Science plays a central role in shaping our collective future, a conviction reflected in the 2024 launch of the International Decade of Sciences for Sustainable Development (IDSSD) initiative. Led by UNESCO, the initiative aims to 鈥榩romote global collaboration through sciences to achieve a sustainable future鈥�.

Yet while technological progress has brought substantial benefits, the prevailing scientific perspective has framed our universe and the nature of reality as purely material and mechanistic systems, devoid of inherent meaning or purpose. These assumptions and the鈥痩imited鈥痚vidence then available helped underpin the Industrial Revolution鈥痠n the 19th鈥痗entury. Fuelling鈥痭ot only an extractivist鈥痑nd exploitative economic and financial system but the governance, social, and corporate鈥痵ystems鈥痑nd structures鈥痶hat,鈥痳eflected and embedded its imperatives, continue to drive today鈥檚 social and ecological crises.

This worldview and its consequences have also effectively dismembered our collective psyche, giving rise to what I call a dis-ease of separation in our relations with one another and the natural world. To truly confront the existential threats we face, we must do more than manage the symptoms of its pathology; we must heal our foundational rupture.

The Club of Rome has long鈥痑ppreciated鈥痶hat鈥痵ystemic transformation must begin with a transformation of worldview. For example, recent听(more听) suggest that lasting solutions must address not only geopolitical tensions but also the deeper patterns of disconnection that drive them.

Now,鈥痭ew鈥痵cientific鈥痙iscoveries are鈥痠ndeed鈥痳evealing鈥痵uch鈥痑鈥痺holistic鈥痷nderstanding.听鈥檚 latest discussion paper,听鈥樷��, summarises the wide-ranging evidence at all scales of existence and across many fields of research听that supports and enables an emergent perspective: that our universe is fundamentally relational and interconnected.

Here are the鈥痥ey findings:

The same patterns shape everything 鈥� from atoms to the universe

From tiny clusters of atoms to the faint background radiation left over from an early epoch of the universe, the same basic patterns appear again and again. These patterns are not random. They show that reality is built on relationships 鈥� how things connect and interact 鈥� rather than on separate, isolated objects. The paper suggests that what we call matter may be better understood as organised information: patterns that take physical form. These relational patterns are not only found in distant galaxies or subatomic particles, but also in the systems that shape our everyday lives.

Nature and human systems follow similar mathematical patterns

The same repeating shapes and growth patterns appear across very different systems. Scientists call some of these fractal patterns 鈥� structures that look similar at different scales, like branching trees, river networks, or blood vessels. Many systems also follow power laws. This means that small events are common and large ones are rare, but they follow a predictable relationship. For example, earthquakes range from many small tremors to a few major quakes; conflicts range from small disputes to large wars; cities and galaxies both show patterns in how populations cluster and grow; and ecosystems and even the internet develop networks with similar structures. Across nature and human society, similar organising principles are being discovered to be at work.

The universe is connected at a deep level

Einstein鈥檚 theory of relativity shows that nothing can travel faster than the speed of light within space-time, preserving cause and effect across the universe. At the same time, experiments in quantum physics demonstrate that particles can remain connected across vast distances 鈥� a phenomenon known as quantum entanglement. This means two particles can behave as if linked, even when separated.

Experiments confirmed this effect over increasingly large distances, and the 2022 Nobel Prize in Physics recognised this work. Together, these findings suggest that the universe is not composed of completely separate parts, but behaves as a deeply interconnected whole.

Crucially, while going beyond materialism per se, such a unitive understanding that sees鈥痮ur鈥痷niverse as鈥痚ssentially whole,鈥痜undamentally鈥痳elational鈥�, and interdependent鈥痗ontinues to be鈥痵cientifically鈥痑ccessible and鈥痳igorous.鈥疪ather than discarding鈥痯revious鈥痵cientific鈥痜rameworks, it includes and transcends the鈥痯revious鈥痯aradigm;鈥痭ow, though,鈥痺hile exploring whether mind and consciousness may play a more fundamental鈥痳ole in the nature of reality.

Its鈥痷nitive鈥痸ision and narrative converge with ancient wisdom teachings and Indigenous traditions, re-imbuing our universe with innate meaning and purpose and ourselves in mind, body, and spirit, inseparable from its planetary and universal web of life.

The paper invites further dialogue,鈥痠nvestigation鈥�, and testing of such an evidence-based鈥痷nitive perspective,鈥痑iming鈥痶o further enable and empower鈥痮ur collective鈥痚fforts鈥痳egarding鈥痟uman and planetary well-being.

