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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Call for Proposals

General Call for Submissions

Rolling Submissions

Cripping Creativity & Play: Artist-Led Explorations of Disabled Art-Making

Submit by April 30, 2026

Special Issue: Cripping Creativity & Play: Artist-Led Explorations of Disabled Art-Making

Guest editor: Dr. Elizabeth McLain

Ground Works launches its Reco(r)ding CripTech online archive...

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Announcements

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

Prairie Block: Designing and Building Community Resilience in the Heartland

Suzan Hampton and Keith Van de Riet

Design for community resilience requires a multi-dimensional approach addressing the three pillars of sustainable development: social, economic, and environmental. The Prairie Block project in Lawrence, Kansas integrated all three pillars in a novel way to generate a replicable model of sustainable design that can be used in other communities.

Within the context of a U.S. Housing and Urban Development (HUD)-identified low-moderate income neighborhood, vanguard public, private, nonprofit, and institutional partnerships were facilitated by university design-build architecture students, faculty, and a community leader. Through this constellation of partners, a formerly under-utilized park was transformed in five months and with zero budget into a thriving neighborhood landmark complete with a community orchard, shade structure, walking trails, and creek access.

The catalyst of this revitalized public amenity is Kaw Pavilion, an artistic shade structure fabricated by the students that honors the area’s Indigenous and other early inhabitants while celebrating the neighborhood’s iconoclastic character and strong activist identity.

Other park improvements include a 35-tree free-fruit community orchard and walking trails, with prairie plants and carved limestone benches, that connect the playground and the creek. Subsequent park additions include a new splash pad, public restroom, and bus stop. The park now serves as a node on a trail network that connects all the neighborhoods in Lawrence.

Prairie Block strengthens a sense of place and fosters sustainability on economic, social, and environmental levels by pulling together shared history, present-day neighborhood identity, and connections to the rest of the city. The Parks and Recreation Department is replicating this partnership and multi-faceted design model in other low-moderate income neighborhoods on the trail system.

November 2024 · 10.48807/2024.0.0146 · CC-BY

Green Light SONATA: Improvisation at the Intersection of Art and Science

Montasir Abbas, Charles Nichols, Anne Elise Thomas, and Qichao Wang

The Green Light SONATA project originated with a hunch in the engineering domain, but could only materialize through true collaboration of researchers working across disciplines. The project tested the hypothesis that translating simulated traffic information into music could lead to musical resolution of persistent traffic congestion. Our team—consisting of civil engineers, a composer/performer/computer music researcher, and an ethnomusicologist—proceeded to construct a model of an intersection in which each direction of traffic flow was assigned a musical pitch. Hearing these pitches as cues, musicians could interact with the sonified traffic to allow vehicles to proceed through the intersection. The result was a musical “gamification” of traffic flow in which the goal was to minimize the vehicles’ idle time. The next stage of this project will include public demonstration and testing sessions, involving students and additional musicians, to assess the concept’s viability, refine our methods, and gather further data. The team’s multidisciplinary dialogue takes us on productive tangents translating between different domains of musical and technical expertise. Moving forward, we plan to test additional methods of data sonification, manipulating additional musical variables (including pulse and rhythm, sequence, scales, ornaments, and other musical elements) and scaling up to model multiple consecutive intersections.

October 2020 · 10.48807/2020.0054

Featured Commentaries

For readers who have never encountered iterative play and creation as research methods, “Forms of Freedom…” is a wonderful entry point, demonstrating how these methods can both constitute a way of knowing and contribute to new knowledge.

March 2026 · 10.48807/2026.1.0013 · CC-BY-NC-ND

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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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