Artistic Research Part 2: “[A]rt and science are not distinct domains, but are intertwined practices”
At the KHK c:o/re, the practice of artistic research has always been part of our research interests. For this reason, we invite fellows working closely with the arts in each fellow cohort. In the past four years, we have realized various projects in collaboration with art scholars and practitioners, and different cooperation partners, ranging from artistic positions in the form of performance, installation, discourse, and sound. Many of these events were part of the center’s transfer activities to make the research topics and interests visible, relatable, and tangible. In this sense, art can be seen as a translation for scientific topics. But the potential of the interaction between science and art doesn’t end there. Art is more than a tool for science communication, it is a research culture. Therefore, we ask the following questions: What kind of knowledge is generated in artistic production? How are these types of knowledge lived in artistic research? And, in combination with one of the central research fields of the center: To what extent are artistic approaches methodologies for what we understand as expanded science and technology studies?
To get closer to answering these questions, we talked to some of our fellows who are working closely with the arts and researching the connection between science and art. We want to find out about the epistemic value of artistic research, the methodologies and institutional boundaries of artistic research in an academic environment, and how they implement artistic research in their research areas.
In this edition of the interview series, we spoke to KHK c:o/re fellow Hannah Star Rogers.
Hannah Star Rogers
Hannah Star Rogers is a scholar, curator, and theorist of art-science. She does research on the knowledge categories of art and science using interdisciplinary Art, Science, and Technology Studies (ASTS) methods.
KHK c:o/re: What do you think is the epistemological value of artistic research?
Hannah Star Rogers: Epistemology asks: What counts as knowledge? How is knowledge produced? How do we justify what we believe to be true? Who gets to decide what is valid knowledge? These are fundamental concerns of STS, and they have been the driving force behind my interest in considering the relative power of art and science, in order to understand how these groups have persisted in knowledge production. It should be said that I have in mind the large tent of STS knowledge production, which can include things like aesthetic knowledges. Artistic research holds significant epistemological value by contributing to knowledge production in ways that are often overlooked. In my book Art, Science, and the Politics of Knowledge (2022), I try to offer a perspective on the epistemological value of artistic research. Drawing from Science and Technology Studies (STS), I argue that art and science are not distinct domains but are intertwined practices that both produce knowledge through shared methodologies such as visualization, experimentation, and inquiry.
I have a particular interest in liminal objects, like the Blaschka glass marine models or Berenice Abbott’s illustrative science photographs, because they belong to both art and science networks at different times and places. Another phenomenon I’ve been interested in for what it might tell us about art and science as knowledge-making communities are intentionally hybrid art-science practices, like bioart. Their status is different but they can also help us think about STS concerns like expertise, boundary-making, and disciplinary zoning. It’s hardly news that context changes meaning, but these liminal objects are a chance to think about how people construct those meanings by invoking materials and rhetorics.
These liminal objects challenge traditional dichotomies between art and science, suggesting that these categories are socially constructed labels that order our understanding of knowledge. Building on the work of Latour and Woolgar, combined with Howard Becker, we can observe that both art and science function as networks that produce knowledge, often overlapping in their practices and outcomes. By examining the intersections of art and science and studying the works of other ASTS scholars, I observe the complex and collaborative nature of knowledge-making in art and in science. This leads me to a position of advocacy which is beyond the scope of ASTS and intersects more with my role as an art-science curator: I want to advocate for a more inclusive understanding of how an expanded understanding of what knowledge is and how it is produced, validated, and experienced.
What specific methodologies are used in artistic research? Can you give an example?
Art methods are many, but most projects involve the discovery of new processes and methods. It is easy to remark that scientists set out their methods first, but in fact, especially in the case of groundbreaking research, they often must discover the method by which to produce, reproduce, and capture data about a phenomenon. Method-making is a central part of the efforts of both artists and scientists.
Put another way, the work of artistic researchers covers many methods we are familiar with in STS, including historical and anthropological research, interviews with community members and experts, ethnographic observations, and philosophical reflections. At the same time, and I speak here about art-science, there are art processes which we tend to use less often: direct work with materials, a sensibility for offering the public an experience of the work (which often shapes choices from the beginning of artists’ processes), the duplication and hacking to standard protocols from within the sciences, and an openness to staying from our original methods. The final “product” may be an installation or performance or poetry, but often what is most revealing are the processes and decisions that shaped it. This recursive attention to method is itself a form of inquiry—and one that carries epistemological weight.
How do product-oriented art forms such as exhibitions or installations differ from process-oriented approaches to art? Is there a hierarchy? How do these approaches influence each other?
