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Fig. 16.1
Level of site participation with arts and humanities efforts
program at Virginia Coastal LTER, and (iv) a yearly visual and performing arts
exhibit connected to Bonanza Creek LTER in Fairbanks, Alaska. Though they did
not describe their programs in the survey, the other two sites that identifi ed them-
selves as hosting consistent arts and humanities inquiry were (v) Baltimore
Ecosystem Study LTER, where they host an artist-in-residence program and visiting
artist fi eld trips through their BES Art and Science Integration Program (BES-ASIP)
and (vi) Harvard Forest LTER, where they also host an artist-in-residence program
and ongoing historical research, as well as house the Fischer Museum.
We also asked respondents about the types of work their sites have hosted
(Fig.
16.2
). We provided lists of visual, literary, and performing art genres and
offered
Other
for categories we might have missed. The most prevalent genres
were: painting (15 sites), photography (10 sites), and literary prose (8 sites).
Respondents also wrote-in: observational drawing, ephemeral art/meditation, elec-
tronic visual arts, participatory art/digital art, and legend/myth.
The general nature of the survey precluded some nuance in the data and this fl aw
suggests a potential challenge in cross-network approaches to fostering arts and
humanities inquiry in the future. In an open comments section at the end of the
survey one respondent wrote: “One problem with this survey … is that it mixes too
many different types of scholarship, art and humanities. There is no way to broadly
articulate answers to the questions above when painting, poetry, photography, fi lm
and history are all merged.” The function, intent, impact, and audience of arts and
humanities work varies across genres and individual participants. As sites nurture
specifi c projects, there will be opportunities to ask how these diverse approaches
can come together to tell a connected story across landscapes, similar to the way
cross-site science aims to do.
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