Prometheus, like all the myths of antiquity, still has something to teach us. In the decidedly original representation that Giorgio Lupattelli makes of it on the cover we find the determining characteristics of the language of this artist, who observes the world through the filter of the media universe (TV, cinema, music, web) paying attention to the relations between bodies and technological impact, to the multiplicity of languages, to the elimination of barriers between levels, to the intersection between art and science. In myth, Prometheus steals fire from the gods to give it to humans and thus open them to knowledge. A circumstance that on one hand embodies the praiseworthy human spirit of initiative, on the other it expresses the ambition to challenge the divine; indeed, to put itself on the same level, with the risk of becoming a creator of truth itself. A double-valued interpretation, still valid today where man, in the “magnificent and progressive fates”, stumbles whenever he cancels the ethical and aesthetic limit. This can be a way to consider what we are, what we have been and what we will be; and to broaden the reflection in the most diverse areas, stimulated by the travel notebooks by Fabrizio Citton, by prehistoric graffiti of the Lascaux caves, by first antibiotic discovered by Fleming, by a journey beyond the stereotypes in the district of Scampia. Without forgetting the feat of D’Annunzio in Fiume, the “city of Life”, whose centenary is celebrated this month: an experience, the latter, based on the dream, on beauty, on madness, on poetry. A revolutionary experiment in which the Poet wanted the Italian people to return “to be part of themselves”.