In my experience, behind the most interesting art-science projects are even more fascinating methods and processes. Showing methods and processes is a major interest of nearly all the artists (bioart, digital art, eco-arts, participatory/community arts) interviewees I have ever spoken to as part of my Art, Science, and Technology Studies (ASTS) research. It is worth noting that I particularly work with actors in art-science or art-science-technology but I believe that we would find this to be a wider pattern in other areas. A component of many contemporary artmakers’ work is to figure out how to convey their actions or the actions of others (be they communities, plants, microbes, scientists, or otherwise) through their work. Art-science curators often take up this same concern. We ask: how can we design an encounter that invites the public into the process? This can be complex, but it’s central to how we try to help audiences encounter the richness of artistic research. I’ve tried to explore some curators’ approaches to these issues in my forthcoming edited volume, What Curators Know, from Rowman & Littlefield, due out later this year. I also would argue for the need to create conditions that support open-ended artistic inquiry—akin to basic scientific research. Too often, artists are pressured to produce legible outcomes or results. But like scientists, artists should also be given space to ask difficult, speculative questions without immediate expectations of closure or utility. I have written a bit about basic artistic research (BAR) for the journal Leonardo because I believe much more needs to be done to offer artists the conditions under which they might work under the bluest skies possible, that is with open research possibilities like those that have traditionally been supported in basic scientific research.
Artistic Research Part 1: “[I]n an academic environment, […] practice-led research in the arts is still not fully recognized as eligible”
At the KHK c:o/re, the practice of artistic research has always been part of our research interests. For this reason, we invite fellows working closely with the arts in each fellow cohort. In the past four years, we have realized various projects in collaboration with art scholars and practitioners, and different cooperation partners, ranging from artistic positions in the form of performance, installation, discourse, and sound. Many of these events were part of the center’s transfer activities to make the research topics and interests visible, relatable, and tangible. In this sense, art can be seen as a translation for scientific topics. But the potential of the interaction between science and art doesn’t end there. Art is more than a tool for science communication, it is a research culture. Therefore, we ask the following questions: What kind of knowledge is generated in artistic production? How are these types of knowledge lived in artistic research? And, in combination with one of the central research fields of the center: To what extent are artistic approaches methodologies for what we understand as expanded science and technology studies?
To get closer to answering these questions, we talked to some of our fellows who are working closely with the arts and researching the connection between science and art. We want to find out about the epistemic value of artistic research, the methodologies and institutional boundaries of artistic research in an academic environment, and how they implement artistic research in their research areas.
In this first edition of the interview series, we spoke to KHK c:o/re alumni fellow Nathalia Lavigne.
Nathalia Lavigne
Nathalia Lavigne [she/her] works as an art researcher, writer and curator. Her research interests involve topics such as social documentation and circulation of images on social networks, cultural criticism, museum and media studies and art and technology.
KHK c:o/re: What do you think is the epistemological value of artistic research?
Nathalia Lavigne: Artistic research and research-based art have become huge topics in the last two decades and some art historians have even suggested that there is an overabundance of these terms in contemporary art exhibitions in recent years. However, there are several epistemological values coming out of this approach. In general, it comes from combining knowledge from different fields, making them more visible outside of academia (in cultural spaces), and eventually contributing back to the respective field. This interconnectivity of knowledge can be valuable to academia by bringing new perspectives on objectivity and methodologies and providing more space for speculation and a more enjoyable way to absorb research.
What specific methodologies are used in artistic research? Can you give an example?
I can talk about some methodologies developed by artists I have worked with, either as a curator or when writing about their work. One example is the project (De)composite Collections, developed by Giselle Beiguelman, Bruno Moreschi, and Bernardo Fontes for the ZKM’s intelligent.museum residency in 2020. They analyzed the collections of two Brazilian museums through AI reading systems. Using these datasets, which were algorithmically processed with GANs (Generative adversarial networks), they questioned what other art histories might emerge from AI’s readings of the images and how these systems could contribute to understanding the gaze as a historical construct. Part of this methodology involved the development of a dataset organized by recurrent themes in Brazilian modernism, such as indigenous people, people of color, white people, and tropical nature. This work was also part of a project developed by students and faculty members at the University of São Paulo (USP), so it originated in an academic environment.
Is there a specific aesthetic that characterizes artistic research? Like trends or movements?
I would say that there are some characteristics that we can notice in the way these projects are formalized depending on the period. One that has been quite evident in recent years is the so-called “forensic aesthetics.” Popularized by artist and researcher Eyal Weizman, the term refers to a methodology used in art to explore the memory of places and objects as forms of testimony. This aesthetic has influenced artists working on topics such as repressed memory and collective amnesia in different contexts. One artist I have collaborated with as a curator is Rafael Pagatini, whose work addresses the memory of the Brazilian Civil-Military Dictatorship (1964-1985) in the present. In his process, he applies methodologies from both history and law, which affects how these memories are addressed (or omitted) from institutional archives.
But there are also artists who have been collaborating with scientists long before this kind of artistic production was labeled “artistic research.” For example, since the 1990s, Eduardo Kac has developed projects with bioengineers, geneticists, and, more recently, astronauts and space agencies to create his space arts projects. In his case, the methodologies and the process of materialization vary greatly depending on each project.
What are the problems and challenges of artistic research in an academic environment?
In general, the challenges in an academic environment are that practice-led research in the arts is still not fully recognized as eligible for funding or career assessment procedures. But this has been changing, especially since the Vienna Declaration on Artistic Research co-written by different European associations in 2020. However, in countries from the Global South — or even in the US, where public funding for research is limited — this reality is very different. As I’ve heard from artists engaged in artistic research in Brazil, for example, the challenges are not so much in an academic environment but rather in the art system in general. As the Brazilian art system still largely revolves around the market due to the fragility of public institutions, research-based art finds it difficult to fit into a more commercial logic that prioritizes art objects that are less process-oriented.