In positing that鈥痵uch鈥痳eframing鈥痮f鈥痮ur worldview offers a鈥痯otentially pivotal鈥痮pportunity to usher in our next and evolutionary steps as a species, it raises鈥痑nd invites exploration of鈥痠mportant questions, ranging from the personal and cultural across organisational and societal levels to global and planetary systemic scales.

For example:

• How might a unitive perspective inform approaches to reconciliation,鈥痯eace-building, and healing social fragmentation? And what could it mean to design education and learning systems that reflect interdependence, planetary limits, and long-term responsibility?
• How might this perspective contribute to new ways of thinking about governance in a pluralistic and interdependent world? And what questions does it raise about how we shape economic systems, technological innovation, and artificial intelligence in ways that serve long-term planetary wellbeing?
• In what ways could its perspective help recontextualise today鈥檚 overlapping meta-crisis not only as breakdowns but also as moments of potential transformation, or even metamorphosis?
• Also,鈥痑s we鈥痵eek鈥痶o navigate these turbulent times of transition,鈥痟ow might understanding humanity as part of a living Earth system鈥痑nd interdependent universe鈥痠nfluence what it means to be a good ancestor鈥痠n nurturing鈥痮ur emergent potential?

As Donella Meadows, co-author of the first report to the Club of Rome鈥檚鈥�, argued, such a change of mindset may be the most effective intervention to guide and empower democratic and equitable responses to existential risks鈥痶hat we face, and to support the pathways to a regenerative and sustainable future鈥痜or humanity and our planetary home.

Read the full discussion paper 鈥楾he unitive science of a living universe鈥� 

The special session was organized by the organizers of the Global Baku Forum 鈥� Nizami Ganjavi International Center (NGIC) 鈥� in partnership with WAAS. It was a follow-up event to the 2025 discussion on Global Turbulence at the XII Baku Forum, and focused on the development of solutions at six sessions that covered themes such as, “Understanding the Moment,” “War and Conflict,” “Technology and Sovereignty,” “Climate Change & Global Water Systems,” “Human Security” and “Implications for Leadership.”

WAAS Secretary General Janani Ramanathan opened the session by tracing the decade long beneficial collaboration between the 被窝影视福利 and Nizami Ganjavi International Center. Vaira V墨姆e-Freiberga, co-chair of NGIC, former Latvian President and WAAS Fellow, examined turbulence was a feature of rapid change and calling for a more human approach grounded in compassion. Rebeca Grynspan, Secretary-General of UNCTAD  sett the scene with a call for the United Nations to be respected as the world鈥檚 anchor of peace and the provider of the “off ramp” for the world’s conflicts. WAAS President Garry Jacobs, followed by WAAS Fellows Frank O鈥橠onnell,  Stefan Brunnhuber and Janani Ramanthan framed today’s turbulence as the stress, resistance and structural crisis generated by a dramatically accelerated process of global social change and the need for radical systems. 

The war and conflict session, moderated by Ismail Serageldin, former World Bank VP and WAAS Fellow, produced the starkest verdict: the world has reverted to an early 20th-century moment – before multilateral norms held – where conflict and foreign policy once again recognise no boundaries. The widening Middle East war, now drawing the US into direct confrontation with Iran, was cited as exhibit one. Former UNOG Chief de Cabinet David Chikvaidze, former Arab League chief Amre Moussa and former Belgian PM Yves Leterme, were among the panelists. Peter Galbraith, former US ambassador to Croatia, pointed to the critical importance of understanding cultures and political systems abroad in avoid miscalculations in wars that claim to foster peace. 

In an intense session on technology and sovereignty, Ketan Patel, WAAS executive director and chair of Force for Good, warned that humanity has entered an age of cognitive empires – the mind itself being colonised as geopolitical power shifts from physical territory to subtly occupying the minds of people across the world. Panellists included former President of Croatia Ivo Josipovic, former Minister of Defence of Montenegro Milica Pejanovic-Durisic, Club of Rome member and impact investor Mariana Bozesan, and WAAS Fellows Elena Mustakova and Mila Popovich, argued for measures to protect sovereignty and use science to drive progress for all.

