iiinova — where your digital self keeps evolving

Tammy Steeves @testeeves.bsky.social · 19/08/2026

If you're based in Ōtautahi, and keen to talk #AvianFlu🦠, please join me at the Botanic (126 Oxford Terrace) 8-9pm Tue 15 Sep #RaisingTheBarChCh www.rtbevent.com/tammy-steeves

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Tammy Steeves @testeeves.bsky.social · 08/12/2025

What are the ‘social dimensions’ of moving species for conservation and why does engaging with them matter? This is the focus of our new paper doi.org/10.1016/j.tr... on the cover of the Dec issue of TREE @cp-trendsecolevo.bsky.social led by @aisrayne.bsky.social 🙏 to Kevin Parker for the 📷

cover of the Dec 2025 issue of Trends in Ecology and Evolution highlighting our recent publication "The social dimensions of conservation translocations" featuring a beautiful little bird, a black robin, perched on a tree trunk. Two bands are visible on her left leg (red, silver).

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Tammy Steeves @testeeves.bsky.social · 07/10/2025

What are the ‘social dimensions’ of moving species for conservation and why does engaging with them matter? This is the focus of our new paper doi.org/10.1016/j.tr... published in @cp-trendsecolevo.bsky.social olevo.bsky.social led by ever talented @aisrayne.bsky.social 📷 Kevin Parker

Whimsical photo of a karure | kakaruia | Chatham Island black robin courtesy of Kevin Parker. Features as a wee black bird with four leg bands: white over orange on the left leg and red over white on the right leg. Sneaky tufts of feathers peak out from otherwise borb-like body, encouraged by the unseen wind.

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Tammy Steeves @testeeves.bsky.social · 09/04/2025

Is the #DireWolf🐺 a step towards saving endangered species in Aotearoa New Zealand? Come to our free talk at 6pm TONIGHT to find out. #Tūranga @christchurchlib.bsky.social No bookings required. For a sneak peek 👀 my expert reaction 🔽 @smcnz.bsky.social www.scoop.co.nz/stories/SC25...

Cover of TIME magazine features a photograph of a "dire wolf" that looks like a white wolf. The word "extinct" is crossed out. The remaining text reads: This is Remus. He's a dire wolf. The first to exist in over 10,000 years. Endangered species could be changed forever. By Jeffrey Kluger.

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Tammy Steeves @testeeves.bsky.social · 02/03/2025

This. There are no silver bullets to solving the biodiversity crisis, including #GeneEditing🧬. My personal challenge? Communicating the scientific and social complexities without sounding like a luddite. These are conversations we 💯 need to be having, without the hype. #WatchThisSpace👀

image of a mammoth in a futuristic-looking living room. the mammoth is in the centre of the room on a black and white carpet, with yellow chair and footstool on the left, a flatscreen TV at the back, and a white couch on the right. the words say "we need to talk about the mammoth in the room"

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

The #SmartAndKind team are: @natforsdick.bsky.social, C Adams, @laninsky.bsky.social, A Clark, L Collier-Robinson, I Cubrinovska, M Croll Dowgray, @weta-punga.bsky.social, L Duntsch, @birdjoy.bsky.social, L Howell, M Magid, @aisrayne.bsky.social, @alexverry.bsky.social, J Wold & me. 7/7

a 4x4 panel of pictures of the amazing humans that brought you Forsdick et al: Nat Forsdick, Claire Adams, Alana Alexander, Anna Clark, Levi Collier-Robinson, Ilina Cubrinovska, Max Croll Dowgray, Laura Duntsch, Stephanie Galla, Lucy Howell, Molly Magid, Aisling Rayne, Jana Wold, Alex Verry, and Tammy Steeves

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

We are grateful to www.izzyjoyart.com for designing the beautiful cover illustration 'Kia taiao ora, kia tangata ora', weaving themes of genetics and whakapapa (often translated as genealogy or connections). For more also see Ramos et al. 2025 onlinelibrary.wiley.com/doi/full/10..... 6/7

Digital illustration entitled Kia taiao ora, kia tangata ora by Isobel Joy Te Aho-White. Featured on the cover of Forsdick et al. (2022), Isobel Joy's illustration combines the principles of science through a Western lens with Mātauranga Māori understandings of whakapapa. The structures of DNA and a phylogenetic tree are treated with traditional Māori design to bring them into a contemporary, multicultural context. Here the DNA is envisaged as pātiki kōwhaiwhai, a pattern seen on the rafters of wharenui, to represent manaakitanga (hospitality), our connection to the environment, and how nourishment of the environment in turn nourishes the people. Behind is an abstracted phylogenetic tree with a weaving pattern treatment based on raukūmara and poutama designs, to represent connections/whakapapa and learning respectively.

