Rapid, low-cost methods for large-scale assessments of soil organic carbon (SOC) are essential for climate change mitigation. Our work explores the potential for citizen scientists to gather soil colour data as a cost-effective proxy of SOC instead of conventional lab analyses. The research took place during a 2-year period using topsoil data gathered by citizen scientists and scientists from urban parks in the UK and France. We evaluated the accuracy and consistency of colour identification by comparing “observed” Munsell soil colour estimates to “measured” colour derived from reflectance spectroscopy, and calibrated colour observations to ensure data robustness. Statistical relationships between carbon content obtained by loss on ignition (LOI) and (i) observed and (ii) measured soil colour were derived for SOC prediction using three colour components: hue, lightness, and chroma. Results demonstrate that although the spectrophotometer offers higher precision, there was a correlation between observed and measured colour for both scientists (R2 = 0.42; R2 = 0.26) and citizen scientists (R2 = 0.39; R2 = 0.19) for lightness and chroma, respectively. Foremost, a slightly stronger relationship was found for predicted SOC using the spectrophotometer (R2 = 0.69), and citizen scientists produced comparable results (R2 = 0.58), highlighting the potential of a large-scale citizen-based approach for SOC monitoring.

<p>We present an ongoing series of pop-up exhibitions in residential care homes around Windsor, United Kingdom (UK).  Each display was created to give communities access to science and an understanding of research taking place in their local area. The artworks were created by artist Hugo Dalton from a residency with Prof. Sarah L Dance at the University of Reading, UK. They depict areas of her team’s research into mapping urban flooding by the River Thames. To contextualise the research and to spark interest with elderly viewers, historical watercolours of the area were also exhibited in collaboration with the Royal Collection Trust, Windsor. The watercolour genre has origins which coincide with the beginning of the Industrial Revolution: Watercolour and the picturesque movement can be seen as an early form of climate awareness.  </p><p> </p><p>The scientific research that the collaboration builds on includes a method for detecting flooding in urban areas by merging near real-time satellite observations of flooding from Synthetic Aperture Radar (SAR) with model-derived flood hazard maps. Watercolour, as a painting medium, mirrors that the way that the data are used: Artists, like scientists, layer together different types of raw information to produce a coherent distillation for the viewer. Dalton painted in the exact locations where the scientific case studies were conducted, and developed these sketches in the studio into a series of artworks paired with scientific information.</p><p> </p><p>For the art installation a frameless mobile fixing system was developed, working closely with the care home staff. This allowed artworks to be easily removed from the wall and inspected up close for residents with limited sight, or moved into the rooms of bed-bound residents. The reverse side of each had a short explanatory text.  Members of care home staff visited the artist’s studio to gain a deeper insight into the art and science. They could then recount this knowledge to their communities, becoming citizen advocates. Staff also used the artworks as starting points for activities.</p><p> </p><p>This science-art collaboration empowers communities to understand and feel proud of science in their local area. The project’s wide reach extended beyond the residents to those who visited the homes, including relatives and their children.  Each paired set of artworks formed a talking point and enlivened the visual surroundings. Being geographically linked to their location the artworks provided a way for residents to share their lived experience of climate change. The future aim is to partner with other venues, including public houses and village halls to widen audience engagement.</p><p> </p><p> </p>

<p>Often scientists think of creating visuals like graphs, tables, and charts to better convey their research or make it more appealing to a broader public. However, some data or scientific concepts are complex and difficult to grasp. Instead, art is a universal language. This has led to a tremendous growth in data visualisation using art in the last decade.</p><p>At the University of Reading, a team of scientists are collaborating with environmental scientist and visual artist, Nerea Ferrando, to enliven the important story of deadwood for forest functioning. Deadwood refers to trees, or parts of a tree, that are dying or have died. Research in this field is increasingly showing that deadwood stabilises forests, sustains productivity, stores carbon, and provides food and a home for thousands of species, including invertebrates, fungi, as well as birds and mammals. Yet, despite its enormous ecological significance, deadwood remains one of the most threatened habitats in managed forests. Its amount, quality, and diversity is usually heavily reduced by forestry as a common strategy to control pests or make sites accessible.</p><p>The artist is creating a series of works to bring to light this less visible part of the forest and help communicate specific aspects of the research findings, such as its unrecognized role in the carbon cycle, the impact of deadwood on biodiversity, or exposing contradictory views on best management practices.</p><p>Ultimately, the science-artwork seeks to promote consciousness and awareness of the value of deadwood and the benefits it provides. Raising awareness is essential because, to date, deadwood continues to receive little attention and the adoption of management strategies that create or maintain a variety of deadwood are needed to protect forest health.</p>