Paper short abstract:

This paper addresses epistemological tensions around BioArt by approaching it as a boundary object. Drawing from a collaborative BioArt project called Trust Me I’m An Artist, we argue that tensions are inherent to BioArt as a boundary object and that attention should be given to explore their origin.

Paper long abstract:

BioArt is often described in terms of its potential to explore the boundaries and ethics of new technologies, art, and science in society, and to bridge gaps between these worlds. However, collaborations beyond disciplines can also give rise to tensions.

In this paper we address these tensions by approaching BioArt as a boundary object, where different groups collaborate without the necessity of consensus (e.g Star 2010). An example of such collaboration in BioArt is the Trust Me I'm An Artist project (TMIAAA). In a series of events TMIAAA brings together practitioners beyond disciplines in its aim to investigate modes of engagement of art and biotechnology. We participated in and observed TMIAAA events, had informal conversations, conducted interviews, and studied other recorded and written materials.

We argue that tensions are often grounded in differences between epistemological cultures and that these differences are inherent to BioArt as a boundary object. For example, tensions arose around the use of the term 'science communication', due to different conceptions of the term, hindering the collaborators' realization that their ideas on the role of BioArt in a public dialogue were essentially similar. We suggest that in such examples, exploring the origin of existing tensions can be valuable to improve and open up the collaborative practice.

With this paper we aim to contribute to a better understanding of BioArt and the blurring interfaces between art and science. Such an understanding seems especially important when discussing the potential of BioArt to address ethical issues around emerging technologies.