Art is the ultimate hustler: it will sidle up to anything which promises it access to experience, knowledge, or power. For evidence, one need only look at pairings between art and law, art and the environment, or art and business. How might we evaluate the limits of art’s claims to knowledge and the political potential of its interaction with knowledges beyond?
Snow asked his literary colleagues about the Second Law of Thermodynamics. “The response was cold: it was also negative. Yet I was asking something which is the scientific equivalent of: Have you read a work of Shakespeare’s?”
The philosophy of science, the politics of evidence, and the biases that shape our decisions. For anyone who spent their Christmas trying to fact-check their family into submission.
“History is the study of past events.” “Biology is the study of living organisms.” But art? Is art a discipline? Is it a practice? Who gets to answer this most fundamental of questions, and why do we prefer not to try?
A call for interdisciplinarity: Any disciplinary practice that overlooks the fundamental epistemic ideas of its neighbours places itself at a disadvantage.
What is the role and function of contemporary art in economic and political systems that increasingly manage data and affect? Tom Holert’s Knowledge Beside Itself delves into the peculiar emphasis placed in recent years, curatorially and institutionally, on notions such as “research” and “knowledge production.”