the Usborne book isn't necessarily a robot, but there is something robot-like about him.
There are a wide range of cultural associations that might come with such allusions. Think of Dr Who, and robots are nearly always symbols of what is inhuman or a lost humanity (e.g. their nod-to-Metropolis Cybermen, or hide-behind-the-sofa Daleks). But think of Wall-E, or these smiling robot tshirts I spotted recently, or these robot cookies. Robots can be your friends. At the Science museum this week you can "meet Kaspar the friendly humanoid robot".
There's a nice study of robots in children's literature by Margaret Esmonde in this 1982 collection of essays on machines in science fiction. According to this study, the robot or cyborg is generally a benevolent character in children’s stories, often acting in loco parentis or as a reasonably sympathetic step-brother. Even where there are "bad" robots, they tend to be destroyed with the aid of "good" ones. Her only example otherwise being Dr Who. Interestingly, such child characters tend to be boys - a robo-brother, not sister - though she does mention one, it is very much an exception to the rule. I also wonder if there is something to be said about the childlike representation of robots in not only fiction, but news stories (even research projects) too; that we take the sometimes limited abilities of robots as a reason to pat them on the head and go "aww".
The gender and generational points are just as an aside though, my main reason for mentioning Esmonde's study is that the robot of children's popular culture may well be a very sympathetic, even empathetic, character. Just because it is not human, doesn't mean it is inhuman. Esmonde describes a few fascinating case studies. For example, a picture book produced to illustrate the UN declaration on rights of the child: a little boy lives a secure and caring life under the love and protection provided by his robot guardian. ‘Nosey’ people intervene and separate them, so the robot returns, disguised as a human and takes the boy back and they live happily ever after.
Esmonde traces mechanical characters in children’s fiction back to L. Frank Baum's Oz series. There is Tik-Tok, pictured, who you might know from the 1985 movie (see also this io9 piece on Pre-Golden Age SF Robots), and possibly the most straightforwardly mechanical man, the Tin Woodman, who everyone knows from the musical ("if I only had a heart"). Esmonde also discusses the lesser-known Chopfyt, a fascinating character made from cast-off "meat" parts of the two other men. She stresses these characters were all relatively ambiguous in their humanity, there isn't the humans vs robots distinction which is so often played out in Dr Who. She also argues that Baum is content to leave these questions unanswered.
In my introduction I stressed that technologies and our cultural ideas about them have changed over time. With this in mind, it's interesting to see a very Tik-Tok style robot re-used in Phillip Reeve's steampunk-ish Larklight books which self consciously re-uses old futuristic tropes of the robot to play with hopes, fears and other aesthetics surrounding them. Reeve is an extremely complex writer when it comes to images of technology, I haven't space to discuss it here, but there are some brief notes on him buried in this paper. Or just read his books (the Mortal Engines series too, and do it before they are all movies).
Getting back to non-fiction, let me introduce you to The Body Owner’s Handbook (Nick Arnold & Tony De Saulles, 2002). This is part of Scholastic’s Horrible Science series, and structured out under the narrative conceit an instruction manual for the human body. In some respects, this is quite straightforward body as machine stuff. As are later points in the text which refer to the digestive system as a ‘fuel storage tank and conveyor belt’ and a ‘body repair shop’ is used to discuss cell replacement (The Body Owner’s Handbook, 2002: 22, 28). It is quite self-aware about this, and seem to expect the audience to be as well. As mentioned in my post about poo books, in some respects make fun of the distance provided by the mechanistic imagery (whilst also applying the convenience of it).
However, I think The Body Owner’s Handbook is slightly different from How Your Body Works in the way it conceives of its technological metaphor. For a start, it combines it with a loose narrative of a childlike Frankenstein monster. I'm drawing a line under the Shelly comparisons now. It is fascinating and arguably key to understanding the book, but a whole other blogpost. Suffice to say this is a slightly more "meaty" approach to (bio)technology and a (post)modern critique.
Monsters aside, The Body Owner’s Handbook seems to be applying a machine metaphor rooted in consumer technology. As with a lot of the books in Horrible Science, the language and imagery is heavily influenced by advertising styles (though, it should be noted with their tongue firmly in cheek):
Looking for a new body? Why not choose the real McCoy – the one and only Human Body. It’s Planet Earth’s most advanced living machine! It’s built of the finest material to a tried and tested design that’s over two hundred thousand years old! (The Body Owner’s Handbook, 2002: 8)This is a technology you would buy. It is not one that powers the "dark satanic mills". Neither is it one you'd build yourself. It is ready made, just for you. This is not a Fordist form of mass production where the mechanical body is available in any colour as long as it's black. This body is available in a variety of colours; "light brown, dark brown, pink, beige and yellow" (The Body Owner’s Handbook, 2002: 9).
