Artificial Intelligence (AI) is redrawing the boundaries of human creativity, challenging our traditional notions of art and expression while raising important sociological and anthropological questions. This article explores the complex relationship between human creativity and AI and how these new technologies are redefining the boundaries of art and creative expression. Starting from an evolutionary analysis of the concept of creativity, the article explores the impact of AI on creative processes and the perception of art. It shows how AI contributes to a “loss of aura” in art and changes the relationship between humans and the creative process. Finally, the article emphasises the importance of a critical and reflexive approach in analysing these phenomena and highlights the need for training in new technologies to cope with the complexity of these changes. This interdisciplinary study provides valuable tools to understand how AI is redefining not only the creative process but also our notions of art, authenticity and human expression in the digital age.

In the context of the evolving role of museums as social agents, the Entre Luces project, developed at the Pablo Gargallo Museum in Zaragoza, stands out as a notable example of accessibility conceived as a shared cultural responsibility. This study investigates the co-design of a multisensory space within a listed historic building, aimed at fostering the inclusion of people with disabilities. Adopting a qualitative and participatory research approach inspired by bottom-up methodologies, the study combines document analysis, participant observation, and semi-structured interviews with museum professionals, technicians, educators, and users. Central to the process was the active involvement of individuals with disabilities, who were engaged not merely as beneficiaries but as co-authors of the design process. The findings highlight a significant transformation in museum practices and the implementation of inclusive educational pathways, enabled also through collaboration with vocational craft students. Despite operating on a small to medium scale, the museum has developed strategic indicators to assess the social and cultural impact of the project. Entre Luces is proposed as a transferable model for cultural institutions seeking to embed inclusive design within their institutional identity.

In the context of museums’ transformation into active social agents, the Entre Luces (Between Lights) project, developed at the Pablo Gargallo Museum in Zaragoza, serves as a compelling example of accessibility understood as a shared cultural responsibility. Implemented within a listed heritage building, where structural modifications were not possible, the project deliberately shifted the focus from architectural accessibility to communicative, cognitive, and sensory dimensions, placing the quality of the cultural experience at the centre. The study employed a qualitative case study design based on document analysis, participant observation, and semi-structured interviews with museum staff, educators, and members of disability organisations. Through a participatory and iterative co-design process, curators, educators, vocational students, and disability organisations collaborated to develop inclusive solutions. People with disabilities were not regarded as passive users but as co-authors of the process: they contributed to the creation of tactile replicas, audio descriptions, sign language resources, braille, pictograms, and motion-activated audio systems. The project generated three main outcomes. It expanded cultural participation among people with diverse disabilities, enriched the sensory and emotional experience of all visitors, and initiated an institutional transformation that reshaped staff training, interpretive approaches, and the museum’s mission towards inclusivity. Entre Luces demonstrates that even small and medium-sized museums can overcome heritage constraints and promote cultural equity and social innovation through inclusive and sensory-based approaches.

The Gospels passages describe John the Baptist’s ascetic behaviour in the Judean desert, eating locusts and wild honey, wearing garments made of camel hair. The food choices of St. John are analysed in comparison with the practice of nazirite, and also on the light of Eastern tradition, mostly spread in Syriac Christianity, which interpretation differs, underlining a particular form of ascetism completely characterised by vegetables. Commentaries, mostly dating back to the 4th and 5th centuries, explain the word ‘akrides’ as a particular vegetable. Furthermore, the celebration of St. John’s Eve, as a result of medieval western development, is nowadays characterized by abundance of food, in contrast, with the Gospel description of the life of the Baptist, are compared with the tradition of charivari, known since the Middle Ages.

In recent years, international migration has become a widespread phenomenon within the European Union and the global economy. It involves the movement of people who cross national borders either temporarily or permanently and leave their home country. Modern migration is characterised as a global, multidirectional and large-scale process and is of great interest to Europe and the EU in particular. After a brief introduction to the data on recent migration trends in Europe, this article presents an EU-funded project that has dealt with the specific case of humanitarian corridors, which emerged from civil society in Italy and have been implemented in several European countries since 2016. As an alternative to uncontrolled migration flows and based on solid experience, the humanitarian corridors are described as the only acceptable alternative to the lack of a common migration policy and presented as a solution to a current and timely challenge for our society today.

This article examines women’s therapeutic knowledge through the traditional healing practices of the szeptunki (also szeptuchy, “whisperers”) of Podlachia, a multi-ethnic and multi-confessional borderland in north-eastern Poland. Their repertoire includes kołtun, urok, strach, wiatr and róża, treated through whispered Orthodox prayers, the sign of the cross, and materials such as wool, beeswax, ash, linen and flax. Drawing on published Polish-language ethnography, interview narratives, documentary films and fieldwork reported by other scholars, the article asks why a form of healing authority that remains locally meaningful is becoming difficult to transmit. It argues that the same conditions that authorise the szeptunka—older age, gendered domestic experience, religious discipline, secrecy, kin-based transmission and continual availability—also make succession increasingly demanding. The analysis links the female life course to embodied ritual practice, relations with Orthodox clergy and medical pluralism, while treating male successors and male znachorzy as important counterpoints to a simple women/men binary. It also shows how clerical delegitimisation shapes the way practitioners present their own work. Published evidence from 2010–2025 documents active practitioners while also recording growing uncertainty about succession. The szeptunki therefore illuminate not simply the persistence of a healing tradition, but the changing social conditions under which therapeutic authority can be reproduced.