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his article reads T. S. Eliot’s The Waste Land from an “ecocritical” (Glotfelty & Fromm 1996; Garrard 2004) and “blue” (Hau’ofa 2008; Ingersoll 2016; Mathieson 2021) or ‘water’ perspective. It focuses on Eliot’s magical and aesthetic (r)evolutions depicting the sterility and degradation of life after World War I. I focus on three episodes that mix modern expressions and arts with highly evocative and spiritual forces coming from Eliot’s American heritage and his interest in Eastern religions and philosophies. Madame Sosostris’s reading of the ‘wicked’ cards becomes in this way a Modernist dance of ‘liquid’ archetypes. Tiresias, the prophet and true ‘seer’ evokes a Cubist painting while substantiating the need for fluid and more positive encounters in our life. The three-time beating refrain in the Shanti prayer epitomises the rhythm of water-dropping, the expected coming of water that will heal and re-connect humanity with the ‘One life’. In this “undisciplined” (Benozzo 2010) interpretation, I read The Waste Land as a prayer for water, a communal and “partnership” (Eisler 1988; Eisler & Fry 2019) claim for regeneration and transformation, in the acknowledgement that we, humans, are just one side of the spiralling and cosmic music of the world.

The area where literature, art, music, religion, spirituality, and philosophy split off from, run parallel to each other, and merge again is like a delta. This essay explores the complex interrelations between art and spirituality on three levels. First on the level of spiritual experience, exemplified by experiences of the art of still life (the painter Morandi, the poet Kopland). On the second level, several questions about meaning are analyzed, beginning with the question of meaning posed by the work of art itself. Both art and spirituality presuppose an open and receptive attitude. In philosophical reflections on the meaning of art, some aim primarily at its relevance for our insight into the reality of things, people, and animals, while others are more concerned with its significance for human action. Thirdly, some problems on the level of research are discussed. Research invites us to come to a critical relativization of what we have seen, heard, or read and also allows us to see that the often presupposed ‘immediacy’ of our experience is in fact mediated by pre-given schemes and habits. Three reasons are given to answer the question why it is meaningful to research these mediations and to search for the authentic meanings of art works (in particular works of literature) themselves.

The article explores the way in which the four works of art reproduced in the novel Cercle (2007) by Yannick Haenel, and inserted in the narrative, can be seen as literary objects whose meaning is more complex than expected. Beyond their role in the narrative construction of the novel, these art works reflect the narrator’s experience and signal a specific gesture. They also convene four different fictional devices. Finally, they reflect Haenel’s self-portrayal, telling us something of his relations with his work and his image as writer. The art works supplement the text at different levels, in a dynamic fashion.

Sheikhe Eshraq is known in the Islamic civilization as the first theorist of imaginational world. His important idea in Hekmat-al-Eshraq and other works in the proof of a world between lights world and material world as an isthmus (imaginational world or mundus imaginalis) between this world and hereafter or between spiritual world and obvious material world has important and significant effect on the expression of the universe stages in the works of Islamic wisdom such as Hazarate Khams (five divine beings) of Ibne Arabi. In order to describe and explain imaginational world, the use of imagination (which was used by Farabi as a factor to justify and explain Revelation and Prophethood and was analyzed completely by Avicenna in "Shefa") was more developed in the illuminationist wisdom and, as an esoteric faculty, it became a mirror reflecting imaginative forms of the imaginal world of imagination. Thus, referring to verses such as" then We sent her Our angel to human beings only" and appearance of Gabriel as Dahiee Kalbi to the prophet of Islam, the imaginational world became a source of ideal forms which appeared in the imagination of human and especially with regard to delicate point of Sheikh Eshraq in explaining the rule of Kon which considers an active role for the Wayfarer in creating such forms. The aim of this article is, first, to explain the faculty of imagination and its function as epistemological realm (continuous imagination) and also analyze ontological aspects of imagination, known as imaginational world or plan of ideal (discrete imagination), and then describe the role of these imaginations in founding the early and most important theosophical theories in the realm of Islamic art, literature and architecture (especially mosque).

