Ground
Works

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.

Realm of the Dead (“Realm”) is a mixed-media installation performance where the installation can also be given separately as an art exhibit. A blend of social work and arts research, Realm incorporates practice-led, engagement, and design research – visual and performance art practices actively involving both research collaborators and audiences. Grounded in social work research and content, Realm explores my life, the life of an immigrant to the United States who grew up in Brazil at the time of the military dictatorship (1964‒1985). Realm connects social work research content as it explores personal and social consequences of psychosocial issues: grief and loss, gender nonconformity, sexual orientation, and undocumented immigration status. Using critical autoethnography along with visual art and performance, in Realm, I aimed to: (1) excavate my life experiences through self-analysis; (2) develop text and artifacts (assemblage sculptures) representing those experiences, and (3) share the results as performances and art exhibits. Drawing on Popular Education – as advanced by Brazilian educator Paulo Freire (1921–1997) and by Augusto Boal (1932–2009), founder of the Theater of the Oppressed, Realm requires audience participation and fosters social transformation. Realm is based on Marília, a one-person play that was performed on Theater Row New York City where it won the United Solo Festival (2016) Best Documentary Script award. Realm represents the cemetery where Marília, my sister, who died in an accident at the age of three, was buried. Realm is my journey out of a childhood of poverty, sexual trauma, and domestic violence. Arriving undocumented in the United States in 1987, I ultimately built a life as a United States citizen and out, gender non-conforming gay “man.”