When I first heard the term “sabbatical student,” I pictured old-timey scholars taking long breaks to mull over grand ideas. Not that I took this image literally, but somehow this is what sprang to mind. In reality, I was lucky enough to hold this position for three months at UWE Bristol despite only being a master’s student.
Funnily enough, studying cognitive sciences in Croatia as part of my master’s programme, is exactly what led me to this opportunity in my hometown of Bristol. Through the Erasmus scheme, I was funded to undertake an internship of my own choosing. And fortunately, Professor Clare Wilkinson warmly accepted my request to join the Science Communication Unit (SCU) at the University of the West of England (UWE), allowing me to further explore my interests in science communication.
I wasn’t only attracted to science communication (SciComm) by my love of writing, I was also eager to explore what topics lay beyond this. I was especially curious to see how this experience would inform my own cognitive sciences research project.
First Encounters with SciComm
I came into this experience with a relatively blank slate in terms of science communication experience, but it didn’t take me long to realise that I had underestimated the breadth of this field. I was amazed by the varied SciComm approaches that the team were involved in, from teaching science through performing arts, to standup comedy, and even videogames like Minecraft.
It wasn’t just the variety of approaches that surprised me, it was also how much SciComm crosses different fields. I initially saw it as a means of making information more accessible, but it’s actually much more than that. It’s a rich, interdisciplinary field that connects areas such as the arts, humanities, and social sciences.
Getting to know the students on the MSc Science Communication programme at UWE reminded me just how flexible this field is. Suyi Tay a current student, is blending art and science and plans to share soil science in a future activity by transforming the sounds of soil samples into a live musical experience. Meanwhile, Ross Metcalfe, a further friend I made from the programme is exploring how research conducted by a charity might reach the public more effectively, by building a framework to improve that process, a fascinating example of how SciComm and society intersect.
Learning highlights
Me and a group of the 2025-26 Science Communication MSc students at UWE Bristol
Instead of just observing from the sidelines during the sabbatical, Clare encouraged me to actively explore and engage with SciComm in ways that matched my own interests. With this, I decided that I wanted to audit the Writing Science MSc module, which the senior lecturers Dr Andy Ridgway and Andrew Glester kindly approved.
One experience that particularly stood out to me on this module was the chance to interview a researcher and turn that conversation into a news article. I had the chance to interview Dr Amanda Webber, the MSc’s programme leader, who is also a senior lecturer and anthropologist. She was nothing short of captivating as she shared insights about the student learning experiences taking place in the forests of Madagascar. The process gave me valuable real-world practice, and with the article set to be published in the UWE Science Matters magazine, it’s a piece I can showcase to potential employers.
Another highlight from my sabbatical involved Suyi taking me along to the BCfm radio station, where she was presenting on a UWE led science show, Love & Science. She introduced me to the radio host George Edwards, who despite his multi-tasking, took the effort to explain how everything works as he went along.
I enjoyed listening to Suyi and George as they eagerly discussed a news article about ADHD diagnosis. The atmosphere felt like friends chatting in a pub, except that there were hundreds of people listening. This feeling of ease made me realise just how approachable these spaces are; they no longer seem distant and intimidating to me. George even offered me a chance to present on the show, which I hope to do after completing my masters.
My master’s thesis looks at how language is used in animal cognition research papers; specifically, how wording choices shape the claims that signal to readers.
Coming from a cognitive sciences background, I was already interested in how claims reflect the strength of the underlying evidence. For instance, a researcher might write, “These birds appear to remember locations for up to a week.” The word appear signals appropriate caution in a study which only tested a small number of birds under specific conditions.
But auditing the Science and Society module as part of the MSc programme pushed me to think beyond accuracy alone. I started to notice how claims also work on a social level, shaping how findings are received by readers and the wider scientific community.
For example, authors often write “the results indicate” rather than “I show.” This kind of impersonal phrasing creates distance between the researcher and the claim. It can make findings sound more objective and easier for the community to accept.
One of the most valuable outcomes of this sabbatical was being able to bring these perspectives together. I’m now approaching my thesis with a more rounded view of what scientific claims actually imply.
Presenting my thesis progress to the SCU team also played a big role in this. Although it was initially daunting, everyone was incredibly warm and supportive. Their enthusiastic response gave me a real confidence boost and made me feel part of a community where perfection isn’t expected, and sharing learning and the reality of experiences is also important.
Even though my project has since evolved beyond that which I originally presented, the feedback from the team at the SCU gave me important points to reflect on and ultimately helped me find a clearer direction.
Goodbye & thank you!
Looking back, this sabbatical truly surprised me, it pushed me to see SciComm and my own research in new and exciting ways. I am very thankful for the knowledge and skills gained from this experience, as well as the new friends.
A huge thank you to everyone in the Science Communication team and the MSc students, you were all incredibly inspiring. I look forward to seeing some of you again in the future.
By Megan Todd, Cognitive Sciences Master’s (MSc) student, University of Rijeka, Croatia.
During the MSc in Science Communication, which I graduated from in the summer of 2025, one of the things I was most interested in was how creative, low-resource formats could be used to tell science stories, particularly stories that don’t always get space in mainstream public narratives.
I’ve recently had the opportunity to develop a small project that grew directly out of these interests: a set of three illustrated zines telling the stories of three women scientists from the 20th century, who made significant contributions to global science but whose stories are largely unknown.
Seeing this project picked up by the Bristol-based science centre We the Curious has been a meaningful milestone, one that reflects the translation of ideas and skills developed during the MSc into a real-world project at a beloved science venue.
The zines feature three fascinating scientists:
Dr Janaki Ammal – ethnobotanist, plant scientist and conservationist, and the first woman scientist to work at the Royal Horticultural Society
Hisako Koyama – amateur solar observer whose incredibly detailed, hand-drawn records inform our understanding of solar activity, and lastly,
Dr Kamal Ranadive – cancer researcher whose work exploring links between cancers and viruses was ahead of its time. Her work also contributed to the development of a leprosy vaccine.
