Soils are biodiversity-dense and constantly carry chemical flows of information, with our mental image of soil being dark and quiet. But what if soil biota tap sound, or more generally, vibrations as a source of information? Vibrations are produced by soil biota, and there is accumulating evidence that such vibrations, including sound, may also be perceived. We here argue for potential advantages of sound/vibration detection, which likely revolve around detection of potential danger, e.g., predators. Substantial methodological retooling will be necessary to capture this form of information, since sound-related equipment is not standard in soils labs, and in fact this topic is very much at the fringes of the classical soil research at present. Sound, if firmly established as a mode of information exchange in soil, could be useful in an 'acoustics-based' precision agriculture as a means of assessing aspects of soil biodiversity, and the topic of sound pollution could move into focus for soil biota and processes.
At the end of October 2018, a storm of unprecedented strength severely damaged the forests of the eastern sector of the Italian Alps. The affected forest area covers 42,500 ha. The president of one of the damaged regions asked for help from the University of Padua. After eight months of discussion, the authors of this article wrote a consensus text. The sometimes asper debate brought to light some crucial aspects: 1) even experienced specialists may have various opinions based on scientific knowledge that lead to conflicting proposals for action. For some of them there is evidence that to restore a destroyed natural environment it is more judicious to do nothing; 2) the soil corresponds to a living structure and every ecosystem’s management should be based on it; 3) faced with a catastrophe, people and politicians find themselves unarmed, also because they rarely have the scientific background to understand natural processes. Yet politicians are the only persons who make the key decisions that drive the economy in play and therefore determine the near future of our planet. This article is an attempt to respond directly to a governor with a degree in animal production science, who formally and prudently asked a university department called “Land, Environment, Agriculture and Forestry” for help before taking decisions; 4) the authors also propose an artistic interpretation of facts (uncontrolled storm) and conclusions (listen to the soil). Briefly, the authors identify the soil as an indispensable source for the renewal of the destroyed forest, give indications on how to prepare a map of the soils of the damaged region, and suggest to anchor on this soil map a series of silvicultural and soil management actions that will promote the soil conservation and the faster recovery of the natural dynamic stability and resilience.
My visual artworks propose ways of being in the world—the world that humans share with non-humans. By developing projects such as breathe with a tree or listen to soil, I wish my installations to be experienced as translators. Those art projects are the result of collaborations with different teams of scientists. Together we found technological tools that could be used in art installations. These hybridizations between art and science sometimes mischievously divert technology, and instead, offer us aesthetic work with its roots deep in traditional arts and crafts knowledge. With them we can—for a moment—share time with plants, and be in dialogue with air, soil and gravity. The first project, Dendromacy, an experimental movie, was designed with a specific cooled lens thermal camera. The second one, Listening to the soil, a sounded ceramic installation started from bioacoustics recordings of the soil mega and meso-fauna.
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