Climate change is the most serious challenge of the Anthropocene, and so climate change communication needs to be taken suitably seriously, enriched with new ways of conceptualising, understanding and imaging the world and its transformations. The lack of understanding and seeing the gravity of the crisis has been increasingly identified as the ‘crisis of the imagination’. Over the centuries, telling stories was used to confront the unknown, encourage thinking about solutions, illuminate opportunities and give hope. Stories and storytelling allow space for interpretation and agency to think critically and, most importantly, act imaginatively. They encourage inter- and transdisciplinarity and thus novel perspectives, stressing the fact that, ultimately, discussions on climate change are discussions about who we are. In this sense, storytelling has a great potential to motivate individuals, communities and policy-makers to act on climate change.

For a book that attempts to explain how to understand visuals in life sciences, it seems prudent to first explain what we mean by “visual,” even if it may seem quite a common word.

In everyday conversation, “visual” is often used as an adjective and means “relating to seeing or sight,” as in “visual impression” or “visual effect.” In the context of this book, “visual” is used similarly as an adjective, but in addition, and more often, it is used as a noun. As a noun, it refers to the variety of images used in life science communication. For example, photographs are a type of visual commonly used in life science communication, and so are drawings.

Illustrations are a visual staple in life science communication. Despite being commonplace, they are in many ways a blackbox. They mask the creative – and scientific – decisions that go into making them. They present an end product that says, as it were, “this is how you look through life to its essence.” The use of precise lines and explicit shapes helps to convey this scientific authority. In contemporary illustrations, pseudo-details such as colors and dimensions further prove that “this is what life looks like.”

Distance is a central concern for global historians. It is a physical and external condition of social life that global processes bridge. Exchanges, encounters and conflicts between strangers are common themes of global historians. Distance is also a cultural and conceptual condition, one that defines relations between strangers far – and near. Mobility and the advent of new modes of transportation and communications had ambiguous effects of closing the gap between strangers while heightening social distances, the need to explain them and policies to redress them.

Micrographs, like the little (pun intended) cousin of photographs, are considered by some as an objective portrayal of nature. Why, they are photographs of the microscopic world invisible to the naked human eye. As such, what you see is what you get, and what you get is nature unveiled.

Particularly because the microscopic world is invisible to us in everyday life, we find it even more urgent to behold that world. We assume that if and when we see, we will automatically understand. If and when we observe microorganisms in their smallest components, we will be able to “get” them and conquer them.

Contemporary life sciences are big data sciences. The human genome, for example, contains about three billion DNA base pairs and an estimated 20,000 protein-coding genes. Public health data, as another example, are endlessly enormous and encompass electronic medical records, health monitoring data, environmental data, and more. When it comes to analyzing and presenting these big data, interactive online visuals – maps, graphs, three-dimensional models, even computer games – have inherent advantages. They are dynamic and easily updated. They support user interaction and allow users to create displays that make sense to them. Being “hands-on” also makes these visual displays more interesting. As computer visualization technologies continue to advance, we are guaranteed to see faster, more fluid, more ingenious interactive displays.

Due to the COVID-19 pandemic, it has become essential for qualitative researchers to adopt online interviews for data collection. However, ensuring the validity of the interview protocol is no easy task, especially when the research involves people with intellectual disabilities. With these unique challenges, we attempted to validate the interview protocol to ensure the trustworthiness of the data. An online semi-structured interview protocol was developed and refined by integrating the Interview Protocol Refinement (IPR) Framework into a seven-step refinement process. A pilot test was conducted via video conference with five participants across five different groups. From the current pilot test, insights gained include (1) rephrasing the interview questions to assume casual conversation; (2) having a contingency plan in case of technical failure; (3) refining probes and follow-up questions; and (4) enhancing the reliability of proxy in interviewing person with Down syndrome. It is essential to develop a valid and reliable interview protocol to ensure a trustworthy qualitative finding. The process should be reflective and reiterative and should always be done in such a manner.

For most of the 20th century and earlier, central banks went about their business without ever feeling the need to communicate what they were doing to the financial markets or the general public. Then from around 1990 onwards, central banks became ever more transparent, trying to make clear to the markets and the public what they were doing and why. The purpose of this chapter is to understand why this change came about and how successful it has been.

As we have seen throughout this book, standalone visuals like photographs and illustrations are promising ways to communicate science to the public – and they carry their fair share of misconceptions and complications. These promises – as well as challenges – are multiplied in infographics.

The word “infographic” comes from the phrase “information graphic.” Originally, the term referred to the production of graphics for print media such as newspapers and magazines. Today it refers to a unique multimodal genre that combines data visualizations (i.e., graphs such as lines, pies, bars, and pictographs), illustrations (such as icons and drawings), photographs, and small amounts of text. When designed for online use, infographics can also have interactive components. For example, putting the mouse cursor somewhere on the infographic may reveal a small pop-up window with additional information. Some infographics are also animated: bars in a bar chart may grow, colors may change, or characters may move. This is often achieved by using animated GIF files that display a sequence of static images in a repeating loop, which creates the illusion of motion.

This chapter provides an overview and a summary of the following chapters.

This chapter first provides a brief review of the first remit given to the MPC in 1997 and why it would come to play such a key role in defining the monetary policy framework in the early years of the MPC.There is also a discussion of why the same concept has worked less well in other contexts, drawing on the UK’s attempts to introduce a remit for the IMF and pointing out the absence of a financial stability remit to match that for monetary policy.

Graphs – such as line graphs or bar graphs – convey numerical data. They are commonly used in life science communication as well as other communication contexts, such as when conveying stock market data, crime statistics, or real estate trends. The prevalence of these graphs doesn’t mean, as some may assume, that they are always easy to understand. Depending on design choices, some graphs will be able to shed light on important numerical data for public understanding of science, while others are likely to confuse or leave readers with a heightened conviction that science is an inaccessible enterprise.

Much ink has been spilled on the issue of how to design central bank mandates since the improvised and hasty birth of the inflation target in the UK in the aftermath of its exit from Europe’s Exchange Rate Mechanism in the autumn of 1992. This chapter is a brief introduction to the argument for raising the inflation target in the light of the experience since the target was first set, and aims to spill as little further ink as possible

Photographs are often considered an “easy” and accessible type of scientific visual. After all, they are commonplace in everyday life and not exclusive to scientific research. Everyone takes photographs and knows what photographs are. As long as one can physically see, one (so it is thought) can get what a photograph is about. Unfortunately, when it comes to life science photographs, much of this is misconception. This chapter explains why.

Neither scientists, nor economists, nor insurers, nor military planners have assessed the risks of climate change in full. Heads of government are left to guess. A clear understanding of the scale of the risks will not on its own guarantee a proportionate response. But unless we have such an understanding, we can hardly be surprised if our response is inadequate.