A climate session, held in partnership with the COP29 Presidency and chaired by Nicolaos Theodossiou, examined water security and sea-level variability, along with Azerbaijan’s climate envoy Mukhtar Babayev, COP29 champion Nigar Arpadarai and WAAS Fellow Grigoris Zarotiadis. Hafez Ghanem, former Regional VP of World Bank, then moderated a human security session arguing for a bottom-up reframing of the turbulence agenda around ordinary people’s lived experience. Panellists included economist and Peking University Dean Lin Yifu, former Czech Prime Minister Jan Fischer, UNESCO-MOST BRIDGES Programme Executive Director Steven Hartman and WAAS General Manager Grant Schreiber.

Former UN General Assembly President Mar铆a Fernanda Espinosa, former President of Latvia Valdis Zatlers, former Minister from Ireland Dennis Naughton and Walter Furst examined the kind of leaders, institutions and modes of thinking needed to understand and address today鈥檚 challenges. Ketal Patel concluded the program by framing turbulence as a central feature of civilizational shift – and stressed that the only path through it, without the world wars and mass turmoil that marked previous such transitions, is a fundamental raising of human consciousness.

There is another way to approach AI, one that begins in wonder rather than warning.

Long before machines learned to speak in sentences, human beings learned to speak in images. We learned to sing, to carve, to paint, to dance, to tell stories that could outlive a single lifetime. Art has always been the place where a species rehearses its next identity. It is where we test meaning, practice perception, and remember what the nervous system knows before the intellect catches up.

In that sense, AI is not an alien interruption. It is a continuation of an ancient pattern.

Humans are tool makers, and our tools are not only external. They become internal. Tools change our bodies, our timing, our attention, and the way we imagine reality. A stone blade reshaped the hand and the hunt. A drum reshaped breath and trance. Pigment reshaped memory. Writing reshaped time. Printing reshaped religion and politics. Photography reshaped truth. Film reshaped empathy. Broadcasting reshaped identity. Networks reshaped the community. Virtual worlds reshaped place.

Every new tool becomes a new kind of mirror.

And art, across the ages, has been the craft of learning how to look into each mirror without losing the world behind it.

Creativity as a State of Consciousness

Creativity is often described, quietly and accurately, as a mode of mind that loosens the usual grip of linear thought. It can feel like a freely disassociated state, where the mind wanders, collides, recombines, and returns with a surprising coherence that did not exist before the wandering began. The poet does not always know where the poem is going. The composer follows a sound that seems to arrive from elsewhere. The dancer listens with the whole body. The scientist, too, experiences this, because discovery often comes as a felt arrival before it becomes an explanation.

This is not dysfunction. This is a feature of human intelligence.

The creative mind can temporarily suspend ordinary categorization, allowing the deeper pattern-making system to work. It explores the unknown, the unspoken, the half-remembered, and the not-yet-formed. It is improvisational. It is non-linear. It is relational. It is often communal, even when one person is holding the pencil.

In many Indigenous and ceremonial traditions, this is not treated as a novelty. It is treated as a discipline. Attention is shaped. Perception is trained. Imagination is honored as a way of knowing. Art is not decoration. It is guidance.

This is why the future of AI and art is not primarily about speed or style. It is about consciousness. It is about how we relate to a tool that can externalize, amplify, and reflect mental movement itself.

AI as the Newest Extension of an Ancient Arrangement

If we step back far enough, AI looks less like a robot and more like a new layer of tool-assisted cognition.

The earliest tools extended strength. Then the tools extended their reach. Then tools extended memory. Then, tools extended coordination across distance. Now, tools extend pattern recognition, synthesis, simulation, and generative iteration.

Artists have always worked at the frontier of these extensions.

Cave painters used mineral chemistry and firelight, the earliest immersive projection system. Sculptors learned stone as a language of force and fracture. Architects choreographed the community through space. Weavers encoded cosmology into cloth. Lens makers changed the human relationship with scale, revealing both galaxies and microbes. Editors learned that time itself could be sculpted. Animators learned to give motion to the invisible. Game designers learned to build worlds whose rules teach values.

What is AI in this lineage?

AI is a partner tool for exploring possibility space. It is a conversational instrument for ideation. It is a simulator of variations. It is a mirror for language and image. It is a rapid prototype engine for story, design, and strategy. It is also, crucially, a new medium for collaboration between people, because it can help groups think together, translate across domains, and build shared models of complex reality.

If we treat AI as merely a shortcut, we miss its deeper potential. If we treat it as an authority, we surrender the very faculties that make art meaningful. The opportunity is to treat it as an instrument, like a camera, like a synthesizer, like an editing suite, like a studio full of apprentices who can draft a hundred sketches while the artist chooses the one that has a soul.