Event Announcement: Talk by Professor Caspar Hirschi
On Wednesday, June 25, 2025, at 6:00 pm, Professor Caspar Hirschi from the University of St. Gallen will give a talk on “A child of the knowledge economy? On the history of the history of knowledge” (“Ein Kind der Wissensökonomie? Zur Geschichte der Wissensgeschichte”) in the KHK c:o/re lecture hall. The talk will be held in German.
Everyone is cordially invited to attend!
For further information and registration, please contact Sandra Dresia: dresia@histinst.rwth-aachen.de
Expanding Cultures of Research and Governance in the Innovation Era
NINA FRAHM
My short-term fellowship kicked off with a KHK c:o/re workshop exploring the 2025 thematic field ‘expanded science and technology studies (STS)’. As Stefan Böschen explained at the beginning of the session, key questions guiding work in this field were how to study and make sense of increasingly hybrid forms of knowledge production in contemporary research and technological development. Expanding well beyond traditional cultures of science and engineering, research today reflects an imperative to integrate heterogeneous actors, diverse epistemic backgrounds and material practices, and a plurality of economic and political interests. On the one hand, this hybridization of research is driven by expectations for research to become more innovative – to produce new knowledge and technological tools at ever-greater speed and scale. On the other hand, it is a response to a crisis of scientific authority and narratives of technoscientific progress – producing corollary demands to democratize research through greater inclusion of society, stakeholders, and the wider public. During the workshop, we discussed different avenues through which STS can study, meaningfully engage in, and, perhaps, even contribute to critique of this trend and its dynamics. Might expanded forms of scientific and technological production also require expansion of analytical perspectives, methodological tools, types of collaboration, and vocabularies of critique in STS?
Nina Frahm
Nina Frahm is a postdoc at the Department for Digital Design and Information Studies, Aarhus University. Grounded in Science and Technology Studies (STS), she critically examines policies and governance approaches for innovation across countries, institutions, and technoscientific domains.
During my lecture at KHK c:o/re a few hours later, I argued that STS research into changing cultures of technoscience indeed should expand to studying equally important transformations in the governance of science and technology – in fact, changes in one rarely occur without changes in the other. My research over the last couple of years has closely followed recent shifts in the ways public policies frame the governance of technoscience, and in particular, which frameworks and instruments have been put into practice to achieve a greater inclusion of society in innovation processes. In the past, science and technology policy emphasized a ‘social contract with science’ and a hands-off, hidden role of the state in the production and governance of technological innovation1. Today, however, we witness governments and public institutions openly embracing innovation imperatives and policies to support the development of innovative technologies beyond science alone. Yet, promises on part of policy to achieve social progress and wellbeing through investments in innovation also face the challenge to legitimize public investments in high-risk, highly uncertain research and development. A key task for the ‘entrepreneurial state’2 is hence to produce visions of innovation as a res publica – a thing that can be produced and governed by society and according to its rules.
A new spirit of technoscience
The public turn to innovation in the 21st century is characterized by a ‘new spirit of technoscience’3 in which 20th century governance paradigms are turned upside down. Rather than following linear models of innovation, ‘techno-fix’ logics, and ideals for the self-governance of research and development, policies advance frames of technoscientific governance in which the public is given a key role to control innovation pathways and to fix potential problems for society upstream4. The new spirit advances a variety of frameworks to integrate the public in the development and governance of innovation, such as Bioethics, ‘Responsible Research and Innovation’, Open Science, or ‘Mission oriented Innovation’. Different tools are mobilized by policy to put such frameworks into practice, ranging from ethics committees and expert advisory boards to public engagement exercises, citizen deliberations, or co-creation processes, to name but a few.
While all these tools are geared toward ‘opening up’ technoscientific development and governance, each of them follows a particular idea of who the public is and why it should be included, how it can participate and be represented in technoscientific development and governance, through which means, and for what ends. As my research on the governance of emerging neurotechnologies5 and AI6 has shown, differences in governance frameworks and tools can be traced to culturally situated ideals of democracy that vary greatly across contexts. For instance, US approaches to innovation governance are marked by liberal-technocratic ideals of democracy as deliberations around new technologies are often delegated to experts from science, the law, or philosophy. Here, responsibility for good governance of innovation pathways is located within the individual researcher, engineer, and end-user. The EU, in turn, has experimented with more direct and deliberative forms of democracy in which the public participates directly in settling norms and principles and in which governance responsibility is collectivized along the entire innovation process, including public institutions, scientists, actors in R&D, entrepreneurs, as well as citizens. Whereas both approaches follow long-held scripts, or fictions7, of democratic procedures and practices, they also considerably re-order the relationship between publics and technoscience, particularly when it comes to the distribution of authority to reason on emerging technologies and to take decisions for their governance.
Repertoires for expansion
Expansions in the role of the state and public institutions in the production of innovation are, hence, closely related to expanding the governance of technoscience to new types of publics, forms of expertise, and practices rooted in situated imaginaries of democratic sovereignty and self-rule. To study this dynamic relationship between changing forms of technoscientific production and governance, STS offers the rich analytical language of ‘interactional co-production’ which has been tried and tested in numerous case-studies that illustrate the complexity and diversity of accommodations between science, technology, and society8. This analytical approach allows us to symmetrically trace how changes in the ways knowledge is produced and technology developed – in changing epistemic and material order – simultaneously reflect changes in democratic order regarding the power to reason on and govern science and technology in the name of society.
