Art as Knowledge

To what extent can science and the arts work together to generate something like knowledge and why is this interaction still under difficult and also unequal conditions?

Even if hardly anyone seriously discusses anymore whether, alongside the sciences, the arts likewise generate a kind of knowledge, the possibility of collaboration between the two still faces difficult and, moreover, unequal conditions. In the “knowledge society” of today – not least in the interest of policymakers and business leaders – scientific knowledge is routinely accorded a higher value than “artistic knowledge.” This, together with the ideological primacy of technical rationalism and alleged objectivity, barely leaves a niche for “artistic research.”

Artistic interventions in the practice of science, meanwhile, are hardly ever permitted, always citing the “purity” of scientific method. Yet more than just recently, studies have shown that the sciences are, in fact, never “pure.” Scientists’ everyday deeds and thoughts are always receptive to the non-scientific and methodically blemished. Moreover, the discourse of knowledge in its entanglements with power has long been criticized, especially in the relationship of the Global North and South. In recent years, terms of situated and partial knowledge have increasingly been put in place with a critical eye against allegedly universal dispositives of knowledge. This all also goes hand in hand with reflection over the possible potential in the plurality and hybridity of various forms of knowledge.

2017/2018: Project „Vr-Audio“

In the “VR Audio” project, Miriam Akkermann and Christian Stein are developing a prototype for an acoustic virtual reality game that explores the relationship between room acoustics and spatial visuality. Their goal is to find out whether it’s possible to render an environment using VR technology and 360° audio that is so realistic that it can be used to improve conscious hearing.


participating Members

participating Alumnae / Alumni