ABSTRACT
In this chapter, I explore Susan Leigh Star’s concept of boundary objects as a means of anchoring artistic research in the greater discourse surrounding the Anthropocene. After outlining the history, scope and strengths of the concept, I present two case studies of recent artworks that posit seeds as an example of a weakly structured boundary object of the Anthropocene. As the significance of transdisciplinarity increases along with the “wicked” problems associated with the Anthropocene, such as climate change, species extinction and soil degradation, the concept of boundary objects presents interesting threads of inquiry and new modes of research practice for artist researchers – namely the appropriation and adaptation of an analytical device, as it was originally conceived for scientific collaborations, to the relational world of artistic collaborations. In so doing, the richness of science technology studies (STS; in which Leigh Star’s work is situated) can be extended to the field of artistic, practice-based research as it applies to the Anthropocene. The essay is bracketed by two reflections as part of a live performance in which I passed out silk screen printed seed packets at the beginning and bags of commercial popcorn at the end. The performative action used symbolic devices to materially convey the concept of boundary objects and its use in artistic research practice.