In some respects such a contemporary consumer-tech model of the body allows for a connection with a sense of individualism: note the location of the apostrophe in the book’s title, it is body-owner singular. Yet, this note on race is emphasised by arguing that bodies are all the same underneath; the sense that everybody’s body is the same is very important to the scientific stories of the book. Perhaps this is the curtailed (and occasionally illusionary) individualism of interaction with branded technology. To some extent such identities come, to some degree, pre-packaged. Pink microscope anyone?
Moreover, such pre-packaged advanced tech comes with a greater degree of ineviable black-boxing. There are right and wrong ways of interacting with its surface, but its internal workings are a relative mystery to users. As many writers on technology have argued - indeed many writers on post/ late modernity have argued - the quantity of specialisation that goes into producing much contemporary means they come with greater mystery. Personal computers make one of the nicest examples of this. In the early 1980s, many personal computer users not only programmed but actually made their own kit. By the early 1990s, even the professionals could only produce one small aspects. Perhaps then, mechanical metaphors no longer provide simplicity? (if they ever really did)
Significantly, The Body Owner’s Handbook warns: "The body isn’t designed to be opened by non-experts and this can result in serious body breakdowns" (p12). In some respects this is in some contrast to a line in one of the first Horrible Science books, also about the body:
[science] belongs to everybody, because everybody’s got a body – and you’ve got every right to know what’s going on in yours (Blood, Bones & Body Bits, 1996: 5).That said, perhaps back in those golden years of hobbyist tech and meccano collections, when kids built their own crystal radios (grew their own computers, spewed out their own difference engine, etc etc), no one told them to "tinker" with their physiology. Or maybe they did (um, maybe let's not go too far with this tinkering analogy...). As The Body Owner's Handbook's use of Frankenstein reflects, biotech has always been a slightly different matter.
Perhaps the most important thing to keep in mind is that they are only interesting as examples of what adults choose to produce for children. Personally, I think this is fascinating in itself, but it isn't necessarily a sign of what children themselves think. In the light of a spate of "wrong superheroes" stories last week, this is something to keep in mind. If you want to know what children think, ask them. Musing about the media presented to young people is interesting and worthwhile when understood on it's on terms, but it doesn't tell us what is going on in the heads of actual children.
My main point, however is that if we do want to think through some of the symbols involved in technologically informed explanations of bodies, is pays not be reductive/ simplistic about machines.
Tuesday 10 August 2010
The Myth of Scientific Literacy
Every now and again, the term "scientific literacy" gets wheeled out and I roll my eyes. This post is an attempt to explain why.
The argument for greater scientific literacy is that to meaningfully participate, appreciate and even survive our modern lives, we all need certain knowledge and skills about science and technology. Ok. But what will this look like exactly, how will you know what we all need to know in advance and how on earth do you expect to get people trained up? These are serious problems.
Back in the early 1990s, Jon Durant very usefully outlined out the three main types of scientific literacy. This is probably as good a place to start as any:
The second of Durant's approaches to scientific literacy might make more sense then, but there are problems here too. Firstly, there is what Cohen dubs "The fallacy of critical thinking". Science isn't necessarily a transferable skill. This is easily demonstrated by examining carefully the lives of scientists outside of the laboratory (or, to put it another way: "yeah, cos scientists are all sooo well organised outside of work, living super-rational evidence-based lives, all the time"). It would be lovely if we could provide a formula for well-lived lives, but people just aren't that consistent.
There is also the matter of whether you believe science works to a singular "scientific method". That in reality science isn't "a" way of thinking, but many; enacted under quite local conditions (which are influenced by ideas like those of Popper, Bacon et al, but "method" is only part of it). This is largely the thinking behind the third approach to scientific literacy: "how science really works". I have a problem with this too, one it shares with all three: it's too didactic. It replaces an idea that the public are deficit in scientific information with an idea that they are deficit in sociology of science. It is just as unrealistic (if not more so).
One of the neatest arguments against calls for scientific literacy is Jon Turney's 2003 response to Susan Greenfield. It has a particularly good ending:
I'd also argue that a scientific literacy approach tackles the problem the wrong way around. It would be lovely if we could live in a world where "everyone is up to speed, empowered and ready to contribute", but you can't prepare for scientific controversies like that. Do we want to view each science story through the lens of older ones (cough, Simon Jenkins). Maybe prevention would be better than a cure, but I don't think it is possible in this context; medical metaphors perhaps being as inappropriate here as "literacy". Rather, let's provide structures where non-experts can learn about science as and when they become important to them. As Turney says, "Invite them".