The Artist in the Cyber Physical Continuum

I have lived with this question for a long time because my life has been a conversation among perception, art, and emerging tools.

In 1996, in Silicon Valley, I created the world鈥檚 first digital-twin smart-city metaverse. It was not an escape world. It was a demonstration that public scale, shared, navigable digital reality would become a civic medium. It integrated geospatial context, social presence, and interactive simulation into a unified fabric of place. I learned from that work that immersion is not a gimmick. Immersion changes what people believe is real. It changes how they relate. It changes what they remember.

Today, we call this the cyber-physical continuum. It is the convergence of networks, sensors, digital twins, AI, and shared spatial computing into an environment that surrounds daily life. It is not coming someday. It is arriving in layers, quietly, through phones, vehicles, logistics, education, health, public safety, and entertainment.

Artists belong at the center of this, because the cyber-physical continuum is not only an engineering project. It is an experience design project. It will shape human consciousness.

If we leave experience design to market incentives alone, we will get experiences optimized for the extraction of attention. If we invite artists into leadership, we can create experiences optimized for learning, belonging, stewardship, and long arc responsibility.

What New and Old Experiences Can We Anticipate Now and by 2050

The year 2050 is not science fiction. Many of us living today will be alive. The choices made in the next decade will determine what kind of 2050 it becomes.

Here are experiences we can anticipate, and the deeper human questions embedded in them.

A renaissance of immersive storytelling

Stories will become navigable and participatory. Not only films and games, but civic stories, learning stories, and community stories. People will enter histories, futures, and simulations that teach systems thinking. The danger is propaganda. The opportunity is wisdom.

A return of the ceremony through new media

The synthetic world can become a place of reconnection, not only a distraction, if designed with intention. AI-guided participatory art can become a form of modern ceremony that restores attention, gratitude, and relationship. Not a replacement for nature, but a bridge back to it.

The rise of living archives

Personal testimonies, oral history, and cultural memory can be preserved at scale. Not as dead storage, but as an interactive living memory that future generations can encounter. This is essential in an era when cultures and elders are lost too quickly, and when attention is fragmented.

Community-scale digital twins as civic commons

By 2050, many communities will rely on local digital twins for resilience, planning, education, and response. The question is governance. Who owns the model of reality? Who can contribute? Who benefits? Artists can help ensure these systems remain human-centered, inclusive, and rooted in place.

New forms of social creativity

AI can act as a mediator, helping diverse groups co-create. Imagine youth, elders, scientists, planners, and artists building shared visions together, translating across jargon, exploring tradeoffs, and producing tangible prototypes.

A redefinition of authorship

The artist of 2050 may be less a solitary maker and more a conductor of systems, curating inputs from humans, communities, ecosystems, archives, and AI. Authorship becomes stewardship. The signature becomes the values embedded in the work.

A new literacy of perception

As synthetic media becomes indistinguishable from captured media, the most valuable skill will be discernment. Artists will teach this, not as cynicism, but as perceptual literacy. How to sense intention. How to recognize manipulation. How to return to direct experience.

The Evolving Role of the Artist as Leader

The artist is not only a maker of objects. The artist is a maker of attention.

That is leadership.

If attention shapes reality, then artists are architects of the future, because they shape what people can notice, feel, and imagine.

In the decades ahead, artists can assume several leadership roles that the world urgently needs.

Artists as translators

Between technical systems and human meaning. Between scientific complexity and lived experience. Between policy language and community values.

Artists as designers of empathy

Building experiences that expand perspective, restore dignity, and make the invisible visible, including the lives of future generations.

Artists as stewards of the commons

Helping communities design shared digital infrastructure that serves the public good, not only private profit. This includes digital twins, local data sovereignty, and collaborative platforms.

Artists as ritual makers

Creating practices that restore coherence in a fragmented culture, helping people metabolize grief, change, and uncertainty while staying connected to life.

Artists as futurists with responsibility

Not predicting the future, but constructing it through prototypes, narratives, and participatory experiments that reveal choices before they become irreversible.

X Art and the Planetary Canvas

The Planetary Art movement points to a truth we can no longer avoid. The scale of our challenges is planetary. Climate, migration, biodiversity, energy, water, conflict, and the governance of technology itself are linked. The solutions must be systemic, and they must be cultural as much as technical.

X Art is not art about the planet. It is art as a planetary practice.