The project is a very small attempt to help broaden public representation of scientists, scientific work, and science histories. Representation in science is discussed in terms which sometimes feel very distant, but I was interested in exploring what it might look like in a tangible, accessible and low resource format.
Why zines?
Zines felt like a great medium to do this. They are relatively inexpensive to produce, informal, and well suited to combining illustration, narrative, and information. The zines are six pages, when folded, and tell the story of each scientist in broad strokes. The reverse side folds out into a poster, encouraging readers to continue to enjoy the story beyond the initial read.
Through the MSc, I’ve come to appreciate the value of reflexivity and of embedding evaluation into projects, even those that are small or do not involve research. The zines include a QR-linked feedback form with questions that are intentionally open and exploratory (e.g. After reading this, has your idea of what scientists look like changed? Did something about the stories surprise you?). The aim, of course, is not to produce formal findings, but simply to get a sense of how people respond to the zines.
Having the zines stocked at a vibrant and bustling science centre, like We the Curious, is hugely gratifying but also means producing the zines feels less like an end point and more like the start of something that might hopefully continue to evolve.
The project – alongside my wider science communication practice – has been a reminder that my time doing the MSc has been hugely valuable – not just to get the grounding to develop my own ideas, but also the confidence to design and test creative approaches to science communication in real contexts. I’m excited to see where the stories travel next!
By Sneha Uplekar, MSc Science Communication student 2023 – 2025
In the autumn of 2022, with my MSc Science Communication at UWE Bristol drawing to a close, I found myself caught between a rock (my looming dissertation deadline) and a hard place (a highly competitive and unforgiving job market). An interview with Bristol-based science education magazine, Futurum careers, provided a glimmer of hope. However, while my master’s ended on a high, the interview ended in rejection, and I found myself in the confusion of a post-grad, post-COVID job hunt.
Not long after the interview, Futurum contacted me to ask if I would be interested in doing some freelance work for them as a writer, a situation that the scicomm master’s had prepared me well for. Over the next couple of years, I developed a close working relationship with the Futurum team, writing articles, producing podcasts and gaining experience until, finally, they offered me the job I had originally applied for.
All this to say, when one door closes, loiter outside for a couple of years until it opens again.
Graduating from the UWE science communication master’s in November 2022.
Futurum Careers is a free online resource and magazine aimed at introducing 14-19-year-olds to careers in STEM (Science, Technology, Engineering and Maths) and SHAPE (Social Sciences, Humanities, Arts for People and the Economy). We collaborate with academics from all over the world and translate their research into open educational resources such as articles, activity sheets, podcasts, animations and PowerPoint presentations. Our resources connect curriculum subjects with real-world research projects and the people behind them, showing students that anyone and everyone can find their place in STEM and SHAPE.
As an editorial assistant at Futurum careers, I spend my days editing articles, creating educational resources and producing podcasts. Every day is an opportunity to use and continue to develop skills that I first learnt on the UWE Bristol MSc Science Communication.
Looking back through my coursework, I can read my first clunky attempts at science writing and cringe at my first awkward, stilted podcasts. We all have to start somewhere, and as the course progressed, my confidence grew and I honed my technical skills. I learnt how to tailor my writing to a target audience, how to build flexibility into a structured interview, and how to sift through heaps of complex information to find the golden nuggets needed to build a narrative. Putting these skills into practice and receiving expert guidance and feedback was invaluable and allowed me to take my first steps as a freelance science communicator with a sure foot.
As well as skills, I also gained knowledge. I learnt about the deficit models and its downfalls, about trust in science and how to instil (or impair) it, and about science capital and the impact it can have on a young person’s prospects. Learning about these ideas gave me the context I needed to understand Futurum’s mission and find my place in the company.
A selection of Futurum careers resources.
Although I started working for Futurum as a writer, it is my work on the Futurum careers podcast that I am most proud of. As host of the podcast, I have interviewed all sorts of researchers from historians and philosophers to physicists, ecologists and even a marine bioacoustician. Chatting to these people about their research, their careers and their advice for students is the best part of my job. As I said in our recent editorial episode of the podcast, “[The podcast] is a really nice opportunity to get to know the researchers a bit better. And then I get to just sit back and listen to these people talk about their amazing lives and their amazing work. And it’s inspiring for me, so I hope it’s inspiring for the students that listen to it as well.”
Currently, I am working on an episode of the podcast with ethnomusicologist Dr Marcia Ostashewski and her team at the Centre for Sound Communities (CSC) in Unama’ki (Cape Breton), Nova Scotia. Marcia and I have been collaborating on a suite of educational resources over the past year, highlighting the diversity of researchers working at the CSC and the communities that they serve and support.
In September 2025, Marcia invited me to present these resources at a course on world music pedagogy in Halifax that explored the role of music in teaching and learning through diverse cultural perspectives and in relationship with diverse local culture bearers and communities. While public speaking is not my favourite thing to do, I was excited to travel somewhere new and push myself out of my comfort zone.
Presenting a Futurum careers PowerPoint at the World Music Pedagogy course hosted by the Centre for Sound Communities at Dalhousie University, October 2025.
In the end, half an hour of sweaty palms and stammering speech was well worth it. Not only did I get to listen to Julian Kytasty, a world-renowned bandura player, perform, but I also got to chat with him and learn about his musical heritage and traditions. Not only did I get to experience the joyful teaching of Mamadou Koita, a virtuoso balafón player from Burkina Faso, but I also got to play djembe alongside him and Afua Cooper, a slam poet, author and scholar.
To take part in this event was a truly special experience, and it’s just one of many highlights that I’ve had while working for Futurum. It’s a privilege to be able to say that I love my job and that I’m proud of what I do. In these uncertain times, it’s hard to know where my science communication career will end up, but I do know that it started in the Science Communication Unit at UWE Bristol, and I will always be grateful for that.
