During the forty-thousand-mile voyage of HMS (1831-6) Charles Darwin compiled an extensive corpus of manuscript materials, containing a highly specialized chromatic vocabulary. Darwin's dedicated use of binomial colour terms, such as 'aurora red', 'orpiment orange' and 'gamboge yellow', was the result of his regular consultation of a work popular among British naturalists: (1821) by Patrick Syme. A copy of this compact colour manual was among Darwin's 'most useful' possessions on the . Now held in Cambridge University Library (DAR LIB T.620), Darwin's copy of Syme's book evidences both the difficulties of capturing accurate colour in exploratory natural history and the mechanisms by which this was attempted. Mining the archive for representations of coloured phenomena, this article reveals for the first time the extent of Darwin's reliance on for collecting and communicating chromatic data, across distance and against the fugitive, subjective and shifting nature of natural hues.

This paper explores the potential offered by a cinematographic approach to the study of museums, particularly science centres. By setting up an intermedial lens that maps between the museum medium and film - particularly the visitor experiences in museums onto a specific genre of museum film - correspondences between these media and their respective 'grammars' are analysed. After a brief overview of the relationship between museums and film in the twentieth century, a language of documentary film suitable for museum film is introduced based on the film theory of Jon Boorstin, who also directed a film on the Exploratorium in San Fancisco, which adapted post-war insights in communication design as developed by the Eames Office. Reviewing five documentaries about the Exploratorium shows that only Boorstin's museum film could adequately convey the museum experience to others, thus going beyond intermediality to enable a transmedial transfer. How this film emerged through the cooperation of the Exploratorium with the Eames Office and national funding agencies is presented in some detail in order to show that the intermedial lens can work both ways, allowing for the transmedial application of film analysis to the museums themselves.

This paper explores the complex role penicillin played in the relations between Britain, the USA and the USSR between the Second World War and the beginning of the Cold War through the lens of science diplomacy and the category of negotiation. In the post-war years the Soviets tried to acquire know-how on large-scale penicillin production from Britain and the USA. While the USA refused to collaborate, the British strategy was more complex. The British government allowed the Oxford team, which had discovered the antibacterial properties of penicillin, to disclose all the technology and know-how concerning large-scale penicillin production of which they were aware to the Soviets, while simultaneously trying to slow down penicillin research and production in the Soviet Union by controlling the export of certain industrial machinery, Podbielniak extractors, to Eastern Europe. By contrast, the USA put a stop to scientific and technological collaboration with the Soviets, but were less strict about the export of industrial machinery. The different strategies generated tensions between Britain and the USA, and ultimately mirrored both the British fear of an American disengagement from Europe and the American will to protect the interests of their national industry.

In 1967, the World Meteorological Organisation and the International Council of Scientific Unions launched the Global Atmospheric Research Program (GARP), which lasted until 1982. The primary goals of the programme were international cooperation in global atmospheric observation to improve weather forecasting and to study climatic changes. This article examines the development phase of GARP from approximately 1961 to 1967, focusing on the US meteorologists Jule Charney and Thomas Malone and the Swedish meteorologist Bert Bolin, who contributed to its organization. It shows a variety of relationships between science and politics, beginning with President John F. Kennedy's call for scientific cooperation to ease international political tensions, followed by the diverse efforts of Charney, Malone, Bolin and others to help secure political support, and finally the protracted negotiations within the International Council of Scientific Unions to shape and organize the Global Atmospheric Research Program.

This article maps out the challenges of public global health communication in the context of the COVID-19 pandemic by providing an overview of the shifting media of health communication from the post-Second World War era to the present. The article explores the communication of science in real-time or live media of film, television, video and digital social media during three emerging infectious-disease (EID) outbreaks to place COVID-19 health communication in historical perspective. Examination of the transition from centralized, top-down communications to distributed, many-to-many, mobile communication illuminates challenges to expertise, authority and control of health narratives and imagery. Through theories of intermediality, the article explores the central function of gaps in communication networks. The article considers three cases of crisis communications amid EIDs: the influenza outbreak of 1957, HIV/AIDS around 1990 and COVID-19 in the early 2020s, and the challenges posed by scientific uncertainty under these circumstances of live, intermedial health communication. The article concludes that 'liveness' in intermedial health communications may have an inherently destabilizing effect on scientific authority.

Audiences for science in the media live and operate, as agents who endow science with social and cultural meanings, in an intermedial world. Following cultural tracers through time and across media, and attending to a key actors' category, intermediality, historians of the public culture of science can access the social dimension of the mediation of science. Adopting an intermedial approach allows us to attune the historiography of the public culture of science to the evolution of science communication scholarship over the past three decades, and understand the role of audiences in the production of cultural meanings about science.

