Puhlkari by Kira Bhumber. Photographer: Andrew Howell. Used with permission

Ground Works is a platform for exemplary arts-inclusive research projects and reflection on the processes that drive interdisciplinary collaboration.

Latest Collection

Creating Knowledge in Common

Editors: Shannon Criss, Kevin Hamilton, and Mary Pat McGuire

Universities and communities are partnering together to more fully support needs across society. Art and design practices engaged within these partnerships substantively deepen the impact of this collective work through expression, visualization, representation, and exhibition, converging multiple viewpoints into broader re-imaginings and tangible new creations with both rational and emotional force. This special collection shares stories of such partnerships and their extraordinary outcomes in areas including community health, community arts, placekeeping, climate adaptation design, food production and distribution, abolition, student learning and engagement and more.

November 2024 · 10.48807/2024.2.0002 · CC-BY-NC-ND

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Ground Works Pilots CRediT-FAIR Framework for Non-Authorial Contributions
December 2, 2024

Ground Works staff has adapted the NISO (National Information Standards Organization) Contributor Roles Taxonomy, known as CRediT.

CRediT has gained traction in sc...

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Featured Articles

Forms of Freedom: The Art and Design of Black and Indigenous Creative Collectives

Emery Petchauer and Ruth Nicole Brown

"Forms of Freedom" was a two-year participatory research project that explored how Black and Indigenous creative collectives evolve to sustain themselves over time. To explore this question, we invited members of three collectives to assemble for visitation, reflection, skill, and idea exchange sessions over a nine-month period, and over Zoom, due to the global pandemic. These collectives were Saving Our Lives Hear Our Truths, Fire in Little Africa/The Space Program, and The Aadizookaan. Months later as the pandemic receded, we reassembled these collectives for a People's Sound Studio collaboration in New York City. The People’s Sound Studio was an opportunity to create together in person, practicing in public how we move, sound, organize, and collectivize in the now. Our assembly was held by care and familiarity among us as convenors and among our collaborators, sharing genuine desire to strengthen existing connections, deepen the love, and expand solidarities across new relations. We understood this assembly as a minor experiment in Black study (Harney & Moten, 2013), one that emphasized aesthetic performance. This exploration generated a shared archive of materials from participants and ourselves as artist-organizers: ritual performance scripts, sound compositions, conversation recordings, voice memos, video montages, in situ practices, photographs, and beadwork. We assembled these creations into an ensemble, an apparatus of movements suspended in time by digital space (www.formsoffreedom.com). This ensemble provides multivocal, incommensurable performances propelled from the initial research question.

February 2026 · 10.48807/2026.0.0164 · CC-BY-NC-SA

Virtual Forests as a Creative Medium for Community Co-Creation and Collaboration

Aidan Ackerman, Daphna Gadoth-Goodman, Emily Esch, Robert Malmscheimer, Timothy Volk, Sara Constantineau, and Lauren Cooper

Our team of forest scientists, landscape architecture faculty and students, and communications staff collectively develops virtual, embodied forest experiences. These experiences enable us to invite those who care about forest landscapes to think together with us about positive futures for our working landscape. Conventional decision making processes often aim to communicate static scientific information to constituents through data and written form, limiting the agency of individual recipients who are not offered avenues for meaningful contribution to the ideas they receive. Our work is a direct challenge to this dynamic, developing an alternative way of working that uses three-dimensional, visually immersive, artistic virtual reality models to create a shared space for iterative idea generation. In this shared space we welcome community members, landowners, policymakers, and many others to experience the virtual forest and share ideas about ways of sustainably managing the land towards a more sustainable climate future. Each of these groups has different and often competing goals that are not easily resolved through discussion and feedback processes such as community meetings or stakeholder focus groups. In contrast, the virtual forest has allowed participants to identify shared values about the working landscape which result in buy-in and connection to the land, its management, and others who care about the working forest. This has resulted in advocacy for sustainable forest management, adoption of sustainable forest management practices, and critical feedback which has helped the academic team to hone and refine our virtual forest models.

November 2024 · 10.48807/2024.0.0148 · CC-BY-NC-ND

In a Time of Change: A Nested Ecosystem of Environmental Arts, Humanities, and Science Collaboration

Mary Beth Leigh and Lissy Goralnik

The integration of environmental science with arts and humanities (eSAH) has the potential to advance public understanding of science while inspiring emotional responses and attitude shifts that lead to pro-environmental behavior. The In a Time of Change (ITOC) program, an eSAH incubator in Alaska, uses place as a boundary object to bridge relationships between artists, writers, and scientists. Participants co-investigate a place-based environmental theme over the course of a year, then present their work at a public exhibit. At these exhibitions, the art and writing about place become boundary objects themselves around which broader publics gather to engage with ideas and landscapes. In this article, we describe the ITOC program and the broader ecosystems of eSAH work in which it is nested, including the U.S. National Science Foundation’s Long-Term Ecological Research (LTER) network, where most sites host some kind of eSAH inquiry. We then use the case study of a recent ITOC project, Microbial Worlds, to demonstrate the ways relationships between artists, writers, and scientists are transmitted to audiences through eSAH collaborative exhibits, resulting in impacts to audience knowledge and attitudes about the natural world and broad support for eSAH approaches to environmental problem solving.

August 2022 · 10.48807/2022.0.0074 · CC-BY-NC

Featured Commentaries

“Choreografish” thoughtfully applies choreographic practice to virtual reality, work that will no doubt shape dancerly engagement with the digital for years to come. What was most inspiring about the project was how it bravely braided strains of expertise that too rarely come into contact.

July 2021 · 10.48807/2022.1.0005

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Reviewer commentary on Choreografish: an arts-based, virtual reality, anxiety intervention for autism

Reviewing “Choreografish” for Ground Works

Sydney Skybetter, Lise Worthen-Chaudhari, Eric Handman, and Veronica Stanich

When Ground Works Advisor Cheryl Ball suggested that peer review doesn’t need to be a solitary, purely evaluative process, we got excited about the possibility of a conversation among reviewers. This commentary is a conversation about that conversation.

July 2021 · 10.48807/2202.1.0004

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