Although I like Turney's piece a lot, I do also understand the frustration people feel when they see what they feel is a lack of scientific training. I was prompted to write this blogpost after recent comments made by Julian Huppert; that MPs to be required to take a crash course in basic scientific techniques (see also Liberal Conspiracy piece in support). Do we really want elected politicians to "become as scientifically literate as they please"? We might argue that MPs, like schoolkids, should just be told to turn up and listen. But as anyone who has worked in a school will tell you, compulsory attendance is only part of the battle.
Mark Henderson tweeted that he agreed with Huppert and the libcon piece that understanding methods of science would help politics. That it is the least understood thing about science outside science: most non-science graduates think of as body of facts, not as a way of thinking. Fair enough. But you have to believe these ideas, as well as understand them. This is one of the reasons why the UK science communication industry dropped the word "understanding" a while back, and why it is important to avoid confusing "understanding" with "appreciating" (or "knowing" with "liking", or "trusting" for that matter). Identifying what you think people should know about and actually getting them to (a) listen, (b) believe you and (c) apply it, are entirely different matters. As Huppert told the Independent, political leaders simply pay "lip service" to the importance of scientific proof. I worry that greater training in scientific literacy could simply provide a more extensive rhetoric. You want their hearts, not just their minds (or simply vocabulary).
I'd love it if there was a simple course we could send our elected officials on which would guarantee future science policy would be reliably high quality. Being educated in science (or even "about science") isn't going to do it. It's social connections that will. We need to keep our elected officials honest, constantly check they are applying the evidence we want them to, in the ways we want them to. And if the scientific community want to be listened to, they need to work to build connections. Get political and scientific communities overlapping, embed scientists in policy institutions (and vice versa), get MP's constituents onside to help foster the sorts of public pressure you want to see: build trust so scientists become people MPs want to be briefed by.
This, for me, is the true message of "understanding how science really works". That science is not only done by, but advocated by networks of human beings. Rather than training people up in the sociology of science (cough, Harry Collins), we should go out and do some "applied sociology": build those networks through action and debate.
This is just a brief sketch of the basic problems with scientific literacy (yes, this was the brief version). If you are interested in more, I can recommend the following. They are all a bit old. It is an old argument.
The argument for greater scientific literacy is that to meaningfully participate, appreciate and even survive our modern lives, we all need certain knowledge and skills about science and technology. Ok. But what will this look like exactly, how will you know what we all need to know in advance and how on earth do you expect to get people trained up? These are serious problems.
Back in the early 1990s, Jon Durant very usefully outlined out the three main types of scientific literacy. This is probably as good a place to start as any:
- Knowing some science – For example, having A-level biology, or simply knowing the laws of thermodynamics, the boiling point of water, what surface tension is, that the Earth goes around the Sun, etc.
- Knowing how science works – This is more a matter of knowing a little of the philosophy of science (e.g. ‘The Scientific Method’, a matter of studying the work of Popper, Lakatos or Bacon).
- Knowing how science really works – In many respects this agrees with the previous point – that the public need tools to be able to judge science, but does not agree that science works to a singular method. This approach is often inspired by the social studies of science and stresses that scientists are human. It covers the political and institutional arrangement of science, including topics like peer review (including all the problems with this), a recent history of policy and ethical debates and the way funding is structured.
The second of Durant's approaches to scientific literacy might make more sense then, but there are problems here too. Firstly, there is what Cohen dubs "The fallacy of critical thinking". Science isn't necessarily a transferable skill. This is easily demonstrated by examining carefully the lives of scientists outside of the laboratory (or, to put it another way: "yeah, cos scientists are all sooo well organised outside of work, living super-rational evidence-based lives, all the time"). It would be lovely if we could provide a formula for well-lived lives, but people just aren't that consistent.
There is also the matter of whether you believe science works to a singular "scientific method". That in reality science isn't "a" way of thinking, but many; enacted under quite local conditions (which are influenced by ideas like those of Popper, Bacon et al, but "method" is only part of it). This is largely the thinking behind the third approach to scientific literacy: "how science really works". I have a problem with this too, one it shares with all three: it's too didactic. It replaces an idea that the public are deficit in scientific information with an idea that they are deficit in sociology of science. It is just as unrealistic (if not more so).
One of the neatest arguments against calls for scientific literacy is Jon Turney's 2003 response to Susan Greenfield. It has a particularly good ending:
Work to promote scientific literacy so everyone is up to speed, empowered and ready to contribute to the great debates about science, technology and the future? No. Invite them to participate, and really mean it, and they will find the motivation to become as scientifically literate as you, or rather they, please.This echos a key problem many people have with the scientific literacy approach. It is too top-down. You might be able to talk about scientific literacy in an educational context (i.e. for children in compulsory education), but adults will simply feel patronised and so won't listen.
