The Art and Science of Stuffing Up Your Life

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Break Up Survival Guide.

Family life: Farewell to Berlin, Live is Life by Opus and Nanny’s stuffing

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Please review your cart. The collaborative process was predominantly researcher driven, but benefited from space made to discuss possibilities and to let the project evolve with collaborators. Harrower hosted an art—science event at SymbioStudio where she gave a research talk and invited all collaborators to meet each other, learn about the research, and to brainstorm ideas.

At this event, new ideas were born, that included: Citizen artists met with Harrower in her field sites and were trained to collect data for the trees, including height, branch numbers, location, photos, and video. This information was passed to the writers who then developed a character description for each tree.

Writers were given almost complete freedom to create this work, as long as the writing was family friendly. Musicians each chose a tree, and were given complete freedom to create music for a 1-min tree video for their tree. During the group meeting session at SymbioStudio, collaborators decided that a united image would be the most powerful for a future exhibition setting, and that all visual artists would create carvings of their chosen tree from tree silhouettes that were sized in relation to each other.

We felt this was an important aesthetic choice. The art making process connects people to the environment in a powerful and emotional way. Ninety percent of collaborators felt an enhanced emotional connection and personal responsibility to the issue of biodiversity loss than they had before working on this project. Eighty-two percent of collaborators reported that participation in this art—science project had inspired them to reconsider ways that their behavior negatively impacted the environment, and to make modifications.

All participants surveyed felt that an in-depth science description, given both in written form and as a verbal talk, was very important to enhancing their understanding about the system, leading to an enhanced ability to make art. All participants agreed that participation in this art—science project provided them with a deeper understanding and appreciation for current issues surrounding biodiversity loss and climate change, as well as appreciation for the science process.

Snapshot: Goodbye to Berlin after the holiday

This project will continue to grow. As of April, , the social media site is not yet open to public interaction, but once in place, viewers will be able to post directly to tree profiles by submitting letters and art. We will show the art in conjunction with science talks, a printmaking workshop at the JTNP visitors center art gallery, at art galleries, and museum exhibitions.

In March , as part of the art residency, we will be working with elementary school students to collect data on the trees. Participating students will create their own Joshua tree art and writings. This work has already inspired a ranger at Indiana Dunes National Lakeshore to begin plans for a local tree-dating project. As these projects are recent and ongoing, we have yet to follow up with respondents to gather evidence of long-term changes in beliefs or behavior.

Harrower has tapped into opportunities for collaboration that are widely available to grad students or professors associated with a university: Interdisciplinary collaborations have shaped her outreach efforts, and the message about Joshua tree decline and species loss has taken a different form in each project. How those interdisciplinary partnerships are nurtured affects the product and the experience for collaborators—is the project ultimately rewarding, inspiring, or draining or even worse, embarrassing?

Extrapolating from the projects Harrower has initiated and co-led, a variety of strategies can set a project on a path to positive cascading impacts, such as treating artists as a primary audience; seeking input from public audiences; structuring public events that offer a combination of science talks and art experiences; working with a theme such as species loss as well as specifics of a scientific investigation.

Cascading impacts can be achieved when a scientist integrates multiple dimensions of their identity into their professional life Risien and Storksdieck The cases described above illustrate how vital it is to treat artist collaborators as a primary audience for increasing knowledge, not as a necessary steppingstone to the true target audience. Harrower and her collaborators found that utilizing conceptual models and focal themes to highlight the science issues served as an important communication device for teams to break down language barriers and frame complex interdisciplinary problems.

Identifying language commonalities, metaphors, and drawing diagrams to communicate the vision greatly facilitated the process. In Seeking Symbiosis, Joshua tree love story, and Hey Jtree, Harrower found that collaborators reported valuing the opportunity to understand the science deeply.