It is the use of creative action to reshape how power flows, how people participate, and how shared futures are designed. It treats the planet as the canvas, but the medium is consciousness, community, and coordinated care.

This is why World Future Day matters. It is not a celebration of gadgets. It is a moment to reassert that the future is made by choices, and choices are made by values, and values are shaped by culture. Artists shape culture.

The Invitation of Our Age

If we set warnings aside for a moment, we can see a brighter challenge.

AI offers humanity a chance to become more fully itself, not less, if we use it to amplify curiosity, deepen learning, support accessibility, strengthen communities, and expand the reach of imagination.

The epitome of our age could be a new form of collaboration in which AI becomes the instrument, and humanity becomes more consciously human.

That means artists must step forward, not to decorate the future, but to lead it.

Lead with beauty that carries responsibility. Lead with stories that restore agency. Lead with immersive experiences that reconnect people to nature, to each other, and to time. Lead with design science that refuses short-term thinking. Lead with an Indigenous-rooted understanding that relationship is the first technology and stewardship is the highest intelligence.

The future will not be saved by efficiency alone. It will be saved by meaning.

And meaning is an art.

About the Authors

Gordon Lee Fuller is an artist, futurist, and creative technologist whose work explores the convergence of perception, emerging tools, and the built environment. He trailblazed AI, virtual reality, and created the world’s first digital twin cities of the metaverse in the 1990s. For three decades, he has focused on the cyber-physical continuum, spatial computing, and ambient AI as civic infrastructure. A lifelong accessibility advocate, he weaves design science, diverse perspectives, and experiential design to shape human-centered futures.

Kealoha June Bower is a multidisciplinary artist and cultural practitioner whose work bridges storytelling, ceremony, and systems change. Drawing from Indigenous cultural wisdom traditions and contemporary trans-media, she explores how art can restore relationship to land, to community, and to self in an age of rapid technological transformation. Her practice centers collaborative creation, ritual, and narrative as tools for healing, resilience, and reimagining planetary futures.

Faced with a crisis of meaning, it is necessary to integrate science, art, ethics, philosophy and spirituality into a new civilisational synthesis. 

The history of humanity does not always advance in a linear fashion, and even less often, peacefully. Instead, it unfolds through tension, rupture and profound crises that signal the exhaustion of one order and the beginning of another. Today we are witnessing one of those liminal moments. The world order that emerged after industrial modernity and consolidated in the 20th century seems to have reached its peak of entropy: a phase of growing disorganisation in which political, economic, social and symbolic structures no longer manage to maintain coherence or meaning. 

The term 鈥渆ntropy鈥�, taken from physics, refers not only to chaos, but also to the internal wear and tear of closed systems. A system that does not exchange energy, information or meaning with its environment is exposed to decay. The current global order, arrogantly based on unlimited accumulation, the fragmentation of knowledge, the supremacy of technical and financial power, and the disconnection between humanity and nature, has operated for decades as a closed system. Today, its contradictions are obvious: recurring wars, ecological crisis, the collapse of shared narratives and a profound loss of ethical orientation. Existential chaos. 

However, entropy is not the end. It was Nobel Prize winner Ilya Prigogine, father of Chaos Theory, who told me: 鈥淓ntropy is the opportunity for freedom and improvement.鈥� Of course, it depends on us. 

In times of maximum instability, what scientific thought calls 鈥榙issipative structures鈥� emerge: new forms of organisation that arise precisely from chaos, capable of transforming crisis into creativity. These structures do not deny disorder, but rather traverse and transmute it. Applied to civilisation, this implies recognising that the new order cannot be built with the prevailing conceptual tools that generated the crisis. But it also implies understanding that the future cannot be built without the accumulated wisdom of the past. 

It is these structures that we must preserve from the order that is perishing. Great civilisations understood something that dizzying modernity has forgotten: that knowledge is not only technical, but also ethical, spiritual and relational. Confucius expressed it clearly more than 2,000 years ago: 鈥淗armony is the supreme value.鈥� For the Chinese sage, a just society is not sustained by the imposition of law, but by the virtue, balance and moral responsibility of each individual within the social fabric. This relational vision is surprisingly contemporary today in the face of the fragmentation of the globalised world. 

Marie Curie, the first woman to receive the Nobel Prize and the only person to receive it twice, expressed a similar sentiment. Her studies discovered radioactivity and led to the understanding that the atomic structure was more complex than previously believed. Marie Curie said, 鈥淵ou cannot hope to build a better world without improving the individuals.鈥� She added, 鈥淧ersonal effort is not enough if it is not accompanied by collective responsibility.鈥� Each individual shares a responsibility towards humanity as a whole. And we cannot expect deplorable individuals to build a better world. 