I'd also argue that a scientific literacy approach tackles the problem the wrong way around. It would be lovely if we could live in a world where "everyone is up to speed, empowered and ready to contribute", but you can't prepare for scientific controversies like that. Do we want to view each science story through the lens of older ones (cough, Simon Jenkins). Maybe prevention would be better than a cure, but I don't think it is possible in this context; medical metaphors perhaps being as inappropriate here as "literacy". Rather, let's provide structures where non-experts can learn about science as and when they become important to them. As Turney says, "Invite them".
Although I like Turney's piece a lot, I do also understand the frustration people feel when they see what they feel is a lack of scientific training. I was prompted to write this blogpost after recent comments made by Julian Huppert; that MPs to be required to take a crash course in basic scientific techniques (see also Liberal Conspiracy piece in support). Do we really want elected politicians to "become as scientifically literate as they please"? We might argue that MPs, like schoolkids, should just be told to turn up and listen. But as anyone who has worked in a school will tell you, compulsory attendance is only part of the battle.
Mark Henderson tweeted that he agreed with Huppert and the libcon piece that understanding methods of science would help politics. That it is the least understood thing about science outside science: most non-science graduates think of as body of facts, not as a way of thinking. Fair enough. But you have to believe these ideas, as well as understand them. This is one of the reasons why the UK science communication industry dropped the word "understanding" a while back, and why it is important to avoid confusing "understanding" with "appreciating" (or "knowing" with "liking", or "trusting" for that matter). Identifying what you think people should know about and actually getting them to (a) listen, (b) believe you and (c) apply it, are entirely different matters. As Huppert told the Independent, political leaders simply pay "lip service" to the importance of scientific proof. I worry that greater training in scientific literacy could simply provide a more extensive rhetoric. You want their hearts, not just their minds (or simply vocabulary).
I'd love it if there was a simple course we could send our elected officials on which would guarantee future science policy would be reliably high quality. Being educated in science (or even "about science") isn't going to do it. It's social connections that will. We need to keep our elected officials honest, constantly check they are applying the evidence we want them to, in the ways we want them to. And if the scientific community want to be listened to, they need to work to build connections. Get political and scientific communities overlapping, embed scientists in policy institutions (and vice versa), get MP's constituents onside to help foster the sorts of public pressure you want to see: build trust so scientists become people MPs want to be briefed by.
This, for me, is the true message of "understanding how science really works". That science is not only done by, but advocated by networks of human beings. Rather than training people up in the sociology of science (cough, Harry Collins), we should go out and do some "applied sociology": build those networks through action and debate.
This is just a brief sketch of the basic problems with scientific literacy (yes, this was the brief version). If you are interested in more, I can recommend the following. They are all a bit old. It is an old argument.
- Bauer, Martin, Nick Allum & Steve Miller (2007) What can we learn from 25 years of PUS survey research? Liberating and expanding the agenda, Public Understanding of Science, vol. 16(1): 79-95.
- Durant, Jon (1993) What is scientific literacy? in Jon Durant and Jane Gregory (eds) Science and Culture in Europe (Science Museum: London).
- Einsiedel, Edna (2005) Editorial: Of Publics and Science, Public Understanding of Science, vol. 16(1): 5-6.
- Gregory, Jane & Steve Miller (1998) Science in Public: Communication, Culture and Credibility (New York & London: Plenum). See p. 16-17 for IB Cohen's "fallacies".
- Millar, Robin (1996) Towards a science curriculum for public understanding, School Science Review, vol.77 no.280: 7-18.
Sunday 1 August 2010
Poo Books
I have a small collection of "poo books". For research reasons, obviously. Fancy a tour? Of course you would. Let the poo commence.
By "poo books" I mean books for children about either digestion processes of going to the toilet. Such books often use the word "poo". It is largely their term, not mine. These are not books about "shit", "crap", "faeces", "defecatory materials" or "excretionary waste products", but slightly less direct ways of talking about the same topic. Though equally we might call shit or faeces equally euphemistic (either because they choose to swear or because they rely on disinterested-sounding terminology). Indeed, in many ways poo books embrace the whole topic of what comes out of our bottoms with reasonable enthusiasm. This enthusaism is often self-consciously and proudly childish. As such, the "poo" in question is some respects half euphemism and half an expressive avoidance of euphemism.
Poo books for under 5's are often designed to provide information and reassurance about this stuff that comes out of our bottoms (whatever we want to call that). One of the most internationally famous of the poo-book genre is Everybody Poos (Frances Lincoln, 2002), or Everybody Poops in America. There is a sort of sequel on farting called The Gas We Pass. First published in Japan in the late 1970s, this is typical of the poo-book genre in that aims to normalise by treating it as something fun, even jokey.
