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

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

Tres Comunidades, Un Río: Supporting Urban Amazonian Floodplain Communities Through Data and Art

Leann Andrews, Alexandra Jhonston Vela, Xiomara Valdivia Zavaleta, Jorge A. Alarcón Piscoya, Gemina Garland-Lewis, Kathleen L. Wolf, Ursula Valdez, Susana Cubas Poclin, Christian Ampudia Gatty, Carlo Tapia del Águila, Rebecca Bachman, Christina Flores, and Clancy Wolf

In the Peruvian Amazon Rainforest, Indigenous communities have been living in river floodplains for millennia and have developed unique cultural connections with the living waters and their rich biodiversity. To escape hardship (e.g. over extraction of resources, slavery, climate change impacts etc.), or seek opportunities (e.g. health, education, economic etc.), hundreds of thousands of Indigenous people have migrated from the jungle to Amazonian cities such as Iquitos over the past hundred years. Referencing traditional lifestyles, many of these migrants created floating and stilted communities in the city’s floodplain edges. Their multi-generational knowledge of floodplain agriculture, amphibious housing, and deeply-rooted community structures provides cultural, economic, and ecosystem services to the whole city. However, this mass migration also created challenges in housing, infrastructure and public services for the whole city. The Iquitos regional government has responded by enacting mandatory relocation for these residents to new highland developments far from the river, threatening their unique riverine cultures and deforesting a rare white sand rainforest ecosystem. In this visual narrative, we describe a blended arts and sciences project, Tres Comunidades, Un Río: Life Within Peru’s Urban Amazonian Floodplains, in which a highly collaborative team of 24 Peruvian and U.S. researchers and artists worked closely with 136 residents across three communities to showcase their life, health, and environmental connections, promoting traditional cultures and better-informed city planning that includes Indigenous Amazonian voices. We describe our interdisciplinary arts and sciences mixed-methods approach which included a public health survey, documentary photography, community drawings, and biodiversity/environmental measures that incorporated a community training program and local/traditional-scientific knowledge exchange workshop. Lastly, we discuss the value we found in pairing data with artistic storytelling, engaging diverse disciplines and academic-community partnerships, and uplifting underserved communities via an art and data exhibition.

November 2024 · 10.48807/2024.0.0154 · CC-BY-NC-ND

Unfolding the Genome

Gupi Ranganathan, Aiden Lab, and Erez Lieberman Aiden

From 2009-2011, we worked together at the Broad Institute of MIT and Harvard (Broad Institute, n.d.), building on a study (Lieberman-Aiden & Van Berkum et al., 2009) that made it possible to explore how the human genome, the DNA contained in every cell of the body, folds in 3D. At the outset of our collaboration, our approaches seemed so different as to be, perhaps, incommensurable. The scientists used tools like mathematics, computer science, and molecular biology, whereas the artistic toolkit was focused on the construction of physical objects, with a defined shape, area, and volume. Yet over time, we came to realize that all of these tools were addressing the same goal: making invisible concepts manifest as an experience intelligible to the senses. From the beginning of the project, we worked together creating drawings. Over time, our interactions evolved to become free-flowing conversations while drawing, which became a way of seeing together. Our visual experimentations grew into a body of drawings, paintings, prints, mixed-media artworks, wood blocks, a dynamic video installation, and a suspended wire sculpture (Ranganathan, 2021), and helped advance the scientific community’s understanding of how the human genome folds.

November 2021 · 10.48807/2021.0086 · CC-BY-NC-ND

Featured Commentaries

Delight, because Ground Works is so young, and so many risks have been taken but not all of them have proven fruitful (yet), and it’s very satisfying to see confirmed our hunch that reviewing together could be a generative thing.

July 2021 · 10.48807/2022.1.0008

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I am glad that I engaged this experiment in transdisciplinary review and feel that the conversational review format served to increase my agency as a maker at the intersection of art, science, and medicine.

July 2021 · 10.48807/2022.1.0006

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