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.

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.

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.

Internet and the new media have been dramatically affecting the communication scenario. They are changing the role played by traditional media in the information processes, are creating new public spaces for dialogue and participation, and are triggering a short circuit among those producing and those receiving information. Even science communication is not stranger to the changes brought about by the new way of using and populating the web. An epitome of this process of change is the scientific podcast. This article will provide a brief review on the spreading and the purposes of podcasts in science communication, coming from a survey implemented as an activity of the course Science via podcast addressed to the second-year students of the Master in Science Communication of SISSA of Trieste.

My intention is to analyze how, where and if grid computing technology is truly enabling a new way of doing science (so-called ‘e-science’). I will base my views on the experiences accumulated thus far in a number of scientific communities, which we have provided with the opportunity of using grid computing. I shall first define some basic terms and concepts and then discuss a number of specific cases in which the use of grid computing has actually made possible a new method for doing science. I will then present a case in which this did not result in a change in research methods. I will try to identify the reasons for these failures and analyze the future evolution of grid computing. I will conclude by introducing and commenting the concept of ‘cloud computing’, the approach offered and provided by major industrial actors (Google/IBM and Amazon being among the most important) and what impact this technology might have on the world of research.

Will the use of the Web change the way we produce scientific papers? Science go through cycles, and the development of communication of science reflects the development of science itself. So, new technologies and new social norms are altering the formality of the scientific communication, including the format of the scientific paper. In the future, as PLoS One is experimenting right now, journals will be online hosts for all styles of scientific contributions and ways to link them together, with different people contributing to a body of work and making science more interdisciplinary and interconnected.

Science blogging is a very useful system for scientists to improve their work, to keep in touch with other colleagues, to access unfamiliar science developed in other fields, to open new collaborations, to gain visibility, to discuss with the public. To favour the building of blog communities, some media have set up networks hosting scientists' blogs, like ScienceBlogs.com or Nature Network. With some interesting features and many potential uses.

From the life sciences to the physical sciences, chemistry to archaeology, the last 25 years have brought an unprecedented shift in the way research happens day to day, and the average scientist is now simply awash in data. This comment focuses on the integration and federation of an exponentially increasing pool of data on the global digital network. Furthermore, it explores the question of the legal regimes available for use on this pool of data, with particular attention to the application of “Free/Libre/Open” copyright licenses on data and databases. In fact, the application of such licenses has the potential to severely restrict the integration and federation of scientific data. The public domain for science should be the first choice if integration is our goal, and there are other strategies that show potential to achieve the social goals embodied in many common-use licensing systems without the negative consequences of a copyright-based approach.

“Web 2.0” is the mantra enthusiastically repeated in the past few years on anything concerning the production of culture, dialogue and online communication. Even science is changing, along with the processes involving the communication, collaboration and cooperation created through the web, yet rooted in some of its historical features of openness. For this issue, JCOM has asked some experts on the most recent changes in science to analyse the potential and the contradictions lying in online collaborative science. The new open science feeds on the opportunity to freely contribute to knowledge production, sharing not only data, but also software and hardware. But it is open also to the outside, where citizens use Web 2.0 instruments to discuss about science in a horizontal way.