In his 1992 book, Language and Ideology in Children's Fiction, John Stephens refers to Maurice Sendak’s Where the Wild Things Are as a case study in the presentation of "safe monsters" in children's literature. By giving comically grotesque forms to inner fears, Stephens argues, Sendak's illusions work to defeat the image of that fear (Stephens, 1992: 136). The 2001 Pixar movie Monsters Inc is probably a better example of this; arguably its whole plot is based around this idea.
I think we can apply Stephens’ analysis to a lot of poo-books (indeed, many comic health books in general); an aim to turn young people's fears about the workings of their body into "safe monsters". This bottom stuff can, after all, can be both painful and socially embarrassing. For all that we think of scatological humour as childish entertainment, like most children's literature, these books have a pedagogical and/ or moral aim of some sort. They aim to teach and to help their audience in some way. See also It Hurts When I Poop or, one of my personal favourites, the Moose with the Loose Poops (Hippocractic Press, 2009, pictured). Part of a "Dr Hippo" series (Hippo-cratic, see what they did...), it even comes with a pull-out medical guide for parents tucked into the back cover. Here we have mummy-moose comforting the ill protagonist:
American readers might be more familiar with the Grossology series; it similarly celebrates the gruesome in a sense of appealing to childishness, and applies this with scientific information to help liberate children from fears of their bodies. For example, the cover of Naked Grossology (the title on the body) promises: "Really gross things about your body, It's stinky, it's lumpy, its squishy, but hey, it's your body". I'm also a fan of Gooey, Chewy, Rumble, Plop, available on both sides of the Atlantic, which includes a beautifully realistic tongue on the cover as well as pop-up technology to give you a view down the gut.
Possibly my favourite of the poo books is Poo: A Natural History of the Unmentionable (Walker, 2005). I think it typifies the "half euphemistic" approach to poo in many of these books. It clearly relishes poo, and yet maintains some distance from the actual object (partly by cartoon illustration, partly through dry humour). The back cover is especially nice. I hippo declares "I like to spray it all over the place", a bird sitting on it's back: "I make houses out of it". The book contains a lot of detail, and it is worth knowing that the author, Nicola Davies is a zoologist who used to present the Really Wild Show. Note the "natural history" in the title (and white-coated characters on cover). Like Horrible Science, this is a step along from toilet training and seems to self-consciously play with the humour of the serious and detached way science might deal with "poo" just as much as any other humour in the subject.
Maybe it's not surprising I like this book. As with a lot of poo books, it seems to appeal to grown ups as well as children. I have a copy because it was a birthday present (a birthday in my mid-20s). Indeed, this article from the New York Times about the US publishers of Everybody Poos notes the books are popular with adults buying for other adults.
Arguably, this is true of a lot of children's books (see also point on the "impossiblity" of children's media and "generational drag" in latter half of this blogpost). The idea that children will like the yuk of poo and snot and pus is just an adult's idea of childishness, one that it is interesting to have seen shift slightly in the last century. As I argue in my PhD on Horrible Science, they seem to have roots in a rather Beano idea of childhood. In his 1989 book about working at the Beano, On Comedy: The "Beano" and Ideology, Leo Baxendale, creator of the Bash Street Kids and Minnie the Minx, talks of a desire to depict what he felt was a truer, "scruffier" and more anarchic image of children, in contrast to "soft" fairytale images he felt the Beano applied up until the 1950s. For Horrible Histories author Terry Deary, the social acceptability of the Horribles is largely due to the legacy of Roald Dahl who, according to Deary, made the use of horror and black comedy in children’s books acceptable (Deary, 1999: 97). Considering that historical background I thought it was interesting that the NYT article referenced criticisms that poo-books aren't very American. I've noticed that Grossology is a lot milder than Horrible Science (and the Horrible books have never really made it in the USA). Maybe, despite the various efforts of Warner Brothers, Nickleodeon and the Simpsons, the more anarchic image of childhood is still less acceptable in the USA.
A final point prompted by the Horrible Science books: we live in a multi-media age, and kids science books are, generally, a rather interactive form of "dead-tree" publishing. So, yes, finally, we have the mini-sub-genre of "hands-on" poo books. Obviously, such hands-on interaction is heavily mediated. They don't actively ask their readers to handle their faeces. For example, Horrible Science's Disgusting Digestion sticker book (Scholastic, 1998) includes a set of stickers of partially (and not so partially) digested food for you to place along their cross-section diagram of the gut.