Such analysis encourages us to direct our critical eye beyond the discourses and practices of scientists and engineers to those places and settings which tend to be overlooked in public debates and appraisal of innovation, such as ethics advisory bodies or citizen panels. Next to interrogating their role in the co-production of socio-technical imaginaries, STS can expand analysis to conceptualizing their importance in re-producing imaginaries of democracy and in re-configuring them for the innovation era. As Jan-Peter Voß has argued, “a lot of more work is required to create robust links between empirical studies of how public engagement is conceptualized and done in various ways and the basic presuppositions and tenets of political theories describing specific ways of how ‘society’ or ‘the people’ as a whole become articulated and how the public speaks.”9 In a time where diagnoses of a ‘crisis of democracy’ are permeating the headlines and a shared sense of democratic values seems to be waning, such work is ever more important. But it can also feel uncomfortable as it contributes to further pluralizing, rather than stabilizing, taken for granted understandings of democracy and democratic practice. Doing this work requires institutional spaces that are open for expansion – spaces like KHK c:o/re where interdisciplinarity, curiosity, and intellectual courage are cultivated and cherished. In the workshop, during my lecture, and in different encounters with fellows, I have experienced how ‘expanded STS’ is not just a scholarly ambition but a mode of doing research and of thinking together that is already very much alive. And although every expansion has a limit, I look forward to further stretching it with colleagues at KHK c:o/re and beyond.
References
1 Pfotenhauer, S. M., and Juhl, J. (2017). Innovation and the Political State: Beyond the Myth of Technologies and Markets. In Critical Studies of Innovation: Alternative Approaches to the Pro-Innovation Bias, edited by Benoît Godin and Dominique Vinck, 68–94. Cheltenham, England: Edward Elgar. 68–94. https://doi.org/10.4337/9781785367229.00012 
.; Block, F. (2008). Swimming Against the Current: The Rise of a Hidden Developmental State in the United States. Politics & Society, 36(2), 169-206. https://doi.org/10.1177/003232920831873 .
2 Mazzucato, M. (2018). The entrepreneurial state. Penguin Books.
3 Doezema, T. and Frahm, N. (2023). The New Spirit of Technoscience: Reformulating STS Critique and Engagement. Journal of Responsible Innovation, Vol. 10(1). doi: 10.1080/23299460.2023.2281112
4 Frahm, N., Doezema, T., & Pfotenhauer, S. (2021). Fixing Technology with Society: The Coproduction of Democratic Deficits and Responsible Innovation at the OECD and the European Commission. Science, Technology, & Human Values, 47(1), 174-216. https://doi.org/10.1177/0162243921999100.
5 Frahm, N. (2022) Soft Constitutions: Co-producing Neuro-Innovation and Society in the US, EU, and OECD. PhD Dissertation, Technical University Munich.
6 Frahm, N. and Schiœlin, K. (2023) Toward an ‘Ever Closer Union’: The Making of AI-Ethics in the EU. STS Encounters, Vol. 15(2).
7 Ezrahi, Y. (2012) Imagined Democracies: Necessary Political Fictions. Cambridge: Cambridge University Press.
8 Jasanoff, S. (2005) Designs on Nature: Science and Democracy in Europe and the United States. Princeton & Oxford: Princeton Unviersity Press; Laurent, B. (2022) European objects: the troubled dreams of harmonization. Cambridge, MA: The MIT Press; Parthasarathy, S. (2017). Patent Politics: Life Forms, Markets, and the Public Interest in the United States and Europe. Chicago: University of Chicago Press. https://doi.org/10.7208/9780226437996.
9 Voß, Jan-Peter (2019) Re-making the modern constitution: The case for an observatory on public engagement practices. In: Simon, D., Kuhlmann, S., Stamm, I., Canzler, W. (eds.) (2019): Handbook of Science and Public Policy. Cheltenham: Edward Elgar.
A Field Trip to the Wandering Mines: Strange Ecologies and the Green Work of Environmental Mitigation
MATTHEW N. EISLER
In the Rhenish mining-industrial complex, the past, present, and future of geological and human time intersect. Over 30 million years, intertwined processes of evolutionary biology and geo-biochemistry produced thick seams of brown coal in the region now known as the Cologne Bay (Kölner Bucht) that began to be intensively mined from open pits from the late eighteenth century. As elsewhere, coal-based industrial enterprises enabled asymmetrical social development and came with environmental costs that human beings sought to mitigate with increasingly elaborate infrastructures of waste management. The resulting hybrid ecosystems exist in a state of fragile balance that requires constant effort to maintain, as a mid-May field trip to the Garzweiler and Hambach mines illustrated.
Matthew N. Eisler
c:o/re Fellow 01/25 – 12/25
Matthew N. Eisler is a lecturer in the Department of Humanities at the University of Strathclyde. He researches how ideology and policy inform practices of energy and materials conversion and shape social relations and environments.
