This paper examines the "Boundless Bound" initiative—an interdisciplinary symposium and art book fair—as a site of practice-based research where independent publishing operates as a social scaffold for knowledge mediation. Moving beyond traditional academic reporting, this paper employs a visual-narrative approach to document how the tactile resistance of analog production—specifically within the mechanical constraints of Risograph and letterpress—integrated artistic production, scholarly research, and public engagement. Grounded in Vygotsky’s socio-cultural theory and Woods’ communicative models, the initiative enacted a framework guided by three core principles: mutual mentorship, high challenge/high support, and the integration of production with critical reflection. Here, the physical production of zines and artist books functions as a "third space" where participants from disparate fields (e.g., psychology, library science) negotiate the friction between abstract theory and haptic manifestation. To operationalize this framework, the research utilizes a distinct Six-Step Model—analyzing participant observations, visual documentation, and finished material artifacts. Through this Material Scaffolding methodology, this paper delivers three core findings on semiotic scaffolding, sensory friction, and physical publications as boundary objects. Ultimately, this paper asserts that the haptic materiality of independent publishing provides a unique site for intellectual synthesis and the flattening of academic hierarchies, proving that the contemporary art book fair is not merely a venue for distribution, but a vital methodological apparatus for collaborative, socially-responsive making.

Authors:
Feixue Mei, James Madison University, United States

About the Presenter(s)
Ms Feixue Mei is a University Assistant Professor/Lecturer at Northwest Missouri State University in United States

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