It is worth noting that this is true of most so-called hands on interaction in kids science. Whatever their appeal to immediacy, most so-called "experiments" are mock-ups of demonstrations. It isn't just shit which science books for kids feel a need to fabricate. This is often for quite sensible educational and practical reasons, but worth baring in mind. I think I've saved the best till last. Because the book Farley Farts (2003) does actually fart, albeit annoying softly. Play this little video to hear it.
This post has been largely descriptive. If you're interested in slightly more academic analysis, I can recommend Mills, Alice (2006) ‘Harry Potter and the Terrors of the Toilet’, Children’s Literature in Education, vol 37(1), 1-13. I think Mills nails the differences between boys and girls toilets as dramatic sites in children's books: Girls toilets, she argues, are relatively private and thus places of solace, where characters go to escape on their own; Boy's bogs are more um, 'communal' and full of fighting, pain and suffering. The rest is a bit too psychoanalytic for my personal taste, but if you like a serving of Kristeva's idea of the abject with your literacy analysis (and/ or the odd bit of Harry Potter studies), it's a peach of a paper.
I'll leave you with a tip for anyone reading this post on the toilet, from the charming Liam goes Poo in the Toilet (2008, subtitle: A Story about Trouble with Toilet Training). Sage advice at any age, I'd say.
By "poo books" I mean books for children about either digestion processes of going to the toilet. Such books often use the word "poo". It is largely their term, not mine. These are not books about "shit", "crap", "faeces", "defecatory materials" or "excretionary waste products", but slightly less direct ways of talking about the same topic. Though equally we might call shit or faeces equally euphemistic (either because they choose to swear or because they rely on disinterested-sounding terminology). Indeed, in many ways poo books embrace the whole topic of what comes out of our bottoms with reasonable enthusiasm. This enthusaism is often self-consciously and proudly childish. As such, the "poo" in question is some respects half euphemism and half an expressive avoidance of euphemism.
Poo books for under 5's are often designed to provide information and reassurance about this stuff that comes out of our bottoms (whatever we want to call that). One of the most internationally famous of the poo-book genre is Everybody Poos (Frances Lincoln, 2002), or Everybody Poops in America. There is a sort of sequel on farting called The Gas We Pass. First published in Japan in the late 1970s, this is typical of the poo-book genre in that aims to normalise by treating it as something fun, even jokey.
In his 1992 book, Language and Ideology in Children's Fiction, John Stephens refers to Maurice Sendak’s Where the Wild Things Are as a case study in the presentation of "safe monsters" in children's literature. By giving comically grotesque forms to inner fears, Stephens argues, Sendak's illusions work to defeat the image of that fear (Stephens, 1992: 136). The 2001 Pixar movie Monsters Inc is probably a better example of this; arguably its whole plot is based around this idea.
I think we can apply Stephens’ analysis to a lot of poo-books (indeed, many comic health books in general); an aim to turn young people's fears about the workings of their body into "safe monsters". This bottom stuff can, after all, can be both painful and socially embarrassing. For all that we think of scatological humour as childish entertainment, like most children's literature, these books have a pedagogical and/ or moral aim of some sort. They aim to teach and to help their audience in some way. See also It Hurts When I Poop or, one of my personal favourites, the Moose with the Loose Poops (Hippocractic Press, 2009, pictured). Part of a "Dr Hippo" series (Hippo-cratic, see what they did...), it even comes with a pull-out medical guide for parents tucked into the back cover. Here we have mummy-moose comforting the ill protagonist:
Poo books for primary school age (i.e. those passed the toilet training stage) often utalise the apparent comedic value of poo as a hook talk about wider scientific processes. The Horrible Science series is one of the best examples of this approach. We can also see it in some of the medical titles of the larger and more famous parent-series Horrible Histories too, though do note these have different author/ illustrator teams and slightly different take on what "Horrible" might mean. Snot, puke, pus and blood are equally popular subject matter here, it's not all about the shit. I think the "safe monsters" analysis is still applicable here though, and although there aren't many poo-books for teenagers, there are perhaps comparisons to be made with titles like Diary of a Teenage Healthfreak.
Horrible Science are keen to show off the use of knowledge, alongside humour, as a way of defeating fears around health issues. At the same time, they continue to draw immense delight from references to poo etc, as well as lightly spoofing the same scientific approaches to studying it which they draw power from (complex beasts, the Horrible Science books). For example, Painful Poisons (2004) starts by stating that "lots of people think poison is a scary subject". It then goes through a goading, pantomime device of implying you don’t really want this, do you, parodying a patronising adult voice and playing to the idea that this is the secret stuff kids love to read about (pages 5-6), before concluding by emphasising that poisons are everywhere and although it is "easy to be scared" the best way to deal with poisons is with knowledge rather than fear (pages 143-4). You can see similar shifts - from fears "some people" hold and towards knowledge and a delight in the horrible nature of the scientific object - in Angry Animals (2005) and Chemical Chaos (1997).