I am a historian of clean and green technology and have become interested in the historical sociology of the “green work” of environmental mitigation, a project I am developing as a KHK fellow. I was curious to hear the perspectives of my companions on this question. The field trip was led by the retired hydrogeologist H. Georg Meiners, joined by Lars M. Blank, head of RWTH Aachen University’s Institute of Applied Microbiology, and Victor de Lorenzo, RWTH Kármán-Fellow and professor of research in the Spanish National Research Council (CSIC), where he heads the Laboratory of Environmental Synthetic Biology at the National Center for Biotechnology. Georg spent much of his career investigating how the lignite mines affect local water quantity and quality while Lars and Victor research microorganisms capable of metabolizing industrial waste. They were eager to get out of the laboratory and lecture hall and into the field to see just what the microbial world is up against.
What we found was a vast “organic machine,” a term coined by the historian Richard White to connote large-scale industrial infrastructure in its ecological context. If the history of environmental mitigation can be characterized by a single phenomenon, it is ‘displacement:’ solve one problem and another pops up elsewhere unexpectedly. In the Rhenish mining complex (Reinisches Braunkohlerevier), we witness a cascading series of displacements. A key set of problems issue from the high sulphur content of lignite. In the 1970s and 1980s, lignite-burning German industry emitting sulphur dioxide and nitrogen oxides caused acid rain in faraway Sweden. Fitting power plants with scrubber technology fixed that problem but did nothing to mitigate emissions of climate-changing carbon dioxide. Moreover, sulphuric mine tailings can acidify soil and ground water. To neutralize this form of pollution, miners mix lime into the spoil.
Managing such problems is complicated by the vast scale of open cast mining. Garzweiler is an artificial canyon, and canyons can shape airflow and create their own weather systems. Georg had warned us to bundle up because it would be windy, and at Garzweiler, that wind is harvested as a resource. Energy planners have ringed the mine-canyon with dozens of giant wind turbines, exploiting an unintended ecological consequence of this industrial enterprise.
These winds cause numerous accidents on nearby motorways and also stir up particulates, a less-discussed problem of open cast mining, observes Lars. At Garzweiler’s eastern rim, where overburden is slowly processed into massive lime-laced mesas by giant earthmovers, a bouquet of hoses spray thousands of liters of water a minute in an effort to tamp down dust. But it is impossible to water all of the 40 square kilometers of the mine’s operating area. Scrubby vegetation growing atop the reclamation mesas fixes some of the particulate matter into place and I wonder aloud if this brush belt will grow into a green lung. Georg responds that this proto-forest is only an interim measure that will disappear according to the master mitigation plan of the terraformers of the Cologne Bay. From the 2030s on, the mine-canyons will be decommissioned and filled with water diverted from the Rhine, creating deep lakes in a project that could take until the end of the century and has many unknowns.
A less visible but equally problematic effect of the mine is on the realm of subterranean water. Garzweiler is surrounded by a vast network of wells, pipes, and pumps working constantly to lower the water table to enable coal excavation. This is a delicate operation. If the pumped water is not properly reinfiltrated back into the ground, says Georg, local forests, streams, lakes, and the underground springs for which the Aachen area is famous could be damaged or even destroyed.
The Cologne Bay is also a rich and important agricultural region that has become contested terrain in an unequal clash between industrialism and eco-activism. For a century, the mining enterprises followed the coal seams, and their historical progress, as depicted on topographic maps, resemble channels carved by giant coal-hungry worms munching their way through the landscape. These “wandering mines” have destroyed a number of farm communities in their path.
We visit the village of Keyenberg, a flashpoint in high-profile regional demonstrations against mine operator RWE in 2021 that became a monument to the uneven pace of environmental progress. Keyenberg is a ghost village. From the mid-2010s, it was slated to be engulfed by the Garzweiler mine and began to depopulate but when energy planners decided to phase out lignite, the abandoned village was left intact. Today, the place has the uncanny feel of a Chernobyl-like exclusion zone. A sign on one house reads “zu verschenken,” or in English, “to give away.” Such houses can be obtained for free, at the price of fixing them up and living near a windy and dusty mine-canyon. Georg says there is talk of housing war refugees here, and amidst the boarded-up buildings there are signs of life. One person, perched on a scaffold, repairs a house that boasts a well-tended hydrangea garden, activities suggestive of yet another form of green work heralding Keyenberg’s possible revival, or reincarnation.
The ongoing management of some of the wandering mine’s wastes, the conversion of its windy microclimate into clean energy, and the gradual reclamation of a portion of its disrupted hinterlands poses the conundrum of how to interpret the co-construction of such awesome desolations and their ingenious eco-infrastructures of life support. Contemporary environmental discourse imposes a dualistic moral-ethical framework of good (green) and bad (non-green) behaviors against which we are supposed to judge ourselves and others, declare a position as optimist or pessimist, and offer normative visions in a calculus that, as some argue, has centered generalized global processes over diverse local experiences of environments and environmental despoliation.
The case of the Rhenish coal belt calls attention to a particular set of conflicts, contradictions, and puzzles, and what the environmentalist Val Plumwood called “shadow spaces,” occluded from our subjective ecological visions, that invite further investigation. Human history would seem to vitiate the prospect of circumspect do-no-harm environmental activism advocated by the philosopher Arne Naess. In the imagined perspective of geological time, human beings might be perceived as acting in a near-simultaneous spasm of furious environment-altering activity.