Comics are a popular art form especially among children and as such provide a potential medium for science education and communication. In an attempt to present science comics in a museum exhibit I found many science themed comics and graphic books. Here I attempt to provide an overview of already available comics that communicate science, the genre of ‘science comics’. I also provide a quick literature review for evidence that comics can indeed be efficiently used for promoting scientific literacy via education and communication. I address the issue of lack of studies about science comics and their readers and suggest some possible reasons for this as well as some questions that could be addressed in future studies on the effect these comics may have on science communication.

There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication).It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.

In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on the final results of this phenomenon and on what will happen next. Also, emphasis should be put on the importance for each museum to define right from the start an ‘art policy’, even a complex one, but somehow structured, that may be employed at many levels according to the needs of the museum itself.

Hannah Redler’s paper examines the 13 year history of Science Museum, London’s contemporary art programme and explores how changing cultural conditions and the changing function of museums are making the questions raised by bringing art into the Science Museum context increasingly significant. It looks at how Science Museum Arts Projects started as a quirky, experimental sideline aimed at shaking up the Museum and its visitors’ assumptions, but has now become a fundamental means by which the Science Museum chooses to represent the impact of science, medicine, engineering and technology on peoples’ everyday lives.

The Natural History Museum’s contemporary arts programme is described and discussed, in particular the developments since 2006. The various models of engaging with artists and the rationale behind the resulting exhibitions and displays are explained in more detail. Artists who have created new works enabled through the programme include Mark Dion, choreographer Siobhan Davies, Tania Kovats, Tessa Farmer, Dan Harvey and Heather Ackroyd.

In present times it would not be appropriate to say art made a “debut” in science centres, as it has been a feature since the beginning of their history, and it appeared precisely in the ‘parent’ science centre, the Exploratorium. However, now it is time to check the progress. There is unrest for this issue, as in history-making times, and it is worthwhile to follow the new developments and hear the words of the coordinators of the artistic activities in science centres and, more in general, in science museums, and also of the artists involved in the process. The goal is to promote a debate on the final results of this phenomenon and on what will happen next. Also, emphasis should be put on the importance for each museum to define right from the start an ‘art policy’, even a complex one, but somehow structured, that may be employed at many levels according to the needs of the museum itself.

There is a fundamental difference between artists, who use science as an object of social examination, and artists, who believe that science represents a component of their expressive style. The idea that different ideological manipulations of the Art&Science concept can cause a distorted view on this fascinating and at the same time controversial relation is becoming clear. In our projects we use different technological and scientific applications; to us technology is an integral part of our artistic expression. The scientific and analytical approach that we use when we investigate and solve various operations within our projects, indicates that our system is based on collective and systematic work and it allows us to understand better the different problems and relations of contemporary society. Art has always played an important role in the system of the communication of ideas and feelings in a tight connection with contemporary society. No wonder that the artist today uses the methods and technologies of modern and sophisticated devices. We are all users of new technologies, developed with the help of scientific discoveries in order to satisfy our needs. Anyway the belief that society borrowed research in the field of science and technology in order to survive is incorrect.

"The Art of Discovery" discusses an ambitious educational program taught by the artist which incorporated locative media, contemporary art, site specificity, and creative work as a proposal for the integration of art, technology and science.

The climate change issue has become increasingly present in our society in the last decade and central also to communication studies. In the e-book “Communicating Climate Change: Discourses, Mediations and Perceptions”, edited by Anabela Carvalho, various scholars investigate how climate change challenges communication by looking at three main aspects: the discourses of a variety of social actors on climate change; the reconstruction of those discourses in the media; the citizens’ perceptions, understandings and attitudes in relation to climate change.

Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

The essence of the notion of the artistic interest and its structures is opened in this article by Chebotarenko O.V., Ovcharenko O.S. The new aspects, directions, modern approaches to form the artistic interest of pupils of schools are considered.

Drawing on the example of Leonardo da Vinci, who was able to combine arts and science in his work, the National Museum of Science and Technology of Milan has always pursued the blending and the dialogue of humanistic and scientific knowledge. It has employed this approach in all of its activities, from the set design of exhibition departments to the acquisition of collections and, more recently, in the dialogue with the public. Now more than ever, following a renewal path for the Museum, these guidelines are being subject to research to achieve a new and more up-to-date interpretation.

There have been countless innovations in the realm of science museology after the foundation of the Exploratorium of San Francisco and of the Ontario Science Center of Toronto with, among other things, the introduction of the exhibits hands-on, the use of new technologies and the arrival of virtuality.But most of all a new dialogue was launched, also as a form of transformation of reality. And what is drama but fiction and transformation of reality?This statement is the basis for the belief that museums and the theatre should continue, if not even start, a path to move closer, so as to make their languages work at the service of each other.A dialogical interaction which is difficult (as both languages and their interpreters crave for superiority), strong (the place for communication becomes multi-channel), but necessary (in view of a systemic approach of science communication).It is necessary especially to build an all-encompassing museum to fully play a sociological role of study, interpretation and determination of human society.

Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of special interlocutors in the dialogue between science and society.

In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to be paid to procedures and contexts. In search of a new humanism in contact with the natural universe.

The world, all at once, has become a small world. Not only owing to TV, satellites and the Internet that allow us to jump from side to side of our planet in a click. But also owing to a phenomenon that evokes dry lands, devastating rains, tsunamis and hurricanes, torrid summers and melting glaciers: global warming. In the heated argument on this issue with so many people talking, in the past few years also artists have made their rising voice be heard. Artists-popularisers, aware of their role and of the considerable communication potential of the art medium. Because “One salient image, sculpture or event can speak louder than volumes of scientific data”.

In the globalisation era, arts have provided food for thought on “how latitudes became forms”, to stress again that now, at global level, one should no longer define art as a contemplation “space”, but as an “environment”, a place for experience. On the other hand, already when Bern saw the inauguration of the historic exhibition “When Attitudes became Forms” in 1969, people realised that the problem was lying in the behaviour, in the attitude, of making arts towards the world. Basically, the formalistic concept of self-referentiality in a work of art was to be overcome, and attention was to be paid to procedures and contexts. In search of a new humanism in contact with the natural universe.

Artists have used the environment as a subject forever and there is a long history of artists whose works affect peoples’ awareness of and perceptions of their natural environments. But only relatively recently have other artists become part of the modern environmental movement and of efforts to educate college students and the population at large about environmental issues. Environmental studies programs need to take advantage of this increased interest on the part of artists, and global warming provides a perfect vehicle.

Artists create new aesthetics to communicate new messages and new concerns. Apprehension about the climate, its changes, global warming and a disposition to anxiously running after an ideal sustainable development are part of the issues we all now experience with a certain degree of anxiety. This is why the sensitive antennae of artists have perceived and evolved that. Now they are committed on many fields to making their voice be heard and to raising ethical and social issues, also regarding the scientific instruments man possesses to manipulate nature. So they have now accessed the group of special interlocutors in the dialogue between science and society.

Despite the developed world’s climate-controlled interiors and easy access to all kinds of fresh produce at any time of year, our lives are still dependent upon the weather and climate. With global warming, our dependence is becoming even more apparent. I am an artist working with new technologies and last year I had the opportunity to go to Antarctica for two months on a US National Science Foundation-sponsored residency where I worked alongside scientists studying the global implications of Antarctic weather and climate change. The Antarctic is unlike any other place on earth. There, I wanted to find a way to more closely engage with the issue of global climate change.