In the example below (The Body Owners Handbook, Scholastic, 2002, page 23) is possibly my favourite: a cartoon rendering of the sorts of diagrams of the digestive system frequently reproduced in school textbooks and exam papers. There is the sound of "plop" (in a friendly, handwritten-style font) along with the childish, slightly twee "poo". This is juxtaposed with comical language which pokes fun at whilst simultaneously applying the conventions of talking indirectly about excretory matter in a scientific manner; "solid waste ejection pipe", "fuel storage tank" and "conveyor belt for waste processing".
Horrible Science are keen to show off the use of knowledge, alongside humour, as a way of defeating fears around health issues. At the same time, they continue to draw immense delight from references to poo etc, as well as lightly spoofing the same scientific approaches to studying it which they draw power from (complex beasts, the Horrible Science books). For example, Painful Poisons (2004) starts by stating that "lots of people think poison is a scary subject". It then goes through a goading, pantomime device of implying you don’t really want this, do you, parodying a patronising adult voice and playing to the idea that this is the secret stuff kids love to read about (pages 5-6), before concluding by emphasising that poisons are everywhere and although it is "easy to be scared" the best way to deal with poisons is with knowledge rather than fear (pages 143-4). You can see similar shifts - from fears "some people" hold and towards knowledge and a delight in the horrible nature of the scientific object - in Angry Animals (2005) and Chemical Chaos (1997).
In the example below (The Body Owners Handbook, Scholastic, 2002, page 23) is possibly my favourite: a cartoon rendering of the sorts of diagrams of the digestive system frequently reproduced in school textbooks and exam papers. There is the sound of "plop" (in a friendly, handwritten-style font) along with the childish, slightly twee "poo". This is juxtaposed with comical language which pokes fun at whilst simultaneously applying the conventions of talking indirectly about excretory matter in a scientific manner; "solid waste ejection pipe", "fuel storage tank" and "conveyor belt for waste processing".
Possibly my favourite of the poo books is Poo: A Natural History of the Unmentionable (Walker, 2005). I think it typifies the "half euphemistic" approach to poo in many of these books. It clearly relishes poo, and yet maintains some distance from the actual object (partly by cartoon illustration, partly through dry humour). The back cover is especially nice. I hippo declares "I like to spray it all over the place", a bird sitting on it's back: "I make houses out of it". The book contains a lot of detail, and it is worth knowing that the author, Nicola Davies is a zoologist who used to present the Really Wild Show. Note the "natural history" in the title (and white-coated characters on cover). Like Horrible Science, this is a step along from toilet training and seems to self-consciously play with the humour of the serious and detached way science might deal with "poo" just as much as any other humour in the subject.
Maybe it's not surprising I like this book. As with a lot of poo books, it seems to appeal to grown ups as well as children. I have a copy because it was a birthday present (a birthday in my mid-20s). Indeed, this article from the New York Times about the US publishers of Everybody Poos notes the books are popular with adults buying for other adults.
Arguably, this is true of a lot of children's books (see also point on the "impossiblity" of children's media and "generational drag" in latter half of this blogpost). The idea that children will like the yuk of poo and snot and pus is just an adult's idea of childishness, one that it is interesting to have seen shift slightly in the last century. As I argue in my PhD on Horrible Science, they seem to have roots in a rather Beano idea of childhood. In his 1989 book about working at the Beano, On Comedy: The "Beano" and Ideology, Leo Baxendale, creator of the Bash Street Kids and Minnie the Minx, talks of a desire to depict what he felt was a truer, "scruffier" and more anarchic image of children, in contrast to "soft" fairytale images he felt the Beano applied up until the 1950s. For Horrible Histories author Terry Deary, the social acceptability of the Horribles is largely due to the legacy of Roald Dahl who, according to Deary, made the use of horror and black comedy in children’s books acceptable (Deary, 1999: 97). Considering that historical background I thought it was interesting that the NYT article referenced criticisms that poo-books aren't very American. I've noticed that Grossology is a lot milder than Horrible Science (and the Horrible books have never really made it in the USA). Maybe, despite the various efforts of Warner Brothers, Nickleodeon and the Simpsons, the more anarchic image of childhood is still less acceptable in the USA.