In this year in which we commemorate the 40th anniversary of his passing, we cannot ignore the thinking of Jorge Luis Borges. Borges abhorred the idea of linking evil with intelligence. Instead, he connected it with stupidity, and goodness with intelligence. For Borges, culture is inseparable from this ethical stance. Perhaps his conviction was strengthened by rereading one of his favourite philosophers: Schopenhauer, for whom goodness is the most admirable of all virtues, and easily recognisable in the capacity for empathy and compassion. 

Aristotle, for his part, understood that the ultimate goal of human life is not the accumulation of goods, but 鈥渆udaimonia鈥�: a full and flourishing life in harmony with reason and virtue.  

鈥淭he whole is greater than the sum of its parts,鈥� he said, thus anticipating a systemic understanding of reality that reappears today in the sciences of complexity and quantum physics.  

This intuition of wholeness is strongly manifested in the thinking of David Bohm, an American physicist and philosopher who challenged the mechanistic view of the universe. Bohm proposed the idea of explicit order and implicate order. The former is the reality that emerges on the surface, the visible reality that we believe to be unique and definitive. The second is a deep, underlying reality in which everything is internally related, beyond the apparent fragmentation of the visible world. For Bohm, the crisis of humanity was not only political or economic, but essentially a crisis of thought: a fragmented way of perceiving reality that generates equally fragmented systems. A crisis of meaning.  

In line with this critique of fragmentation, Spanish philosopher Mar铆a Zambrano had already pointed out that the crisis in the West is not only structural, but also spiritual. According to her, modern reason became insufficient when it separated itself from inner life. In response to this, she proposed poetic reason: a form of knowledge that does not dominate reality, but rather listens to it, contemplates it and reveals it. Like Prigogine, Zambrano was able to see the positive side of chaos: 鈥淓very crisis is an awakening.鈥� 

From this broader perspective鈥攕cientific, philosophical and spiritual鈥攖he current order is not collapsing by chance, but because it no longer responds to the profound coherence of the universe鈥攖o the implied order. The radical separation between subject and object, between humanity and nature, between individual and community, has led the global system to a state of extreme entropy.  

In the 1970s, the founder of the Club of Rome, Aurelio Peccei, in conversation with Japanese philosopher Daisaku Ikeda, predicted that in the not-too-distant future, humanity would need to reflect on what it means to be human. Technological advances and scientific knowledge alone will not suffice to answer that question. The day will come when humanity will have to delve into a new humanism: into the relationship between human beings and nature, with each other, with life. Today, the Club of Rome promotes this reflection, which requires the courage to recognise mistakes and to rescue long-sacrificed values.  

The task of the new humanism, then, is to act as a conscious dissipative structure integrating science, art, ethics, philosophy, and spirituality into a new civilisational synthesis.  

The dissipative structures that will build the new order will not be imposed from above, but will emerge from culture, deep thought, art, ethics, and education. Where the old logic persists in chaos, the new humanism must learn to see the possibility of transformation. 

The change of era we are going through is not simply technological, although artificial intelligence and digitalisation are accelerating it. It is essentially a change of consciousness. Either we persist in exhausted structures, increasing entropy until final collapse, or we assume the existential responsibility of creating new forms of organisation based on interdependence, wisdom and human dignity.  

Lao Tzu said, 鈥淲hen the world is in confusion, the wise man acts with simplicity.鈥� 

It is in that profound simplicity that integrates the old and the new, the scientific and the spiritual, the human and the planetary, that the seed of the new order resides, one that we do not yet know but that we can germinate in a redemptive future. We can. And we must. 

Fumiko Green听is a creator advancing a culture of peace through intergenerational arts, cross-cultural dialogue, and governed cultural collaboration across Japan, the United States, and global partners.

For over three decades, she has built bridges between communities, educational institutions, civic organizations, and international networks. Her work integrates hands-on artistic engagement, historical memory, and cultural diplomacy to strengthen human security from the individual to the planetary level.

She is a long-standing leader in the听听(est. 1995), engaging children globally in collaborative mural creation inspired by Picasso鈥檚听Guernica, fostering early peace literacy and community resilience. She also coordinates the听Dual Peace Violin Tours, featuring the Hiroshima Hibaku Violin and Violins of Hope, using music as a gateway to historical consciousness and reconciliation across cultures.