Isobel Joy Te Aho White (Ngāti Kahungunu ki Wairoa, Kāi Tahu, Pākehā ki te Cornwall me te Denmark) is an illustrator based in Wellington, with a Bachelor of Design from Massey University, majoring in Illustration. Much of Isobel’s work incorporates Māori design and plant life that is native to Aotearoa New Zealand, and is inspired by her ancestral lineages of healers on both Māori and Pākehā sides.

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

This includes prioritising good data management practices including Indigenous #DataSovereignty. For more, also see Forsdick et al. 2025 bit.ly/3WZSqsI and genomicsaotearoa.github.io/data-managem.... 5/7

image that says "Be FAIR and CARE" where FAIR stands for Findable, Accessible, Interoperable, Reusable and CARE stands for Collective Benefit, Authority to Control, Responsibility and Ethics

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

Many threatened species in Aotearoa are culturally significant, which extends to data associated with those species (e.g., newzealandecology.org/nzje/3389). We highlight opportunities for collaborative research partnerships that centre the needs, aspirations, & expertise of Indigenous Peoples. 4/7

Image shows an iterative decision-making framework co-developed with Ngāi Tūāhuriri indicating relevant kaupapa Māori principles and
focal areas for active engagement with mana whenua regarding genomic research on two threatened taonga species, kōwaro (Neochanna burrowsius) and kēkēwai (Paranephrops zealandicus). Colours denote the following: Rangatiratanga (blue) – realising the authority that
tangata whenua have to practice and share their culture in their own way. Tohungatanga (green) – enabling the development of capability,
capacity and expertise of tangata whenua. Whanaungatanga (light orange) – building and maintaining meaningful relationships with tangata
whenua. Kaitiakitanga (dark orange) – enabling the guardianship of all taonga by tangata whenua – including environment, knowledge
and culture. While all four of these kaupapa Māori principles feature in the entirety of our genomic research on kōwaro and kēkēwai,
whanaungatanga is particularly relevant when co-developing and co-sharing research, whereas enabling kaitiakitanga is particularly
critical when making decisions about tissue sampling, data generation, data storage and data access.

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

To support conservation practitioners in identifying appropriate tools to inform conservation management, we review opportunities, challenges, and costs associated with available and emerging #ConGen tools, including #pedigrees, #microsatellites, #genomes, #eDNA, #aDNA, #pangenomes and more! 2/7

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Tammy Steeves @testeeves.bsky.social · 17/02/2025

Recreating @natforsdick.bsky.social 🧵 for #BIOL429_UC 'Current applications and future promise of genetic/genomic data for conservation in an Aotearoa NZ context' available as an OA peer-reviewed report in @docgovtnz.bsky.social #ScienceForConservation series: www.doc.govt.nz/globalassets... 1/7

Cover of Forsdick et al. which features a digital illustration entitled Kia taiao ora, kia tangata ora by Isobel Joy Te Aho-White. Isobel Joy's illustration combines the principles of science through a Western lens with Mātauranga Māori understandings of whakapapa. The structures of DNA and a phylogenetic tree are treated with traditional Māori design to bring them into a contemporary, multicultural context. Here the DNA is envisaged as pātiki kōwhaiwhai, a pattern seen on the rafters of wharenui, to represent manaakitanga (hospitality), our connection to the environment, and how nourishment of the environment in turn nourishes the people. Behind is an abstracted phylogenetic tree with a weaving pattern treatment based on raukūmara and poutama designs, to represent connections/whakapapa and learning respectively.

Isobel Joy Te Aho White (Ngāti Kahungunu ki Wairoa, Kāi Tahu, Pākehā ki te Cornwall me te Denmark) is an illustrator based in Wellington, with a Bachelor of Design from Massey University, majoring in Illustration. Much of Isobel’s work incorporates Māori design and plant life that is native to Aotearoa New Zealand, and is inspired by her ancestral lineages of healers on both Māori and Pākehā sides.

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Tammy Steeves @testeeves.bsky.social · 10/02/2025

@thecowbirdlab.bsky.social this one is for you (& librarians everywhere) #SuperbOwlSunday me: "I need to take this back to the library, it's overdue" Mr11: "But I haven't finished reading it yet. Can we renew it?" librarian (via email): "I see you're on leave, I've just renewed this for you." 📚😍📚

cover image for "the book of eggs" with eggs of all shapes, sizes, patterns, and colours including robin's egg blue (not a robin's egg) and owl's egg white (might be an owl's egg)

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Tammy Steeves @testeeves.bsky.social · 17/12/2024

and the now story: www.nature.com/articles/s41... (I'll send you the pdf now, and sort a proper 🧵 later - need to finish the #LastManuscriptOfTheYear)

poster (white background, blue boxes with white text, greyscale image of bird flock) entitled "building a just research system together" based on: https://www.nature.com/articles/s41562-023-01635-4

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