It seems to me that the path to the kind of wise interventions Naess had in mind starts in gaining awareness of the perversities and paradoxes of myriad local projects of environmental mitigation. Understanding how human beings build organic machines like Garzweiler and its environs, learn how these strange ecologies operate as amalgams of human and natural agency, and live with the consequences might be a modest but necessary prelude to deciding the next set of mitigating moves.
I thank Georg Meiners for hosting and guiding this event and reviewing a draft of this essay, and Victor de Lorenzo and Lars Blank for enriching the experience with their insights and companionship.
Event Announcement: Aachen AI Week 2025
Next week, from May 19 to 23, the Aachen AI Week 2025 will take place, organized by the Center for Artificial Intelligence (AI Center) at RWTH Aachen University.
Make sure you don’t miss the many different activities: For example, the discussion “AI & Diversity” on Wednesday, May 21 from 6 to 8 pm in the OecherLab, moderated by KHK c:o/re director Gabriele Gramelsberger.
AI experts such as Saskia Nagel and Holger Hoos will discuss how Artificial Intelligence (AI) is changing our society and how we can shape a fair future with AI.
More details about the event and the full program of the AI Week can be found on their website here.
Melodic Pigments – An Experiment on the Relationship between Sound and Color
Is Artificial Intelligence (AI) capable of modeling and replicating human sensory associations? This question was explored at the KHK c:o/re on April 28, 2025, as part of the science-art installation experiment “Melodic Pigments: Exploring New Synesthesia” created by the Japanese media artist Yasmin Vega (Tokyo University of the Arts) in cooperation with KHK c:o/re alumni fellow Masahiko Hara (Institute of Science Tokyo).
The goal of the installation experiment is to explore the relationship between sound and color through the phenomenon of synesthesia, in which one sensory perception involuntarily triggers another. The primary focus is on chromesthesia, a form of auditory synesthesia in which sounds evoke the perception of colors.
During the performance, Yasmin Vega played electronic music using live programming, while an AI model trained on sound-color associations predicted and visualized corresponding colors in real time. The AI model used in this project was trained on subjective data reflecting Yasmin Vega’s personal associations between sound and color. Throughout the performance, the AI processed incoming sounds every three seconds and determined the corresponding colors based on the pre-trained data, thereby creating a fluid interplay between auditory and visual elements. The colors chosen by the AI were shown on a series of hanging light tubes and as morphing pattern on a computer screen.
The installation experiment seeks to explore the AI’s ability to model and replicate human sensory associations. The focus is on exploring internal visualization processes and the sensory capabilities of machines. Yasmin Vega’s performance demonstrated that the AI was able to recognize and replicate human perceptions while generating color-sound associations that matched the artist’s expectations.
This installation experiment builds on previous works on the integration of artistic strategies into science and technology that KHK c:o/re alumni fellow Masahiko Hara has engaged in during his fellowship. In January 2024, he presented the art installation “Unfelt Threshold” developed in collaboration with the artist Aoi Suwa that explored the perceptual capabilities of machines in response to unpredictable visual stimuli. Through these experiments, Masahiko Hara aims to open up new perspectives at the intersection of materials science and nanotechnology within scientific engineering. The interplay between science and artistic practice reflects a central research interest of the KHK c:o/re, which investigates how artistic methods can contribute to epistemic questions within an expanded framework of science and technology through performances such as “Melodic Pigments”.
Interview with Yasmin Vega
How do you perceive sound and color?
When I listen to a high-pitched sound, I imagine yellow. When I listen to a dark sound, like dark bass, I also imagine a dark color, like dark green or like deep purple. The volume of the sound also changes how I perceive it. If I listen to a loud sound, I imagine red. And even if I listen to the same melody, if it’s played with different instruments, I also imagine a different color.
What surprised you most about the visualizations of the AI?
What surprised me the most was how often the AI’s visualization matched the color that I actually imagine when I’m performing. And it almost felt like the AI could understand my personal sense of color. From this whole performance, I realized that how useful it can be to work with AI when it comes to expressing something that’s really personal and hard to explain to others or share with others.
What do you think about AI and art working together? Where do you see challenges?
I wanted to use the AI just as a tool in my artworks. I felt that if I collected the training data by myself and developed the model by myself, then using AI is just like using the tool. So, the final artwork was really my work. And I didn’t feel like just writing the prompt and letting the AI to generate the image is really artwork. That’s why I originally wanted to control the AI as much as possible, but now I feel a little bit more relaxed about it. Now I’m looking for the unpredictable results that come when I can’t freely control the AI. I can say that I’m not so cautious anymore.
One challenge I see is the amount of the data. This time I only used 300 samples to train the AI model. There are so many sounds in the world, so it’s basically impossible to cover all of it. But improving the model’s accuracy doesn’t automatically mean that the artwork itself gets better. So, I think the creative value comes from something more than just how smart or how accurate the AI is.
Photos and video by Jana Hambitzer
Edited Volume out now!