Her initiatives extend to kimono cultural preservation, youth STEM engagement (including nuclear workforce education), architectural sustainability internships, and AI-assisted cultural knowledge transfer鈥攁ligning with the Age of Culture (TAOC) and Horizon鈥檚 governance vision of culture as infrastructure.

Through collaboration with Rotary International, universities, cultural schools, and civic partners across Kakogawa, Bethlehem, Fujinomiya, Pittsburgh, and beyond, she strengthens East鈥揥est exchange and youth leadership.

Her work embodies the principle: culture as a living system that connects individuals, communities, and nations toward planetary peace.

Culture of Peace in action

The Hiroshima Hibaku Violin & A Holocaust Violin. The purpose of the project is to hold a concert tour across the world in 2026 using a violin that was exposed to the atomic bomb in Hiroshima and a violin that survived Auschwitz. Concept of the artwork: “A Prayer for Peace” played by two violins. This concert aims to pass on the memory of war and promote the importance of peace through two violins that symbolize the tragedy of World War II.

More information on the Planetary Arts Movement: X-Art here

Want to join the Planetary Arts Movement? Sign up for the manifesto and reach out to us at arts@worldacademy.org

Through storytelling, curiosity, and a positive feminist lens, we focus on historical and contemporary women across geographies, roles, and lived realities.

How it works:

• Pick a woman whose story you want to tell and DM us at .
• We’ll choose a date in March together.
• Create your post with our .
• Publish as an Instagram collab with ArtVenture Club 鈥� or go deeper on Substack

We’re especially excited about stories that haven’t yet received the full visibility they deserve, that go beyond the traditional Euro-American canon, and that reflect the art world in all its global, complex, interconnected brilliance.

“Women in the Art World” is a community-driven grassroots project that welcomes everyone to become participants, contributors, and storytellers. A special shout-out to our male allies: Step up, amplify women’s stories, and help us open the art world’s gates even wider.

This campaign is part of ArtVenture Club’s series “The Art World of the Future” 鈥� inviting everyone to shift perspective, look beyond the paint, and see the full picture of who shapes the art world of today and tomorrow.

Questions? Ideas? Get in touch with us at orga@artventureclub.org and arts@worldacademy.org

More information on the Planetary Arts Movement: X-Art here

Want to join the Planetary Arts Movement? Sign up for the manifesto!

Mario Petrucci (born 1958 in Lambeth, London) is a British-Italian poet, literary translator, educator, and broadcaster. Known for his pioneering work in science poetry and ecopoetry. Trained as a physicist at Cambridge, and later earned a PhD in crystal growth at University College London. He also studied environmental science at Middlesex University before turning fully to literature.

He became the first poet-in-residence at both the Imperial War Museum and BBC Radio 3. His debut collection Shrapnel and Sheets (1996) won a Poetry Book Society Recommendation. Over his career, he has won more than 20 national and international poetry competitions, with themes ranging from love and loss to war and ecological issues.

Petrucci鈥檚 work extends into translation (including Hafez, Montale, Catullus, Sappho, Rumi, and Saadi) and film, notably Heavy Water and Half Life, which explore the Chernobyl disaster. He also created Tales from the Bridge, a large-scale poetry soundscape for the London 2012 Cultural Olympiad, experienced by millions.

Beyond poetry, he has contributed to cross-disciplinary projects linking science, ecology, and the arts. He has delivered talks for organizations such as the British Council and the United Nations. His archive is held by the British Library, and his recordings are preserved in The Poetry Archive, cementing his role as a major voice in contemporary poetry and eco-literature.

Ecopoetry in action

is a collaborative ecopoetry-video project commissioned by the Natural History Museum, combining the poetry of Mario Petrucci, direction by David Bickerstaff, and a visual centrepiece by Lucy + Jorge Orta, curated by Bergit Arends. Presented as a large diptych video projection, it draws on material recorded during a scientific expedition in the Peruvian rainforest. Shown at the Jerwood Gallery from October to December 2010 as part of the International Year of Biodiversity, the work blends poetry, imagery, and sound to highlight the richness and fragility of Amazonian biodiversity.

Please find the video and more information about his work in this interview at the World Conference on Science and Art for Sustainability, September 2025, Belgrade.