Playing djembe alongside Daniel, Mamadou Koita and Afua Cooper at the World Music Pedagogy course hosted by the Centre for Sound Communities at Dalhousie University, October 2025.
By Joe Aslett, UWE Bristol MSc Science Communication student 2022.
Working with liquid nitrogen can be a daunting experience. It can suffocate in an ill-ventilated room, leave horrendous burns from seconds of skin exposure, and turn a banana into a deadly weapon…And yet it somehow pales in comparison to working with teenagers.
That is why I first reached out to David Williams to help out on ‘Physics in the freezer’. The MSc Science communication at UWE Bristol, more than anything, has taught me that while science is a subject that can be learnt, communication is a skill that must be lived and practised. And communication with young people is a skill unto itself.
Davids’ last bit of theatrics, disposing of Liquid Nitrogen after a show.
David set up ‘Physics in the freezer’ to combine his two passions: teaching and conducting dangerous science experiments. He has created a set of shows featuring different demonstrations using magnets, liquid nitrogen, and superconductors. He takes these shows to primary schools around the South West to inspire kids into STEM. To his credit, David quickly realised that the most aspirational way of delivering this content is with young presenters. As such, we spent two days in Breacon Beacon High School, not just showing these demonstrations to sixth-form physics students, but teaching them how to deliver one.
It was an early start on Tuesday, as we arrived at the school and got everything set up in their science labs. I’d had a practice session with David and run the show for year 5 (9-10ys old) twice at this point, so while not new to the material, I was filled with equal parts excitement and apprehension. The aim of the first day was to run through a whole show ourselves and then have our sixth formers pick and practise which parts they wanted to do. We ended up with a class of 7 and got straight into a lengthy safety briefing. Above I outlined just a few of the dangers of working with liquid nitrogen, but in truth, like many things in life, a sensible approach and a healthy dose of fear significantly reduce the risks. It was then on to the demonstrations.
Alice pouring liquid nitrogen into a kettle to create the ‘whistling kettle’
We always start with an introduction that covers the basics of the physics and the wonder that comes from seeing liquid nitrogen poured for the first time into a large glass dewar (a specialized container designed for storing and transporting cryogenic liquids). Smoke (or rather water vapour) billows down the sides, whilst the surface fizzes, pops and dances like quiet fireworks. The children at the shows love it, and even these teenagers seem somewhat impressed. Next, we proceed to pour liquid nitrogen into a steam kettle and listen to it whistle. I was in charge of this one, and while I’m used to getting ‘ohhs’ and ‘ahhs’ from a Year 5 audience, the sixth formers were less than impressed. Fine, and very understandable, but unsettling, nonetheless. Good thing we had bigger and better things up our sleeves. The following few demonstrations involve freezing, shrinking and bursting balloons, smashing frozen bananas and producing smoke-filled bubbles.
Sixth formers then separated themselves into groups and got to work learning the script and practising the demos. I had a group of three demoing a whistling kettle and smashing bananas. Teenagers, once you get talking to them, are not nearly as scary as they seem, even if they did constantly quote memes at me that I’m apparently too old to understand (I’m 25, that seems unfair). They were about as enthused by the material as you can hope for from people who have willingly chosen physics but less so willingly come to school.
After 4 hours of hard work and participation, we rewarded them with a more advanced show on superconductors and magnets, which was a perfect end to a long day, especially for me, who hadn’t yet had the chance to see some of these demonstrations. It’s a real bonding experience to realise that students, teachers and demonstrators alike are all kicking their feet and giggling overshooting frozen magnets 5 feet in the air.
Flowers being frozen in Liquid Nitrogen
On Day 2, we were putting our prodigies to the test; they were to give three shows back-to-back to local Year 5 students visiting the school. When David had first told me about this timeframe, it seemed to me to be a trial by fire, but having now done it, I understand just how valuable ‘just getting to do it’ is for learning. And they were terrific. They read from scripts, of course, no one wants to spend a hot June evening practising lines, but every one of them came out of their shell and, show on show, improved vastly. By the end it felt damn near professional. I took over a few of the demos for students who had to leave early and had a blast getting to improve my presenting skills further and go off script with a newfound confidence.
The idea of throwing yourself into an unknown field with a dangerous substance and plenty of public speaking might make you squirm. I would argue it should. But I never once felt unsupported or overwhelmed. David made sure of that. My biggest takeaway from this experience is to put trust in yourself when you are the learner, and trust in others when you are the teacher. Participating in physics in the freezer gave me the opportunity to be both of those things, and I cannot recommend it enough to others who want to grow their communication skills. Also, child, teenager, adult: who wouldn’t want to smash a frozen banana?
By Alice Thomson, MSc Science Communication student, UWE Bristol
Wildscreen’s Science in Storytelling event this March opened with the “Artificial Intelligence: An Altruist’s Guide” panel. Given the heated conversations taking place in production houses across Bristol, and beyond, there was nowhere else to start.
Bristol is famously celebrated as “Green Hollywood”, being home to a number of production companies, the Wildscreen Festival and, of course, our MSc in Science Communication here at UWE Bristol. The industry has been pondering the impact of AI in the world of wildlife film after something of a bombshell panel (AI Won’t Take Your Job, But the Person That Can Use It Better Than You Will…) at last year’s Festival.
The full Wildscreen Festival took place in Bristol in October 2024, a weeklong event for the wildlife film industry with delegates from across the globe. Midway through the week, Eline Van der Velden, founder and CEO of UK-based production company Particle6, and Christopher Paetkau, senior MD of Canada’s Build Films, formed part of a panel on AI and it became clear from their comments that you could be forgiven for thinking that AI had very much arrived in the industry, with all the subtlety of a bear in a production office, and was about to make lots of jobs obsolete.