We are pleased to announce the publication of “Making Media Futures. Machine Visions and Technological Imaginations” by Routledge. The book is edited by KHK c:o/re team members Phillip H. Roth, Ana María Guzmán Olmos, Alin Olteanu and Stefan Böschen.
Making Media Futures offers a multi-perspectival exploration of how imaginaries and knowledge of the future are constructed in and through various media.
The volume addresses the discursive dimensions of imaginaries and future visions as well as the impact of technological, material, and cultural conditions on the propagation of future discourses through media. Providing both theoretically detailed and empirically rich investigations, the contributions offer a wide range of cases spanning the century from the end of World War II until today and looking at examples from the Southern Hemisphere as well as the Global North. Bringing together scholars in media studies, science and technology studies (STS), and the history and philosophy of technology, the chapters discuss future visions and imaginations of quantum computing, the uncertainty and impact of AI-based text-to-image generation, the ideology behind 5G telecommunication standards, imaginaries of the Internet of Things, transmedia strategies in global and local climate protests, how broadcast radio was implicated in the evangelical mission imaginary, and how early visions of automating scholarly information management shaped standards and ideals of academia. The volume thus complements existing approaches and analytical frameworks for the study of imaginaries and futures discourses with perspectives that are sensitive to the plurality of media-specific conditions and technologies.
The book will interest students and scholars working in media studies, STS, history and philosophy as well as at the intersection of engineering, humanities and social sciences, on matters such as sustainability, ethics, and responsible innovation.
Have a look at the book on the publisher’s website here.
Second Funding Phase for the Käte Hamburger Kolleg: Cultures of Research (c:o/re)
The German Federal Ministry of Education and Research (BMBF) has renewed funding for the KHK c:o/re at RWTH Aachen University for four more years.
The KHK c:o/re is an international Center for Advanced Studies in philosophy, sociology and history of science and technology and the first Käte Hamburger Kolleg based at a technical university. Since 2021, it has explored the transformation of research cultures in science and technology and develops a methodological approach to strengthen the integration of the various disciplines in science and technology studies. This takes place in a close exchange between the humanities and social sciences and the life, natural, technical and engineering sciences.
Beginning in May 2025, the center will start its second funding phase under the direction of Professor Gabriele Gramelsberger and Professor Stefan Böschen with continued support from the German Federal Ministry of Education and Research (BMBF).
“It’s just wonderful that the KHK gives us a platform that allows us such unusual freedom in our research,” says Gabriele Gramelsberger. “This has to do with a number of important boundary conditions. On the one hand, generous funding from the German Federal Ministry of Education and Research allows us to invite a large number of fellows from all over the world every year to work with us on fundamental questions in science. Second, we have a great team that not only supports the work but also enables us to work together on our research goals. Finally, we receive exceptional support from the Rectorate of RWTH Aachen University, which regards the work of the Kolleg as an important asset for its strategy for excellence.”
The overall aim of the center is to investigate the impact of digitalization and globalization on contemporary research cultures, and to develop a theory of “cultures of research” from a situated, historical, and comparative perspective.
In the second funding phase, the basic research question is to what extent digitalization and globalization as universal drivers of transformation set in motion dynamics of standardization of science and “research cultures” – or whether the diversity of research cultures and the varieties of science are not increased precisely by digitalization and globalization. To address this question, the central concepts of “digitality/complexity,” “globality/varieties of science,” and “expanded science and technology studies” will be explored in three research lines in collaboration with international fellows.
“We can look forward to four more exciting years,” says Stefan Böschen. “We will certainly cultivate even more freedom for individual and joint research than we have done so far. In addition, the Kolleg allows us to further develop and strengthen our international networks related to our research topics. In this way, we hope not only to achieve insightful research results, but also to support the development of a special epistemic culture at our University.”
An interview with Gabriele Gramelsberger and Stefan Böschen looking back on the past funding phase and reflecting on the goals and expectations for the second phase can be found on our blog.
“We can look forward to four more exciting years” – Interview with Gabriele Gramelsberger and Stefan Böschen
The Käte Hamburger Kolleg: Cultures of Research (c:o/re) at RWTH Aachen University will begin its second funding phase in May 2025. The German Federal Ministry of Education and Research (BMBF) will fund the center for another four years. With the start of the second phase, KHK c:o/re directors Gabriele Gramelsberger and Stefan Böschen look back, reflect on the achievements and developments of the past four years, and set out the goals and expectations for the coming years.
Looking back over the past four years: What were the highlights of the first funding phase?
It is already a highlight that c:o/re is the first Käte Hamburger Kolleg at a technical university and will probably remain the only one. It is also the only center for advanced studies in history, philosophy, and sociology of science and technology worldwide. The first funding phase was a development phase. This development has been successfully completed. We got a wonderful location for this Kolleg on Theaterstraße and the best possible team. We have had great fellows in all four cohorts, with whom we have developed exciting intellectual perspectives in very different ways. In addition, we have been able to organize a large number of events, networks, and collaborations both within and outside RWTH. Therefore, there are plenty of highlights to report on from the first funding phase.
What are the lessons learned, especially with regard to the interdisciplinary exchange with the fellows?