A final point prompted by the Horrible Science books: we live in a multi-media age, and kids science books are, generally, a rather interactive form of "dead-tree" publishing. So, yes, finally, we have the mini-sub-genre of "hands-on" poo books. Obviously, such hands-on interaction is heavily mediated. They don't actively ask their readers to handle their faeces. For example, Horrible Science's Disgusting Digestion sticker book (Scholastic, 1998) includes a set of stickers of partially (and not so partially) digested food for you to place along their cross-section diagram of the gut.
It is worth noting that this is true of most so-called hands on interaction in kids science. Whatever their appeal to immediacy, most so-called "experiments" are mock-ups of demonstrations. It isn't just shit which science books for kids feel a need to fabricate. This is often for quite sensible educational and practical reasons, but worth baring in mind. I think I've saved the best till last. Because the book Farley Farts (2003) does actually fart, albeit annoying softly. Play this little video to hear it.
This post has been largely descriptive. If you're interested in slightly more academic analysis, I can recommend Mills, Alice (2006) ‘Harry Potter and the Terrors of the Toilet’, Children’s Literature in Education, vol 37(1), 1-13. I think Mills nails the differences between boys and girls toilets as dramatic sites in children's books: Girls toilets, she argues, are relatively private and thus places of solace, where characters go to escape on their own; Boy's bogs are more um, 'communal' and full of fighting, pain and suffering. The rest is a bit too psychoanalytic for my personal taste, but if you like a serving of Kristeva's idea of the abject with your literacy analysis (and/ or the odd bit of Harry Potter studies), it's a peach of a paper.
I'll leave you with a tip for anyone reading this post on the toilet, from the charming Liam goes Poo in the Toilet (2008, subtitle: A Story about Trouble with Toilet Training). Sage advice at any age, I'd say.
Friday 30 July 2010
Blogs a science communication student might like
A colleague asked me for a list of blogs that next year's science communication MSc students might like to read. I figured the only way to share this information was in a blogpost.
Warning: there is no such thing as a reading list of science blogs, you need to explore for yourself. These are just starting points.
These links are really just the tip of the iceberg. Or, a small section of a big chunk of ice, as I'm not sure something iceberg-shaped is the appropriate metaphor. I should also add that I don't agree with everything these people blog/ tweet about. Not even close. They do, however, tend to write about topics a science communication student might be interested in. At the very least, they'll point you towards some new ideas and make you think.
Click on a few links here and see who they link to. See what entertains, educates or enrages you. Go, have a play.
Warning: there is no such thing as a reading list of science blogs, you need to explore for yourself. These are just starting points.
- If there's a hot new biology story, you can bet Ed Yong will have a thorough and humour-filled post over a Not Exactly Rocket Science. He also regularly writes about issues in science and (new) media too, and his recent thread on the origin of science writers should be of particular interest to science communication students.
- Another blog everyone recommends (and I'm just going to agree) is Mindhacks. A very joyful neuro/psychology themed read, great for sending you to some of the more interesting ends of the internet.
- Two notable science writer bloggers currently developing personal sites after the recent mass-exodus from scienceblogs.com are Brian Switek and David Dobbs. Carl Zimmer's post on the scienceblogs diaspora contains a feast of links to more great writers once of this network (Zimmer's blog is worth a mention in itself too).
- I expect my prospective students to already know Bad Science, and I can also recommend his posterous account. The phenomenon of "bad science" blogging is bigger than Ben Goldacre though, two blogs in particular I'd recommend because they often write about science in the media are Lay Science and Gimpyblog (most of the media discussion goes on his posterous account).
- Fiona Fox of the Science Media Center doesn't blog very often, but when she does, everyone talks about it. On a similar note, Natasha Loder's blog is worth a look, as is Framing Science, from American science communication academic, Matthew Nisbet. Real science media nerds might also like Ivan Oransky's embargowatch.
- The Times & Guardian both have good (though very different) science blogs, note the former now has an "entrance fee". I really like Nature's the Great Beyond, and it is worth keeping track of New Scientist's range of blogs.
- The Science Museum's collections department has a nice blog, as does the Wellcome Trust. (and the Wellcome Library, and the Wellcome Collection...).
- Research Fortnight's Exquisite Life is a must for following UK science policy. It is also worth having a look at the Institute of Hazard, Risk and Resilience Blog and the Campaign for Science and Engineering. The Royal Society policy team have just started a blog too, which (I hope) will be worth watching.
These links are really just the tip of the iceberg. Or, a small section of a big chunk of ice, as I'm not sure something iceberg-shaped is the appropriate metaphor. I should also add that I don't agree with everything these people blog/ tweet about. Not even close. They do, however, tend to write about topics a science communication student might be interested in. At the very least, they'll point you towards some new ideas and make you think.
Click on a few links here and see who they link to. See what entertains, educates or enrages you. Go, have a play.
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