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.

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”.

Science magazines have an important role in disseminating scientific knowledge into the public sphere and in discussing the broader scope affected by scientific research such as technology, ethics and politics. Student-run science magazines afford opportunities for future scientists, communicators, politicians and others to practice communicating science. The ability to translate ‘scientese’ into a jargon-free discussion is rarely easy: it requires practice, and student magazines may provide good practice ground for undergraduate and graduate science students wishing to improve their communication skills.

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.

The educational function of science museums was born with the first naturalistic collections ever, flourished in 16th-century Italy. The pedagogic thought and the educational experimentations carried out in approximately five century of history have allowed the educational mission of museums to acquire many different facets, drawing a task having an increasingly higher and complex social value. Recent publications explore these new meanings of an old role.

Those studying the public understanding of science and risk perception have held it clear for long: the relation between information and judgment elaboration is not a linear one at all. Among the reasons behind it, on the one hand, data never are totally “bare” and culturally neutral; on the other hand, in formulating a judgment having some value, the analytic component intertwines – sometimes unpredictably – with the cultural history and the personal elaboration of anyone of us.

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.

“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.