Van der Velden announced, “Pre-production, ideas, budgets, scripting, it can do everything for you,” she said, “then cameras, you don’t need operators anymore because it will do it all for you.” Cue an audible gasp from the room. “You may laugh, but I’m telling you. Everything is done for you. You wouldn’t send a camera in a helicopter anymore would you? You’d use a drone. This is the same.”
Paetkau quipped, “that’s a good thing.” and was, if anything, even more dismissive of the prospects for voice over artists.
In a room full of filmmakers, the reaction was as you might imagine. As a lecturer leading two modules in this area, Wildlife Filmmaking and Science On Air and On Screen, I felt more than a little uneasy sitting there alongside many of our students. More than anything else, I feared for the real, authentic films we’ve made and loved. From the stage, someone called for “a new kind of authenticity” in the new world brought to us by AI. Behind me, a voice shouted “Fake News”. It was clear I was not alone in my discomfort.
A member of the audience raised a hand, “I think authenticity matters. Here’s a thought. If your wife had just punched in the (AI) chat five minutes before your wedding. ‘Write me some wedding vows’. And she read them out and they sounded beautiful…does that matter to you? Or do you want her to write her wedding vows and say something meaningful?”
As has already been reported, Paetkau replied that he had used AI to compose his wife’s Christmas card and he felt that that was “completely authentic”. People laughed, perhaps a little nervously.
After the panel, conversations all either began or ended with an expectant “Did you see the AI panel?” In the weeks since the Festival, colleagues and friends in the industry often returned to the conversation. In our sessions on campus with the MSc students, we had to work hard not to allow discussions of AI in filmmaking to derail the rest of our learning.
On another panel at the festival in October 2024, Keith Scholey, co-director of Silverback (Our Planet, Our Oceans) was asked about the impact of AI, sharing “The big challenge for natural history will be what is real and how you put a value on reality. You could very quickly see cheap AI content just flooding the market, and we have to consider how you persuade the world to pay for the world of reality.”
Whilst Walter Kohler, founder and chief executive of Terra Mater Studios agreed, stating that “AI is the biggest problem we have in the room. You are used to seeing an image and believing it is real. This will be a big disturbance to our mind if we’re sitting there asking if it’s real or not.”
Personally, I cannot imagine a time when I reach for the remote and think that I really want to watch something generated by AI. Sir David Attenborough has been the face and voice of Natural History film in the UK for some time. It’s not his face and his voice which make him quite so iconic. It’s his insight. The world is full of faces, voices and opinions. Insight is valuable.
Returning to last year’s Festival, Paetkau showed a sequence of a polar bear, several aspects of which were enhanced or generated using AI, explaining “we spent under 24 hours there filming this and got footage that we wanted to put into a sequence. We went to the BBC’s Planet Earth, we took a script from a lion hunt, copy and pasted into ChatGPT and altered it to the behaviour we described. Then we got ElevenLabs to produce a voiceover. From the day of filming to putting that together was two days.”
The sequence looked good. It was well edited. The script was fine but the voice over delivery felt, at least to me, like it belonged somewhere on the edge of the uncanny valley. To others in the room, it felt real enough to become a shockwave.
My expectations were then high for the most recent event. The panel in Wildscreen’s Science In Storytelling panel in March 2025 was intriguingly titled, calling for a human focused outlook: “An Altruist’s Guide”. With the AI panel in October 2024 derailing conversations midway through the Festival, the organiser programmed this panel to open the day. Perhaps with one eye on keeping things light(er), it opened with PhD student Prem Gill who is studying seals from satellite data and using AI in his work, conducting a quiz with the audience deciding whether a sound was a “seal” or “space”. Unfortunately, a series of mishaps with the sound meant that it fell a little flat. Prem, however, is an entertaining presenter and as the technology failed, his warm and dry humour made the best of the situation.
There’s no doubt that AI is a tool and can be a useful one. That it can be used in conservation efforts like PhD research is, perhaps, slightly tangential to whether it should be used in wildlife filmmaking. Heading into the panel in March, I was instead wondering how we should use this tool in our stories and what stories might they enable us to tell. Perhaps, more importantly, how honest are we prepared to be about how we use AI tools (if we do at all) in our creative work?
We are used to filmmakers using Computer Generated Imagery (CGI). Some of it considerably better than others. For CGI, Animators and VFX artists manually design and animate scenes or characters. For AI, a person (not described as an artist) types prompts and the AI does the rest. Proponents for AI often suggest that it will reduce the more mundane parts of our jobs and free us up to be more creative. 62% of users in a recent report into AI’s use in media said their biggest use was “Content Creation”. I am interested to know what the more creative parts are of media than content creation but, joking apart, it’s a lovely thought that we might altruistically use AI to make the world a better, more diverse place filled with creativity. I suspect people might, all too often, take shortcuts where they are available.
If we do use AI to create our films, write our articles and tell our stories then what are we freeing ourselves up for? It seems unlikely that many people will look back at their lives and wish they had fewer moments making beautiful things, really getting to the heart of a story and finding ways to enthral audiences. Whether they will wish they spent more time typing prompts into generative AI remains to be seen.
In an adjacent discussion in the world of filmmaking, we are constantly being told that our attention spans are shrinking, although the evidence for that is scant, to say the least. There is evidence that filmmakers believe it and tell audiences that it is true but it does not necessarily follow that people’s propensity to concentrate is diminishing. Oppenheimer, The Brutalist and, to a certain extent, Adolescence tell a different story about audiences and their attention spans. If you want to make long form pieces, you can find the audiences and research to back it up. If you want to make short, snappy social media style films, there’s research to back that up too. Let’s not pretend the audience are all one homogenous group.
I suspect that some filmmakers will use the tools of AI extensively. Some audiences will lap it up. Other filmmakers will strive for a more standard meaning of the word “authentic” and, doubtless, open their films with a badge that declares that AI was not used in the making thereof. Other audiences will seek that content out the way a select band of teenagers are heading to record fairs, hunting for vinyl. Personally, I hope our stories will continue to be rich, deep and authentically told. Perhaps the AI could help with the risk assessments?