This article traces the visual culture of human genetic engineering over the past decade, focusing on the CRISPR genome editing technology. We argue that the representations surrounding CRISPR exemplify, and to an extent define, this visual culture. We examine the history of CRISPR, particularly its human applications from 2012 to 2022, through a periodization that includes the CRISPR craze, gene therapy initiatives, the He Jiankui controversy and clinical trials. Employing an expanded interpretation of intermediality within science communication, this work addresses the role of figuration across the relationships between specialist science reporting and the mainstream press and between traditional and social media. Using a mixed-methods approach combining visual and social-media analysis, the article presents an empirical analysis of three key figures - the double helix, the scientist and the human subject - and their roles across the discussed phases. The study concludes by articulating the stabilizing, amplifying and affective functions of intermedial figuration within science communication.

The paper examines BBC television programmes that feature museum spaces of science and technology, contextualizing the development of this programme type in the 1950s and 1960s with science (and history-of-science) broadcasting. In 1971, the BBC televised a ten-part series devoted to UK science and technology museums. , the central case study, featured episodes filmed at the Natural History Museum, the National Maritime Museum, the Royal Institution and the Science Museum, among others; its televisual tour guides included prominent science broadcasters - Patrick Moore, George Porter and Eric Laithwaite - as well as curators and scholars of the history of science, such as Joseph Needham. The paper explores, using intermediality as an analytical category, how the museological conventions of curated gallery displays and tours have been adapted and transposed to television. In doing so, it reflects on the historiographies that emerge from this intermedial product (a series of televised museum tours), arguing that they should be interpreted in the cultural context of the early 1970s. It concludes that the presentation of historical authenticity through intermedial constructions of place, objects and performances conferred what Thomas Gieryn has dubbed 'truth spots' on history-of-science narratives for audiences.

The founding figures, advocates and engineers of the early Space Age are frequently hailed as 'fathers', 'forebears', 'prophets', 'pioneers', 'visionaries' and 'heroes', employing hagiographic, gendered and indiscriminate tropes that lack analytical value. Inspired by persona and celebrity studies, this introduction proposes an alternative approach to comprehend the historical significance and historiographical prominence attributed to global 'rocket stars' Qian Xuesen (1911-2009) in China, Arthur C. Clarke (1917-2008) in Sri Lanka, Vikram Sarabhai (1919-71) in India, Sigmund Jähn (1937-2019) in East Germany, Ulf Merbold (1941-) in West Germany and Arnaldo Tamayo Méndez (1942-) in Cuba covered in this special issue. Replacing 'great-men' hagiography with a theoretically grounded focus on celebrification processes and the making of national patriarchs from without - from person to persona - enhances nuance and reduces cliché in understanding the role technocelebrities played in the production of outer space as a key phantasmagoria of the twentieth century. As these six space personas operated and starred in geographical contexts distinct and distant from the spaceflight superpowers, the special issue advances the notion of a global Space Age as an alternative to the conventional bipolar Cold War variant and offers a foundation for its budding historicization.

The European Organization for Nuclear Research (CERN) in Geneva, Switzerland, is renowned for operating the world's largest particle accelerator and is often regarded as a model of high-profile international collaboration. Less well known, however, is a key episode from the late 1950s, when CERN clashed with the research priorities of similar organizations. The issue centred on a CERN-sponsored study group on controlled thermonuclear fusion, which brought together scientists from CERN member states, as well as representatives from the European Atomic Energy Community (Euratom), the European Nuclear Energy Agency (ENEA) and the US Atomic Energy Commission (AEC). While their meetings succeeded in creating an international network for exchanging reports and coordinating projects to avoid duplication, the initiative failed to establish joint fusion research programmes in Europe. This article explores the reasons behind this outcome to provide insights into intergovernmental power dynamics and scientific competition and how these two factors favoured the creation of a new fusion research institution in the UK, the Culham Laboratory. In doing so, the article contributes to a deeper understanding of the role of science in European integration, while also highlighting that CERN's involvement in application-oriented research remains an underexplored aspect of its history.

This article examines the contributions of Bert Bolin, the first chair of the Intergovernmental Panel on Climate Change (IPCC), to the collective understanding of the panel's nature, operations and results, as well as his efforts to safeguard the credibility of the IPCC process in the face of criticism. Based on the scholarship on expertise and its relationship with the political process, I argue that Bolin's contribution to that process can be summarized in three points. First, he acted as a mediator between producers of climate change knowledge and its users, in this case governments and corporations. Second, he selected and emphasized some of the information provided by the IPCC and used it to advocate for immediate action to tackle climate change. Third, he played a major role in legitimizing the IPCC as the best possible assessment organization, especially through boundary work. Additionally, it is suggested that Bolin's role in the advisory process was not static but changed within an evolving political and social context. Through this case study, I aim to contribute to the scholarship that examines how environmental problems are defined and brought into the political arena, and the role of experts in this complex process.