Unanimously, all recruited completed the projects and demonstrated a high level of investment, were personally moved to examine habits, and reported high levels of interest in further art—science collaborations. Rather than rotely fulfilling an obligation, they became conversant in symbiotic relationships, mycorrhizal fungal networks, and aspects of phenology. The process of research, creation, and self-reflection inherent to the art making process can assist with knowledge and identity building Harrison and Harrison ; Curtis Seeking input from public audiences through surveys and focus group discussion, Harrower keyed in to the value of pairing her science talks with artistic media.

Audience feedback is an often overlooked component during the art making process Glinkowski and Bamford , but to maximize emotional impact, we found it useful. Scientists who have an interest in outreach and advocacy could benefit from asking an audience for feedback on a talk or art—science collaboration. We found that the emotional impact of the art making process across all three case studies and the art viewing process Joshua tree love story was strongest when paired with a science talk. This finding aligns with the theory of using multiple modalities to influence knowledge acquisition, which could lead to personal changes in attitudes and beliefs Jackson Pairing a science talk and art will be part of our way of working in the future.

We can use audience feedback to determine what the advantages and disadvantages are to leading with the art experience or the science talk, as well as to determine how the audience responds if the talk is given by a participating artist or the scientist. This fusion may be a new take on science cafes, a format that opens up new venues for discussion about science and society. While scientists might wonder about the value of talking about their research before results are in, Harrower has found that the outreach and research efforts nourish each other.

Securing funding and accessing residencies all lend credibility and support to both the research and outreach efforts. Harrower will continue to investigate Joshua tree ecology at her research sites, assess the impact on stewardship and perceptions of beauty, urgency, as well as understanding of species interactions among her target audiences—those who are involved as citizen artists, professional artist collaborators, or public audiences in park settings and beyond.

With partners from informal education, Harrower will explore how artists who have a high level of science understanding function might participate, lead, or facilitate in-person presentations paired with art exhibits or film screenings or citizen art workshops. As evidenced by our current environmental state, we cannot assume resilience of species and their habitats.

To secure a sustainable future we need to develop collaborative interdisciplinary approaches that engage the public and motivate people to protect our resources. We would like to thank Greg Gilbert, and Brent Haddad for comments on early versions of this manuscript. We thank our many arts and science collaborators who participated in the different case studies, and the supportive staff from Joshua Tree National Park for their help with fieldwork and educational outreach. Oxford University Press is a department of the University of Oxford.

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It furthers the University's objective of excellence in research, scholarship, and education by publishing worldwide. Sign In or Create an Account. Close mobile search navigation Article navigation. Abstract Human-induced global change has triggered the sixth major extinction event on earth with profound consequences for humans and other species. View large Download slide. Art and community development: Bridges and barriers to developing and conducting interdisciplinary graduate—student team research. Interdisciplinary collaboration in digital media arts: The nature of art: For permissions please email: The first commercial concern to create stuffed toys was the German Steiff company in Steiff used new technology developed for upholstery to make their stuffed toys.

Sock monkeys are a type of handmade stuffed monkey made out of socks, which first appeared in the US during the Great Depression. Amigurumi is a Japanese type of handcrafted knitted or crocheted stuffed toys. Amigurumi are typically made to look cute with oversized heads and undersized extremities. Pillow Pets are a brand of stuffed toys that can be folded from a pillow into a stuffed animal.

Some other companies include funko, plushland, sanshee, suki, and TY. Several brands of electronic and robotic plush toys were fads when they were first released. These include Tickle Me Elmo , a laughing and shaking plush toy based on the character Elmo from the Sesame Street television show, released in , [8] Furby , a robotic talking plush toy with its own language, released in [9] and Zhu Zhu Pets , a line of robotic plush hamsters released in Some brands of stuffed toys use marketing strategies to encourage the collection of a series of stuffed toys, such as Beanie Babies.

They are very popular. Webkinz stuffed animals were created by Ganz in Each Webkinz toy comes with a unique "Secret Code" that gives access to the Webkinz World website and a virtual version of the toy for online play. In , Disney launched its first collection of Disney Tsum Tsum stuffed toys based on characters from different Disney properties, inspired by the popular app of the same name.

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