By Andrew Glester, Lecturer in Science Communication, MSc Science Communication, UWE Bristol.
Forensic science has always fascinated me—from DNA analysis, fingerprinting to blood spatter patterns. So when the chance to collaborate with the Leverhulme Research Centre for Forensic Science and the University of Dundee for my Master’s thesis came along, I jumped at the opportunity.
Forensic science is undeniably complex. It’s one thing to watch a TV show like Silent Witness and feel like you understand certain techniques, but when such intricate details are presented by experts in a courtroom, they can easily overwhelm a jury with little to no science background. And that’s where the challenge lies: how can we make this highly technical information clear and accessible?
Enter The Evidence Chamber: an innovative research project exploring whether science comics can help juries better understand forensic evidence during complicated trials. Yes, comics—something you might not expect in a courtroom setting.
By combining visuals and text, comics tap into something known as dual coding theory, which suggests that people process and retain information better when it’s presented in both visual and textual forms. The Evidence Chamber takes this idea and applies it to forensic science, using comics to explain complex evidence, like DNA profiles or gait analysis, within the context of a fictional murder trial.
The project was spearheaded by the Leverhulme Centre for Forensic Science (LCFS) and FastFamiliar, a talented team of digital performance artists. Their approach is immersive: engaging participants through a fictional murder scenario designed to prompt discussions about the science behind the case. During the mock trial, audiences are presented with different types of forensic evidence—like DNA and gait analysis—in two ways: through expert witness testimonies (as in a typical courtroom setting) and through science comics. My role during my MSc Science Communication, studied within the Science Communication Unit, was to analyse these sessions and determine whether the comics genuinely made a difference in helping audiences understand expert scientific evidence.
So what did we find?
After engaging with the comics, participants in our sessions showed a stronger grasp of the forensic concepts shown. They asked more informed questions, demonstrated greater confidence, and even picked up on details they might otherwise have missed. However, not everyone was sold. Some participants found the comics less accessible, and there were concerns about whether comics might downplay the seriousness of courtroom proceedings.
While the feedback was mixed, one thing is clear: the potential of science comics in this context is significant. This approach offers a unique way to bridge the gap between experts and the public—even in high-stakes environments like criminal trials. By presenting complex scientific information in a more digestible, engaging format, we can make the science more accessible, without compromising its integrity.
The use of science comics in this way is an entirely new area of research, and I’m incredibly proud to have contributed to this pioneering work. Thanks to the expert guidance of my supervisors, Andy Ridgway in the Science Communication Unit and Heather Doran at the University of Dundee, these findings have been published in JCOM .
I can’t wait to see where this research goes and to see how it sparks new conversations about the role of storytelling—and comics—in science communication.
By Izzy Baxter, MSc Science Communication student at UWE Bristol.
As a child, I was fascinated by the world around me and knew from a young age that I was interested in science. Studying Biology for my BSc at the University of Sheffield introduced me to the complexity and beautiful diversity of the world’s ecosystems. I loved absorbing this fascinating information but had no desire to pursue my own research at the time. Rather, I wanted to share this knowledge with others, and decided to undertake an MSc in Science Communication. Home to the internationally recognised Science Communication Unit, UWE Bristol seemed the obvious place to do this.
Studying Science Communication at UWE opened my eyes to the world of science engagement, all the way from its history and theoretical background to its multifaceted practical applications worldwide. I particularly enjoyed my ‘Getting Science on Air and on Screen’ module where I recorded a radio show at BBC Bristol and filmed and produced a short science documentary at Films at 59, the post-production studios for the BBC’s Natural History Unit.
When it came to choosing my dissertation project, I was initially at a loss, however I remembered a book I had recently read, Bee Quest by Dave Goulson, and a chapter which particularly stood out to me, on bees in brownfields. I had become fascinated by the unique habitats of brownfields and their high levels of biodiversity, which are often overlooked in conservation. With the guidance of my supervisor, Dr Margarida Sardo, I wrote my dissertation on public engagement with brownfields sites. I loved working on this project, from interviewing the different stakeholders to writing up the findings. Margarida was a very supportive supervisor and encouraged me to publish this paper in an academic journal. After a couple of years of edits and one unsuccessful submission, this paper was eventually published in the Journal of Science Communication, JCOM, and was recently quoted in the Sunday Times. Publishing this paper planted the first seed of wanting to take my brownfield research further.
After my MSc, I spent a few years in London working in Communication Officer positions for medical and environmental charities. At this point I was hoping this would be a good entry point into the conservation sector and, whilst I enjoyed working with my colleagues, I felt a growing urge to be out in the field doing the conservation work the charities were funding, rather than being stuck at a desk.
Surveying swarming bats with Northumberland Bat Group
In 2021 I happened to see a posting for a PhD at UWE on citizen science, urban ecology and engaging underrepresented audiences with science. This seemed like the perfect combination of topics for me and, after discussing with my family and Margarida, I decided to apply. Although I wasn’t successful, this led me on the path to pursuing other PhDs. I was broadly searching for PhDs on the topic ‘biodiversity’, but was particularly interested in those that had a human-angle, whether this was through citizen science or urban environments. It took me a couple of years, two panel interviews, a number of selection interviews, and numerous applications before I got offered the PhD I am currently doing.
Presenting my poster at the Royal Entomological Society Annual Meeting 2024
Since September 2023 I have been undertaking a PhD on post-industrial land regeneration and Biodiversity Net Gain at Newcastle University. I was drawn to this project through its focus on human-impacted sites, particularly former mining sites, the implications for policy, and the potential to engage with different stakeholders. At the time of writing, I am now about 14 months into my 3.5 year studentship and loving every minute. I have a great team of supervisors, including a collaborative partner with Northumberland Wildlife Trust, who help guide my research with their range of expertise. I have been encouraged to shape my PhD in the direction I want and, as I am particularly interested in ecology, I spent last summer carrying out fieldwork on nature reserves around Northumberland and Gateshead. It was wonderful to finally be out in the field, conducting my pollinator surveys, pitfall traps, soil sampling and vegetation quadrats, even if it was an awful summer for bees!