The Avicennan text had a great influence on the alchemical thought of the thirteenth century. This Latin text disputed both the veracity of alchemy and the possibility of alchemical transmutation by arguing that art is inferior to nature and that the alchemists cannot manipulate a metal because its true characteristics are hidden from our senses; thus an alchemist cannot change something which is unknown to him. Newman's pioneer studies examined the diffusion and impact of the first Avicennan argument on medieval alchemy and he shed light on the art-versus-nature debate. This paper has a twofold aim: on the one hand it aims to further Newman's study by focusing on the second Avicennan argument, which is closely related to the problem of substantial form, and on the other hand it aims to show how the aforesaid problem paved the way for the emergence of corpuscularianism, which flourished during the early modern period. In this regard, it will become clear that the historiographical case of alchemy and its problem of substantial form can serve as an exegetical tool for 'bridging' the Middle Ages and the early modern period with respect to the relation between Aristotelianism and corpuscularianism.

This introduction to a special issue of concerned with intermedial approaches to the history of the public culture of science (those that pay attention to the forms of different science media and how they relate to each other) also stands as an argument for such approaches. It amplifies a trend within humanities and social-science approaches to its subject of studying the interactions between science, media and publics as complex historical phenomena - in comparison with evaluative research approaches that seek to make science communication more effective. It argues for the virtues of going beyond most existing scholarship in the field by considering many media together. Drawing on the work of media studies scholars Irina Rajewsky and Klaus Bruhn Jensen, it introduces working definitions of intermediality. It then explores historically the genealogies of intermediality, which emerges as an entanglement of changing disciplines, technological change and media practice. Two brief sections take the example of museum display in this intermedial context with the aim of showing first that museum practice was already intermedial before it was considered to be 'one of the media'. It then concludes by showing how, and in what circumstances, the mediatization of museums came to seem necessary.

Finding the right balance between education and entertainment in science communication has always been a challenge. This essay argues that this balance has often been framed in terms of the correct proportion and use of animation and live-action footage in popular-science media. Clarifying the assumptions behind a century of concerns about animation and science, this historical case study examines the advisory board's complaints about animation in the Bell System Science Series, which aired in the United States between 1956 and 1964. AT&T interrupted the series mid-stream by switching the creative team from Frank Capra and his production company to Owen Crump at Warner Bros. Studio. Capra's use of animation in the series featured prominently in this decision. The historical record - as well as Capra's and Crump's different aesthetic choices about animation - tells us much about the board's objections and how they were resolved in production. This essay examines the differences between the two parts of the series to uncover a course correction steered primarily by the scientific advisory board, which reveals a sometimes-fraught relationship between live-action footage and animation in science education that persists even today.

This epilogue considers the approach and conception of this collection, highlighting key analytical strands in the essays while also suggesting possible avenues of further research. It spotlights the global nature of their analysis, which offers one structural framework - individual scientific personas and the often transnational networks which they inhabit - as a possible avenue to imagine a so-called global Space Age. The epilogue also investigates possible frames for further analyses, particularly regarding gender and translation. Men dominate the pantheon of space personas, which, I argue, is a function of the way popular discourses about space travel are still dominated not only by patriarchal and often misogynistic tropes, but also by how we define 'technology' itself as essentially a male domain of activity. More broadly, we need further investigation of multiple and gendered erasures involved in the creation of male space personas. Similarly, the kinds of tools, work and strategies the space personas deployed to translate their visions across different social, discursive, cultural and temporal domains require attention. In particular, one can imagine that the afterlife of these personas will be susceptible to change and alteration as their messages, reputations, and principal attachments are continually reshaped by historical change, popular culture, and academic currents.

Arnaldo Tamayo Méndez, the first Cuban, Latin American, and person of African descent to travel to space, has experienced a significant evolution in his persona since his historic flight aboard Soyuz 38 in 1980. This article explores three pivotal phases in this transformation: first, his portrayal in the media as a pioneering Cuban cosmonaut, which positioned him among the socialist elite of the Space Age; second, the controversy regarding the identity of the first Black person in space, which brought renewed attention to Tamayo's achievements; and third, the ongoing reconfiguration of his image through social-media platforms, allowing for broader engagement with diverse audiences. By applying the principles of persona analysis to a multilinguistic set of historical documents and images related to Tamayo, this study illustrates the malleability of his self-fashioning for different audiences and how it has adapted to reflect changing sociopolitical contexts and the evolving landscape of public representation in the digital age.