Talking to people about their work is always an EGU highlight for me. Being able to nerd out about rivers, rocks, big research vessels crossing the arctics, maps, mountains anywhere in the solar system, or even beyond? Yes, please! However, while those topics are the things of dreams for me (and I dare to say many other EGU-goers), that enthusiasm isn’t always a given once we leave the conference halls. Convincing the broader public, or even stakeholders, that the things we love are just as exciting as we think they are can be a major challenge. Thankfully, outreach, education, and engagement are at the core of EGU. This year, the General Assembly is proving that we have two secret weapons for bridging that gap: Art and Education.
Domino Jones shows drawings for the ‘Arctic Flowers’, science communication graphic novel during EGU26.
A recurring themes are avoiding specialized jargon, showing the human side of science, and using attractive visuals. Lore Vanhooren, who presented talk “Science animations to bridge communication obstacles to laymen and experts – a story of struggles and solutions,” shared how creativity deployed for the outreach can find way back to the scientific practice:
“Doing art made me more productive in science”
—Lore Vanhooren
Science inherently requires creativity and curiosity, which are also essence of art. As such, it only makes sense to bridge those two worlds. The EGU facilitates interactions between the worlds of science and art with through an artist in residence program: this year’s artist is Nuria Altimir. By reviewing the cognitive science behind visual perception and attention, Núria teaches us how to use beauty as a gateway into complex ideas. It is not about decoration; it is about using design to command attention and guide the viewer through dense data with purpose. At her stand, participants are becoming part of it instead of being mere watchers. Her large-scale participatory artworks examine networks and uncertainty in real-time, allowing attendees to become the data points themselves. It is a masterclass in how beautifying science can actually make it more accurate and accessible to the human brain.
Nuria also held a course titled: The why and how of beauty as a tool for effective science communication.
Nuria Altimir interacts with the audience during her course at EGU26.
This year, the General assembly also features a gallery featuring some of the previous EGU artists:
Heike Jane Zimmermann, who was an EGU23 Artist in residency, engages with an attendee during the EGU26.
If you haven’t seen it, you can still do so in the level -2’s Foyer D.
If art provides the visual gateway to science, the field of education provides the map. The General Assembly continues to be a vital space where educators and researchers swap expertise. Scientists gain invaluable insight into class management, the learner’s perspective, and techniques to measure communication effectiveness, while educators get a front-row seat to the latest discoveries.
Thomas Schubatzky reflected on this productive exchange during his poster session on TRACE, a project that masterfully combines climate literacy with collective action. Similarly, the work of Domino Jones with the ‘Arctic Flowers’ graphic novel demonstrates the power of narrative. Whether it is through a comic book or a cognitive approach to design, EGU26 is proving that beauty and education are the very tools that make our science stick.
Thomas Schubatzky discusses TRACE, a project combining climate literacy, individual and collective action.
If you haven’t yet, make sure to visit the Artist in Residence gallery in Foyer D (Level -2) to see these principles in action. You can also follow the journey online using the hashtag #EGUart. Whether you stop by for a workshop or just a reflective conversation, remember that science is a human endeavor, and it deserves to be beautiful.
