Here is a curated selection of academic articles, books, and research projects that explore Science Gallery’s unique approach. These publications highlight the impact of our methods and programmes and the broader research initiatives inspired by or focused on the Science Gallery network.
In the chapter The Social Conversation, Massimiano Bucchi and Brian Trench highlight the Science Gallery Network as innovative spaces where science communication transcends traditional models, fostering dialogue through art, participation, and interdisciplinary collaboration.
This paper explores how storytelling can serve as a pedagogical tool in the context of climate action and the Anthropocenem drawing on SWISP Lab’s “tipping point” stories, developed in collaboration with the Science Gallery Network
This study investigated perceptions of addiction among older (60+ years) and younger (18–26 years) adults through intergenerational dialogue on addiction-focused art, offered through Sciene Gallery Atlanta’s HOOKED exhibition.
In Sight Unseen (2023), edited by Colless, Fraser, and Jefferies (Science Gallery Melbourne Director), artists and scientists explore how we visualise the previously unseeable. The publication reflects on sight as a collaborative, cross-disciplinary act.
This public experiment – a collaboration between the Cicely Saunders Institute and Science Gallery London – found that listening to audio recordings of breathlessness resulted in a noticeable increase in self-reported breathlessness.
The Science Gallery Network is featured in the White Paper on the Interrelation between Art, Science, Technology and Society, edited by the Spanish Foundation for Science and Technology (2023).
In their chapter ‘Practice Spotlight: GENDERS: Shaping and Breaking the Binary’ (2023), Kaplinsky and Krish reflect on the development of the GENDERS exhibition at Science Gallery London.
In Queering Science Communication (2023), Bandelli and Durcan explore how LGBTIQA+ representation in leadership—drawing on their roles at SGI—enhances inclusivity and visibility in science communication.
An academic writing group composed of museum staff was established at Science Gallery Dublin with the goal of creating a handbook to encourage and aid museum professionals in extending their communication skills so that they may convey their work in academic writing and take ownership of how their field is portrayed in the published literature.
The Anthropomorphic Machine is an interactive art installation presented as part of the Swarm exhibition at the Science Gallery Melbourne. The research was a two-year collaborative project by Dr Paul Loh and David Leggett (LLDS architects) in collaboration with the artist STELARC.
This paper examines the representations of gender that emerged in one urban site: an exhibition at Science Gallery London that sought to de-centre fixed binary gender categories – a site where gender is explicitly being ‘redone’.
In their 2022 report, Mahat et al. propose an impact framework for the Science Gallery Network, offering tools to evaluate its social, cultural, and educational outcomes.
In this paper, Science Gallery Dublin is one of a set of cases identifying different approaches to transdisciplinary practice in higher education (HE), which include framing, inspiring, exploring, challenging, addressing and innovating.
Hurley et al. (2022) explore how an art-science learning program at Science Gallery Dublin supported young people to become agents of change in their communities.
This paper analyses the youth-led and youth-centred practices of Science Gallery Dublin and the LoCY—Lab of Collaborative Youth, Porto. The authors consider the application of educational programmes through co-creation and co-design may be relevant for informing and supporting everyday research and innovation practice and policymaking aimed at youth.
The Science Gallery Bengaluru's online exhibition CONTAGION opened in April, 2021, just as India approached a staggering 20 million reported cases of COVID-19, a number likely to be a vast undercount. The alarming second wave of COVID-19 in India gives this exhibition an immediacy and relevance.
In The Trouble with STEAM and Why We Use It Anyway (2020), Mejias et al. examine tensions in STEAM education and highlight contributions from Science Gallery in advancing inclusive, interdisciplinary learning.
This papers show that power, in the form of more and less intensive connecting strategies, makes participants in Science Gallery programming ‘more’ or ‘less’ entrepreneurial depending on how they are connected to significant organisational actors and the benefits that stem from this connectivity.
In Idea Colliders (2020), Michael John Gorman explores how science museums like Science Gallery are evolving into experimental spaces for interdisciplinary collaboration.
In Communicating Science: A Global Perspective (2020), Pádraig Murphy explores Ireland's science communication evolution, highlighting the role of institutions like Science Gallery Dublin in enhancing public engagement.
In Chapter Six of Values in Science Education (2020), Clare Murphy and Joseph Roche use Science Gallery Dublin and Science Gallery International to explore shifting values in science education.
In Post Studio Methods: Being SciCurious as a Site for Research (2020), Coleman et al. explore how Science Gallery Melbourne’s SciCurious initiative fosters interdisciplinary research through curiosity-driven, post-studio practice.
In the chapter ‘Answering the Unasked Questions’ (2020), Andrea Bandelli and Ian Brunswick discuss how the Science Gallery Network fosters dialogue between art, science, and society.
The research questions examine how collaborative creativity is represented and performed in the Science Gallery Dublin, and explore the distinguishing characteristics of the communication system which underpins the performance of collaborative creativity in Science Gallery meetings.
In the project, an interactive exhibit at Science Gallery Dublin, tracked motion as users responded deceptively to autobiographical statements, while a two-player bluffing game, tracked motion during unsanctioned, motivated deception. The findings indicate that in-game motion is influenced by the cognitive processes underlying deception.
In Beyond Self-Confidence: A Participatory Evaluation of Personal Change in Science Gallery’s Mediators’, Enros and Bandelli explore the Science Gallery’s Mediator programme
In From Colonisation to Collaboration, Simone Cameron-Coen and Shane Allwright examine the historical legacies and contemporary challenges of positioning Trinity College Dublin as a civic university embedded within its community, highlighting initiatives such as the establishment of Science Gallery Dublin.
In The Educational Opportunity of a Modern Science Show (2016), Roche, Cullen, and Ball explore how interactive, scientist-led performances—like those seen in Science Gallery—can enhance learning and public engagement.
In their 2012 article ‘The Making of Sixty-Nine Days of Close Encounters at the Science Gallery’, Van den Broeck et al. document the creation of a large-scale interactive exhibition at Science Gallery Dublin