In January 2006, my wife Susannah Sayler and I set out to photograph landscapes around the world that were being transformed by global warming. We called our work The Canary Project. From the beginning, as now, we had both activist aims and artistic ambitions. These two types of motivation overlap in places and in other places feel completely distinct. In general, we feel as though are carrying forward a torch that science cannot carry any further. Following are some thoughts on our role as activists and as artists and as collaborators with the scientific community.

This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.

This article offers a 1953-present day review of the models that have popularised DNA, one of the fundamental molecules of biochemistry. DNA has become an iconic concept over the 20th century, overcoming the boundaries of science and spreading into literature, painting, sculpture or religion. This work analyses the reasons why DNA has penetrated society so effectively and examines some of the main metaphors used by the scientists and scientific popularisers. Furthermore, this article, taken from the author's PhD thesis, describes some recent popularisation models for this molecule.

Within just a few months, new releases in the world of publishing have seen two books dealing with science and The Simpsons, one published in the US and the other in Italy: last spring, What's science ever done for us? by Paul Halpern (John Wiley & Sons, New York 2007) and, this autumn, La scienza dei Simpson by Marco Malaspina (Sironi Editore, Milano 2007).

Within just a few months, new releases in the world of publishing have seen two books dealing with science and The Simpsons, one published in the US and the other in Italy: last spring, What's science ever done for us? by Paul Halpern (John Wiley & Sons, New York 2007) and, this autumn, La scienza dei Simpson by Marco Malaspina (Sironi Editore, Milano 2007).

This paper relates to a special case of science-society mediation set up during the Science et Cité festival 2005. This national event took place in about twenty cities in Switzerland to promote a closer cooperation between science and society via art (theatre, music, dance, exhibitions, cinema, etc.), in order to reach the population at large. Results on the profile of the public, the role played by the cultural institutions involved, the motives of the visitors and the role of art in the science-society dialogue show that the goals aimed at by the festival's organisers were only partially reached. Moreover, the analyses shed light on the complex relation between art, science and society in public understanding of science activities.

The article reports the outcome of an analysis of the reception of Bertolt Brecht’s play, "The Life of Galileo", as presented by Giorgio Strehler (Milan, 1963) and Brecht himself in collaboration with Erich Engel (East Berlin, 1957), carried out on respective press reviews. The reviews were examined by the application of quantitative analysis based on the recurrence of determinate themes associated with images of science. In comparing the results of the analysis of each of the two press reviews, it appears that different images were conveyed by the same play performed in two different contexts for different audiences. Italy, in particular, showed a more frequent recurrence of the conflict between science and religion as a result of the ongoing cultural and spiritual authority of the Church, whereas in the German Democratic Republic’s communist regime, where Brecht is a troublesome but tolerated intellectual, the topics of the scientist’s freedom within the Establishment and intellectual courage were more frequent.

The article reports the outcome of an analysis of the reception of Bertolt Brecht’s play, "The Life of Galileo", as presented by Giorgio Strehler (Milan, 1963) and Brecht himself in collaboration with Erich Engel (East Berlin, 1957), carried out on respective press reviews. The reviews were examined by the application of quantitative analysis based on the recurrence of determinate themes associated with images of science. In comparing the results of the analysis of each of the two press reviews, it appears that different images were conveyed by the same play performed in two different contexts for different audiences. Italy, in particular, showed a more frequent recurrence of the conflict between science and religion as a result of the ongoing cultural and spiritual authority of the Church, whereas in the German Democratic Republic’s communist regime, where Brecht is a troublesome but tolerated intellectual, the topics of the scientist’s freedom within the Establishment and intellectual courage were more frequent.

O texto trata das intersecções entre literatura e artes visuais em The Illogic of Kassel de Enrique Vila-Matas e Leaving the Atocha Station de Ben Lerner. Ambos autores são “aliados da arte contemporânea”, como o próprio Lísias confessa ser, e seus livros considerados romances, assim como obras plásticas.