I have been able to make use of fascinating residential training courses, including on entomological research and remote sensing methods. I have also been to various conferences, presenting posters of my research and making useful contacts from across the world. Each day is unique, some days I will be creating digital habitat maps on GIS, some days I will be pinning and identifying my insect samples, and others I will be in ecology research group meetings or discussing ideas for papers with collaborators. I am still figuring out my specific research questions, but I am given a lot of room for learning and flexibility to adapt my research as I go along.
Even though I am now working in ecological research, I would not be here without my MSc Science Communication. Not only did having a published paper hugely benefit me in the application stages, my supervisors have also told me that they selected me in part for my skills and experience in communication, a vital part of any scientific research. My MSc supervisor, Margarida, has also played a crucial role in my journey to PhD. Her enthusiasm of my dissertation and encouragement to pursue publication, as well as her support with applications and interest in my academic career has enabled me to be doing what I so love now.
I would certainly encourage anyone who is even slightly considering it to look into PhDs and I offer some nuggets of advice below:
Having supportive supervisors and academic contacts is hugely important, for both checking work and applications as well as the moral support and suggesting opportunities.
Having a variety of skills is an asset, not a detriment. Don’t worry if you’re not specialised in one field or on a particular topic. Doing a PhD is about learning, not going into with the knowledge already!
Be prepared for rejections. It may take a few rounds of applying but the project you end up with will be the perfect one.
There are many routes into a PhD. It’s ok if you’ve taken a linear academic journey and it’s ok if you’ve had a few years of working, volunteering or even doing something completely different! What matters is your passion for the project.
By Rosie McCallum, former MSc Science Communication student at UWE Bristol.
From a young age, I always found myself torn between two passions: science and writing. For years, I thought I had to choose between them, not realizing that they could actually go hand in hand. When I discovered Science Communication, I was thrilled to learn that I could combine both loves. And as much as I enjoyed every bit of my MSc Science Communication studies, the Learning Lab at BBC Science Focus Magazine felt like the cherry on top.
Throughout my week-long placement, I had the opportunity to shadow several members of the editorial team and dive headfirst into the fast-paced world of science journalism. I got to write news articles and received invaluable feedback from the editors that pushed my writing to new levels. It was reassuring to see that the skills I’d been honing throughout my studies were well-suited to the demands of professional science writing. But more importantly, I was reminded that we never stop learning, and there’s always room to grow.
Beyond writing, the placement allowed me to develop several key skills that will be essential in my future career, including conducting thorough background research to ensure accuracy and depth, understanding the target audience, and learning how to tailor content to match their interests.
One of the most rewarding parts of the experience was having an article I wrote published—an honor I’ll never forget! By the end of the week, I was tasked with writing an “Everything You Need to Know” guide on NASA’s OSIRIS-REx mission—a topic I knew almost nothing about. I won’t sugarcoat it: hearing that I had five hours to research and write my first piece was nerve-wracking. But I thrived on the adrenaline of it all. That challenge sparked something in me: I knew this was exactly what I wanted to do with my life—write about science to help inform others while constantly learning myself.
A highlight of the week came toward the end of the placement when I had the chance to sit down with the Editor. We had an encouraging and insightful conversation as he provided advice on how to carve out a career in science writing. It helped me see that my aspirations weren’t just a far-off dream—they were entirely within reach. His guidance gave me a clear sense of the next steps I needed to take to achieve my goal.
Another great takeaway from the week was the network of professional contacts I built. The connections I made have already been invaluable, providing advice and even career opportunities. Plus, having published work to show at interviews is a massive boost for my CV.
I loved every moment of my time at Science Focus, from gaining a deeper understanding of the magazine’s inner workings to working with an incredibly talented and supportive team. I wholeheartedly recommend the Learning Lab placement to any MSc Science Communication student at UWE Bristol. For those who are unsure of their career path, it’s an excellent way to explore different roles within science communication. As for me, it cemented my desire to become a science writer. The placement gave me the confidence to believe that the career I once thought was out of reach was not only possible but something I was fully equipped for, thanks to my academic background, and offered a crucial bridge between academic study and real-world application
My only regret? It was just one week long—I could have stayed for months.
Matilde Marques, MSc Science Communication student, UWE Bristol
By, Magaret Sivapragasam and Aleksandra Peliushkevich
We kicked off our placement with a scenic but unexpectedly strenuous climb up Corston, a village near Bath, to reach Church Farm Business Park where the SelectScience office is located. Let’s just say we definitely got our cardio in for the day! However, as with any ascension, we were rewarded for our efforts. At SelectScience we were met by a friendly team, delicious coffee, and beautiful natural scenery from the office window. It was the perfect setting to catch our breath and settle into the day.
We were undertaking a placement at SelectScience as part of the Learning Lab scheme run by the Science Communication Unit, which offers short-term placements to students on their Masters’ course with businesses and other organisations in the industry. The people at SelectScience were inspiring. We were introduced to the editorial team, client service specialists, and a product and review editor. It was a perfect opportunity to explore their roles in real life, ask questions and get useful advice for job hunting and future careers in science communication. Informal chat allowed us to better understand how the work of a digital publisher is organised and to see job responsibilities from the inside, through the eyes of an employee. That’s how we learnt that editors can be authors of articles, client service specialists often are event managers, and review editors communicate with clients as well.
We have once again seen that work in science communication is intense and diverse and a variety of opportunities are waiting for us. To avoid getting lost in this diversity, it is important to pay more attention to the specific job responsibilities instead of the job title and to communicate with people who already work in the field. Despite the diversity of tasks all employees shared the company’s vision –
“accelerating science by connecting scientific communities with trusted solutions”
– their professionalism and passion for work were inspiring.
