To observe art and science in interaction offered a great opportunity for me as cultural anthropologist to learn about the production of climate knowledge. Like ethnographers, artists entered the world of science, observed climate scientists and participated in their daily routines. They dissected elements of the scientific process and focused on science as a social practice. For scientists and artists, a process of “self-identification via the other” [Kramer, 1993] was set into motion. The artwork reflects this process by “mimicking” scientific procedures and by linking human sentiment and material sediments. Introducing the anthropological imagery of the trickster, I suggest that the project challenges a basic modern constitution — the separation of nature and culture — and brings the debate about climate change back into society.

The notion of ‘artistic research’ is a buzzword in contemporary cultural policy, scientific and artistic discourses. This text is not trying to add another note to the polyphony of attempts to define the concept. Rather, it aims to trace and analyse some possible backgrounds of emergence, suggesting that the myriad of definitions and descriptions of artistic research is rooted in the most varying and to a point contradictory motivations.

Many climate scientists find themselves confronted with the challenge of purportedly “knowing better” — while this is a valid claim with respect to a small segment of reality, namely their narrow field of expertise, the public expectation often is that they know better about the “world’s problems”, and what to do about it, sometimes even with the rhetoric of “saving” the world. Artists may help in this situation by bringing forth different viewpoints, challenging hidden assumptions and suggesting surprising links; however, more often, the arts seem to be considered as a useful supporter in attempts to save the world. In the present project, however, the artists seem to have taken climate science mostly as a point of departure for their individual curiosity and joy of experimenting.

Taking a wider view, departing from the specific case of the Hamburg exchange between artists and climate scientists, this comment envisages some radical potential for the collaboration of artists and climate scientists: moving beyond the traditional boundaries of social systems, artistic research and climate science may engage in a shared transdisciplinary learning process. They may communicate with the rest of society by engaging with others to develop ‘spaces of possibilities’, thus nurturing the creative resilience of communities.

This set of comments reports experiences from a recent “science-meets-arts”-project in Germany, in which students from the University of Fine Arts in Hamburg (HFBK) shared day-to-day life in climate research groups for several months. The project was envisioned as a process of mutual inspiration with the aim of producing a joint exhibition and symposium at the end. This paper introduces the project as well as the subsequent commentaries and also presents some of my own observations.

The cultural phenomenon of ‘science festivals’ is ever expanding throughout the world, as universities, city and regional governments, and science engagement professionals alike embrace the concept of a focused ‘celebration’ of science. In the past however science festivals have been criticized for neglecting underrepresented audiences. This special issue explores the extent to which current science festivals have managed to engage with diverse publics, and identifies the key challenges facing the future of science festivals, most notably the need for deeper research into the impacts of science festivals.

Creating science content for cultural contexts in which the audience are not primarily motivated by an interest in science, can provide exciting opportunities for experimenting with new approaches to science engagement. This article explores some of the learning gained, and practical methodologies developed by Einstein’s Garden, the science, nature and environment area of the Green Man Festival.

Public understanding of science has been replaced by engagement and participation, and science events, like festivals and science days, have become significant actors by offering direct contacts between scientists, public and policy-makers, as opportunities to engage and participate. After more than 20 years of festivals and events, the need for impact evidence is strong, although it is acknowledged that it will have to be based on complex data and observations. Many science events look for collaboration within the cultural sector. Social inclusion and participation in local and regional development are other important issues for the science events community.

Science festivals (or just “festivals”) are currently ascendant in the United States with more than 40 new initiatives emerging in just the past 5 years, but their story is not so easily told. The schedule of any one individual festival may contain a staggering array of events, and each festival is different both from year to year, and from other festivals. One multi-festival evaluation points to potential strengths of the format, as well as the importance of the participation of STEM practitioners. Collaboration and social identity formation are considered as powerful festival impacts, and potential challenges for festivals are discussed.

For the past thirty years, The National Institute of Higher Education, Research, Science and Technology (NIHERST), Trinidad and Tobago, has been a pioneering force in science popularization both locally and regionally. The biennial NIHERST Sci-TechKnoFest is the Caribbean’s premier science festival, having hosted seven large-scale events catering to tens of thousands of patrons each. This article provides an overview of the role of NIHERST at the national development level, an in-depth look at the content of Sci-TechKnoFest 2013, its impacts on visitors and the way forward for the festival.