Communicating research: do we need to be more creative?
A press release and tracking of the resultant media coverage, or a public talk, are relatively easy methods of public communication, which most researchers are comfortable adding to their pathways to impact, but what about those wanting to be a bit more adventurous or wishing to undertake public engagement right from the start to help shape research design or data collection? In our new book Creative Research Communication: Theory and Practice, we explore a range of emerging or non-traditional approaches that the research community is exploring for public communication and engagement; from collaboration with the arts, to digital storytelling and gaming, through to the use of comedy in locations like community spaces and festival sites.
By considering an array of different research communication opportunities, we argue that researchers may find compelling niches for both themselves and their research participants, to engage creatively alongside, or perhaps despite, increasing institutional agendas around engagement:
‘This is an era to channel creatively away from metrics or “one size fits all” and to engage in ways that work for you as an individual researcher in the context of your own disciplinary potential and desires, and that embrace and recognise the ways that people beyond the context of an organisation or university may creatively add to your research process as well as experience benefits of their own.’ (Wilkinson and Weitkamp, p.10)
We’re not suggesting in the book that all approaches to research communication need to be entirely new or novel, rather that there is a rich history of research communication which can be drawn on to develop effective, insightful and engaging approaches. Starting with a history of the field, and moving through chapters examining many tried and tested approaches, we offer the novice research communicator a set of tools and ideas via which they may build and advance their practice, often using more recent or contemporary techniques.
The book is peppered with case studies drawn from around the world; you can read up on how researchers are embedding art at CERN, using apps to allow people to experience their city in roman times via the Virtual Romans project, and supporting communities to tackle their local environmental worries through the Public Lab approach. Most chapters are supported by clear advice on practical aspects of research communication, for instance there are sections on how to utilise audience segmentation approaches, manage conflict and controversy, and principles to keep in mind when working with policymakers.
In writing the book we tried to keep a range of research areas firmly in view. As co-authors coming from two contrasting disciplines (originally working in sociology and biochemistry) we tried to consider a range of ways in which research communication can and may be relevant, and that for some researchers this may be at different points of the research journey:
‘From a research communication perspective, and particularly conversations around “impact”, there can be a tendency to focus on engagement after the fact, rather than before or during research. This neglects that whilst research has an impact on people, people also have an impact on research.’ (Wilkinson and Weitkamp, p.74)
And whilst we’ve titled the book Creative Research Communication, don’t be deceived that we see communication as only occurring in a one-directional manner. We envisage communication to include a variety of approaches, including those which embed people within research and engagement, from a participatory and dialogic perspective.
But of course impact is a very relevant issue for many research communicators at present and it can stimulate particular notions of the direction of any such impact. Recognising that, we have included a chapter on impact, which contains evaluation approaches which can be used to track the outcomes and impacts of your research communication activities on a range of participants including the researcher, as well as ways in which you might adapt evaluation to be more creative in itself. For us impact is also tied to ethical quandaries around the wider role of research communication. Is research communication about engendering change, learning, attitudes that align to our ways of thinking? Is it for all but really for some? Does research communication in and of itself need an ethical code of practice? We explore some of these themes within the book, as well as providing resources to equip researchers with techniques for ethical best practice in the design and evaluation of their research communication efforts.
In summary, we hope that the book provides a space for researchers to reflect on the ways they can engender creativity in their own research communication efforts, whilst recognising that taking such ‘risks’ requires support and encouragement:
‘Creativity can involve taking risks, having failures, pushing beyond one’s boundaries, and evaluation is one space in which to capture this, continuing to move the trajectory of research communication forwards without simply reducing research communication activities to those which might tick a box. Creative research communication is a recipe, concoction, a craft and a science, and it is up to each researcher to consider where their path lies on their own map of research communication.’ (Wilkinson and Weitkamp, p.266).
To answer our original question, do we need to be more creative in communicating research, not necessarily, but we hope the book provides a wide variety of reasons why you can.
Posted on May 24, 2016, in Creative research communication, Science Communication Unit and tagged Clare Wilkinson, creative, Creative research communication, Emma Weitkamp, practice, research communication, Science Communication Unit, SCU, theory, UWE Bristol. Bookmark the permalink. Leave a comment.