Once we were clear about the vision of SelectScience, we were tasked with writing tags for their website. What initially seemed like a straightforward task turned out to be something more complex than we anticipated – it required an eye for detail. Generally, tags are used by online users to navigate searches. The key is to make them as concise as possible while being a helpful tool for users to locate information they need. Our goal was to develop a short paragraph that describes this tag’s content effectively.
We then carefully analyzed the editorial articles, product reviews and news pieces to summarise them into an impactful paragraph. Along the way, we also learned how SEO’s (search engine optimization) and web trends play a crucial role in impacting web traffic and engagement. A few well-chosen words do go a long way!
As we crafted each tag description, we found ourselves reflecting on what we had studied during the MSc Science Communication course. It was important to strike a balance between technical precision and accessibility, ensuring the tags are suitable for both experts and general users. It was indeed very satisfying to see our academic knowledge being applied so practically in a professional setting.
By the end of the placement, we had developed a profound appreciation for the intricacies of digital content management and the vital role that science communication plays in bridging a gap between science and its audience. We left the placement with a big smile, knowing that (even though it was a small task), the work we completed will have a big impact on making scientific content available to those who need it.
And of course, our trip would not have been complete without some sightseeing in Bath. After wrapping up our 3-day placement, we treated ourselves to a lovely stroll around the city and some yummy Thai food, because let’s face it- nothing fuels the brain quite like a good hearty meal.
By George Edwards, Priya Bala, and Corragh-May White
It’s not every day you get to create your own short film. Yet the MSc in Science Communication at UWE Bristol not only provides this opportunity but does so on such a scale you can’t help but feel incredibly lucky, supported, and excited!
In an assessment for the Science on Air and Screen module, groups of students were tasked with creating a short 7-minute science documentary about a topic of their choice. Our group, consisting of George Edwards, Priya Bala, Corragh-May White and Casey Spry, chose to focus on beavers.
So, how did we come to create “Slowing the Flow”? Keep reading to see how we navigated each key step, and dive into stories to show just how much we enjoyed every stage of the process.
Beaverin’ Away at Research – by George Edwards
Let’s face it. When you hear you’re going to be creating a scientific documentary, your first thought isn’t “Oh, let’s get on with research,” it’s more “Oh wow! We’ve got to do the coolest thing ever!” And I personally think we did.
Forming an Idea
We’d like to say we knew beavers would be a good animal to film to engage our audience, and to an extent we did. But, if we’re honest, we also just really wanted to have an excuse to see some beavers! (Read on to find out if we did!)
Having settled on beavers, we needed a scientific story to focus our film on, and at the time, there had been a lot of news about water pollution in UK rivers, most notably in the River Wye in Wales. It is also commonly understood by global scientists that beavers play key roles in maintaining the water quality of streams and rivers, thanks to the filtering systems of their dams.
So, our idea was formed – we were going to explore how beavers can impact river quality in the UK. But putting together a film wasn’t as easy as we’d expected – especially when beavers don’t want to play ball….
Background Research
One key thing that we had been taught was to avoid exploring a topic that had already been covered by other films, so our first port of call was to sift through other wildlife documentaries on beavers – and to our surprise, we found that no film had specifically focused on this idea.
With the idea formed, and the knowledge it was new, we set off researching the ecology of beavers, river pollution and the intersection between the two. While doing so, I came across a scientific paper, led by Gareth Bradbury, a PhD researcher at the University of Exeter, about how beaver dams can reduce pollution levels in streams and rivers. This gave us a basis on which to build a story, and further research into the topic helped flesh out the science, providing evidence for the topics we’d talk about.
Having emailed Gareth and set up an interview, the next thing we needed was beavers, and someone with knowledge of their conservation. As it happened, Casey had recently been given the contact details of Chris Jones, a farmer and conservationist at Woodland Valley Farm, who had also led the Beaver Trust for many years. Soon, we had two interviews set up, and an offer to stay at Woodland Valley Farm overnight to give us a chance of capturing beavers on camera!
Storyboarding, Interview Planning and Preparation
Possibly the hardest, yet also enjoyable, part of the process was the storyboarding and planning of the film. Deciding where to put what parts of the film, without having any footage, proved difficult, but working as a team helped us find a way to weave together a story and plan based on the information we’d gained via research, and the knowledge of what we wanted to film.
Creating a storyboard, where each scene is carefully planned out, proved incredibly useful when filming. For each scene, we already knew where we wanted the camera, landscape, and people to be positioned, and knew exactly what order shots/scenes would go in. This laborious, yet entertaining, task provided us with much-needed support during the filming and editing portions of the project and brought us closer as a team.
But how did we film “Slowing the Flow”? What was the experience like? Read on to find out, from Priya’s perspective!
Eager Beavers Begin Filming – by Priya Bala
Embarking on the project was an adventure for our team. Our journey took us from the historic city of Exeter to the lush, secluded Woodland Valley Farm. Along the way, we explored the dynamic relationship between nature and humans, focusing on the reintroduction of beavers into the UK. We interviewed passionate individuals, camped under the stars, and experienced the thrill of wildlife observation – complete with all its challenges. But beyond the work, the trip was filled with laughter, camaraderie and unforgettable moments that brought us closer.
Day 1 – University of Exeter
In our journey to document the intersection of nature and sustainability, our first stop was the University of Exeter where we interviewed Gareth Bradbury. His work focuses on a subject increasingly relevant in today’s landscape – how reintroducing beavers can impact the water quality of streams and rivers in England, and he has been exploring this since 2020.
Our chat began by discussing the current state of UK rivers, in which Gareth noted nearly all UK waterways are polluted, a fact found by the 2022 House of Commons Environmental Audit Committee Report. This report underscores a dire reality: most UK rivers struggle with poor water quality, due to pollution from agriculture and wastewater treatment plants.