Experience shows how demanding this collaboration ultimately is, but also how fruitful. You wouldn’t necessarily expect different branches of the humanities and social sciences to work together with natural sciences and technology, but they do. We also work intensively with our colleagues from the natural sciences and engineering. That’s why we’ve developed various formats like lab talks to make these collaborations easier. We’ve also developed projects with some fellows that are now being carried out in cooperation with the Human Technology Center (HumTec). The most important lesson learned, however, is certainly that this type of collaboration not only requires more time and a more relaxed attitude, but also that specific opportunities should be created so that the work can lead to joint results. Goal-orientation fuels interdisciplinary cooperation. In the “Software Group” (a working group at the KHK c:o/re – editor’s note), for example, an article was written with many fellows from a wide area of disciplines and published in Nature Computational Science.
What do you enjoy most about working at the KHK c:o/re?
It’s just wonderful that the KHK gives us a platform that allows us such unusual freedom in our research. This has to do with a number of important boundary conditions. On the one hand, generous funding from the German Federal Ministry of Education and Research (BMBF) allows us to invite a large number of fellows from all over the world every year to work with us on fundamental questions in science. Second, we have a great team that not only supports the work but also enables us to work together on our research goals. Finally, we receive exceptional support from the Rectorate of RWTH Aachen University, which regards the work of the Kolleg as an important asset for its strategy for excellence.
What are the goals of the second funding phase?
In the second funding phase, we are taking seriously the feedback from last year’s evaluation of our research group. The evaluation went very well fostering our research profile more strongly. This will enable us to produce results of even greater relevance and visibility. Against this background, we are pursuing two lines of research, one dealing with the digitization of research (“Varieties of the Digital”) and the other with the cosmopolitization of science (“Varieties of Science”). These lines of inquiry are not only significant in their own right, but also allow us to advance the program of an integrated interdisciplinary methodology of science studies itself, which we bundle under the heading “Expanded STS”. Furthermore, we will link “Expanded STS” to the historical reflection of computing, philosophy of science, and STS. We are working on two book series. One will consist of three volumes dealing with the history, philosophy, and sociology of computing and computational science. The other will consist of two volumes on Expanded STS.
What are you looking forward to?
We can look forward to four more exciting years. We will certainly cultivate even more freedom for individual and joint research than we have done so far. In addition, the Kolleg allows us to further develop and strengthen our international networks related to our research topics. In this way, we hope not only to achieve insightful research results, but also to support the development of a special epistemic culture at our University. This is based on the ideal of tailor-made, integrated, interdisciplinary research practices for understanding science itself, but also for finding more targeted solutions to collective problems.
What challenges do you see in the current research landscape and how does the KHK c:o/re address them?
There are a number of significant changes in the research landscape. These can be described using the triad of transformation, transformation of science, and transformative research. These changes challenge our self-image as researchers, but also the institutionalized self-understanding of science. Although science represents an institutionalized special space for the production of epistemically sound knowledge, it is also increasingly caught up in the maelstrom of contemporary transformations. Making these transformations analyzable in terms of their structure and dynamics is the central concern of our research at the Kolleg.
What is your current research focus and how does it relate to your work at the KHK?
Gabriele Gramelsberger: My research focuses on a long-term narrative of the digitization of science as part of the philosophy of computer science. The history of computer science and computational science on the one hand and current developments towards AI on the other are linked to better understand today’s “digitality”. In my view, digitality began long before the invention of the digital computer in the 1940s. Digitality is the result of the operationalization of the mind of modern philosophy in the 18th century. In the 19th century, mathematics took over, and in the 20th century, engineering took over. However, with this broader perspective, we can better integrate the humanities and social sciences into the current understanding of the digital, which is dominated by science and technology. Above all, we need to better understand the cultural impact of software, which has become the general infrastructure of research and everyday life. Its cultural impact is based on the fact that programming has introduced a new and very powerful way of using written language that not only describes operations but also executes them. Nevertheless, it is a product of written language that is worthy of being archived as cultural heritage and researched by historians, philosophers and sociologists of science and technology.
Stefan Böschen: My research focuses on a wide range of issues in the sociology of science and expanded STS (science and technology studies). Of particular importance are the different forms of collaborative research in a variety of settings. These typically relate to a wide range of fields of innovation and transformation (from neuromorphic computing to a DC-driven energy transition). In this context, concepts of research infrastructures (such as living labs) or those of the analysis of innovation and transformation processes (such as innovation ecosystems) can be further developed. This also creates highly productive new interfaces with research at the Kolleg. For example, the form and dynamics of living labs can be examined in their region-specific differences and thus investigated with regard to the differences brought about by varieties of science (cultural-institutional varieties of scientificity).
What is your “culture of research”? How would you describe the way you conduct research?
Gabriele Gramelsberger: My research culture combines epistemic and historical research in order to better understand current developments. The historical dimension encompasses a wide range of interdisciplinary practices and aspects that I am interested in. Therefore, the Kolleg is the perfect place for me to live my research culture.
Stefan Böschen: My research culture can be characterized by the combination of engineering (I am a trained chemical engineer) and sociology. This has not only given me a keen interest in technology assessment and science and technology studies, but also a great enjoyment of interdisciplinary collaboration at the interfaces between very different disciplines. The productive connection between the various disciplines of science studies plays a particularly inspiring role for me.
The interview was conducted by Jana Hambitzer.