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The InterAcademy Partnership (IAP) concluded its 2025 Triennial Conference and General Assembly, held over four days in Cairo, Egypt, bringing together the global academy community for dialogue on the role of science in addressing societal challenges, alongside key governance milestones for the Partnership. The meeting welcomed 164 participants from 68 countries, reflecting the breadth and diversity of the IAP network. Over the course of the programme, more than 90 international speakers contributed to 18 sessions, thematic panels, and side events, addressing topics including science diplomacy, trust in science, emerging technologies, gender equality, early-career researchers, and cross-sector collaboration.

On the opening day, ahead of the General Assembly, the conference featured remarks from senior leaders and distinguished guests, including Mostafa Kamal Madbouly, Prime Minister of Egypt; Mohamed Ayman Ashour, Minister of Higher Education and Scientific Research; Peggy Hamburg and Masresha Fetene, IAP Co-Presidents; Gina El-Feky, Acting President of the Academy of Scientific Research and Technology; and Maria Michela Laroccia, Deputy Head of Mission at the Embassy of Italy in Egypt. Their remarks highlighted the importance of science, international cooperation, and the role of academies in supporting evidence-based policy-making.

In addition to attending the formal sessions, my participation provided a valuable platform for direct engagement with senior representatives of national and international academies of sciences. I held substantive discussions with colleagues from the Turkish Academy of Sciences, The 被窝影视福利 of Sciences (TWAS) led by Executive Director Marcelo Knobel, the Sudanese National Academy of Sciences, represented by President Mohamed Hasan, the Royal Society, the Indian National Science Academy (INSA), the Arab-German Young Academy of Sciences and Humanities, represented by Managing Director Dr Sabine Dorpmuller, and the Organisation for Women in Science in the Developing World (OWSD), represented by Vice-President Prof. Olubukola Babalola, among others.

These exchanges focused on strengthening inter-academy cooperation, advancing science diplomacy, and reinforcing the role of academies in informing policy and addressing shared global challenges. During these interactions, many participants expressed keen interest in learning more about the 被窝影视福利 of Art and Science (WAAS), its ongoing international activities, and its legal registration in the United States, reflecting the global relevance of its initiatives.

The conference also offered the opportunity to reconnect with Dr Vaughn Turekian, a close colleague and dear friend, who currently serves as Executive Director of the United States National Academy of Sciences. Our discussions centred on international scientific collaboration, the science鈥損olicy interface, and the strategic role of academies in promoting dialogue, trust, and evidence-based decision-making at both national and global levels. Collectively, these interactions underscored the importance of the IAP platform not only for institutional governance, but also for nurturing enduring professional relationships across the global scientific community.

I also met for the first time with Prof. Mohamed Hicham Kara, President of the Algerian Academy of Sciences and Technology, whose academy has only recently joined the IAP. Our exchange focused on the priorities and aspirations of this new member within the IAP framework and on opportunities for deeper engagement with the international academy community.

In parallel, I had the opportunity to meet with Mr Shafik Gabr, who graciously invited me to a dinner gathering attended by a number of diplomats as well as prominent figures from Egypt鈥檚 film and cultural sectors. While our direct, head-to-head discussion was necessarily brief, we exchanged initial views on the potential for future collaboration between his foundations and WAAS. I found Mr Gabr to be highly receptive to the ideas and values promoted by WAAS, particularly those related to advancing peace, dialogue, and human security at the global level. This exchange highlighted promising scope for deeper engagement in the future, building on shared interests in cultural diplomacy, international cooperation, and inclusive approaches to addressing global challenges.

It is also worth noting that in-person attendance at the IAP General Assembly and Conference did not include representatives from all leading academies, in part because the meeting was organised in a hybrid format, with full participation available via online platforms. While this reduced physical presence, the hybrid arrangement nonetheless enabled broad global engagement and ensured continuity of dialogue among academies unable to attend in person, reflecting evolving modes of international scientific collaboration.

Throughout the meeting, discussions underscored the essential contribution of science academies in providing independent advice, supporting researchers, and fostering collaboration across borders and sectors. Participants emphasised the need for openness, trust, and long-term perspectives in strengthening global science systems.

The IAP General Assembly carried out its statutory responsibilities, including the onboarding of the new IAP leadership team, marking an important transition for the Partnership and its future strategic direction. Recordings of the sessions and the final conference report will be made available on the IAP website and YouTube channel, ensuring continued access for the wider scientific community.

Alas, I hope Phoebe Koundouri will forgive me, as I unfortunately missed her presentation on the first day of the conference due to being engaged in an important meeting away from the venue.