Given the state of our rivers, the next question was whether beavers could improve water quality. Gareth’s research suggests they can, as beaver dams slow the flow of water, allowing sediments and nutrients to settle, reducing the level of harmful nutrients continuing downstream. One aspect of Gareth’s research is the comparison between rivers with and without beaver activity. According to his findings, there is a noticeable difference in water quality. To see what he told us, go give the film a watch!
As we wrapped up our conversation, it became clear Gareth’s work wasn’t just about studying beavers but was also about finding sustainable ways to restore the health of our rivers.
Day 2 – Woodland Valley Farm
Next, we made our way to Woodland Valley Farm – a beacon of sustainable farming nestled in the Cornish countryside. The farm isn’t just a place of work, but a living example of how agriculture can coexist with wildlife conservation. Here, we met Chris Jones, an enthusiastic advocate for rewilding, whose story is one of dedication to the land, its ecosystems, and the reintroduction of beavers.
Our interview with Chris was nothing short of inspiring. He spoke of his journey from conventional farming to embracing sustainable practices and the challenges and triumphs that came with it. He also shared his excitement about the reintroduction of beavers, a species that plays a crucial role in ecosystem restoration.
After a day of exploring and talking to Chris, it was time for the real adventure: camping out in the hopes of capturing the elusive beavers on camera. Setting up our tents near the river, we were buzzing with excitement and spent the evening huddled around camp, sharing stories, having the famous British Fish and Chips, and laughing about our day. The farm’s serene atmosphere made it easy to forget about the pressures of the project, even for a night.
As the night grew dark, we set up the cameras and kept our eyes peeled on the beaver lodges and dams for any sign of a curious beaver. Despite our high spirits, this was a test of patience. We heard rustling and splashes, but the beavers remained just out of sight. Though we didn’t get the footage we wanted, the experience of working in the quiet night was something we cherished.
Day 3 – Woodland Valley Farm
Determined not to give up, we woke before dawn for another attempt. The early morning mist added a magical quality to the landscapes, and our hopes were renewed. As we waited in silence, we finally saw a beaver gliding through the water, even if our cameras were not quick enough to capture it. Instead of being disappointed, we laughed about the irony of it, appreciating the beauty of the moment instead of worrying about the missed shot.
Success and Reflections
While the beavers evaded our cameras, we didn’t walk away empty-handed. The landscape was rich with evidence of their presence, and we captured footage of gnawed trees, carefully constructed dams, and the channels they carved through the wetland.
As we wrapped up our time filming, there was a sense of accomplishment and a deeper bond among us, and we reflected on the experiences of the past few days, from the academic discussions at Exeter to the hands-on conservation work at the farm, and we had come together as a team, sharing not just the work, but they joy and frustrations that came with it.
While we didn’t capture the perfect shot of a beaver, we documented something perhaps even more meaningful: the intricate relationships between humans and nature, the passion that drives conservation efforts and the undeniable signs of wildlife reclaiming its rightful place in the ecosystem.
This journey reminded us that sometimes, the most powerful stories are not just about what we see, but about the connections we make along the way. Whether in the halls of academia or the wilds of Cornwall, the message was clear—conservation is not just about protecting wildlife, but about understanding and nurturing the intricate web of life that sustains us all.
Editing – Some Dam Fine Work! – by Corragh-May White
After calling cut, we packed up our gear and returned to Bristol incredibly pleased with ourselves. But we scarcely had time to kick the mud from our boots before the next stage. Our project wasn’t over yet – oh no – it had only just begun. Now it was time to begin the editing process.
Editors for 2 Days
Some of our group had video-editing experience, however, beyond what I had learned in previous classes, all I had under my belt was a short-lived career making bad My Chemical Romance covers on GarageBand as a teen. So I was excited for the opportunity to add to my skill set, especially because I wasn’t learning how to edit in a classroom, but in an actual editing studio, Films@59, no less; the same editing studio that brought us Blue Planet and the Great British Bake Off – and we would be under the tutelage of their editing staff.
On the first day, we entered the Films@59 office, pinching ourselves as we passed security with our shiny new passes. The class was separated into individual editing suites and given a workshop on how to use the editing software, Avid, by a Films@59 editor. Then, we were unleased onto the editing suites and the clock was set – each group had just over 2 days to edit all our hours of footage into a seamless narrative story. It was an interesting and productive way to learn a new skill, to say the least, learning while creating a solid portfolio piece that demonstrates my ability, all while getting the opportunity to network with professionals in the industry.
After picking out the footage we wanted to use, it amounted to over 15 minutes – and our final film had to be just 7. This included B-roll, beginning and end credits, so naturally, what followed was 2.5 days of trying to “Kill Our Darlings”, as our lecturer puts it, while coming to grips with every aspect of Avid, from syncing visuals and audio, to focusing footage in post-production, to the fine detailing of trimming a single 0.3 second clip for that perfect shot. Luckily, our mentor Ben Williams-Butt was on hand to guide us through it all.
The Final Countdown
After days of arduous work (and only a small smattering of sweat), when the clock hit zero, we had a completed final film we were very happy with. We then headed to Films@59’s other location, where the company showcases its finished films to clients in their own miniature cinema, but that day, it displayed our own films. It was the most rewarding experience to see how far we had come, comparing my most recent work to earlier projects and seeing how much we had learnt and grown over the course of the module. To be able to cheer on my classmates and hear them cheer me on in return was a fantastic experience and a wonderful way to end the module. Seeing the finished film that we had nurtured from tentative doodles and ideas to a finished product on the big screen made it all worth it.
It was a long, and hefty process of getting to a final film, but our group genuinely enjoyed the whole experience, and are incredibly grateful to the Science Communication Unit and UWE Bristol for giving us the chance to make our first nature documentary! We would truly encourage anyone interested in science documentaries, journalism, education and more to consider taking this course and module to further your own careers in Science Communication.
If you’d like to go give “Slowing The Flow” a watch, it’s available on YouTube here:
