Recognition of the cognitive dimension of artistic creation lies in the very foundation of the concept of doctoral art education. This requirement is also responsible for joining the social role of art - by performing from the ivory tower of artistic myth, as Hans Belting called for it after the end of modern times. The approach of both ways of thinking - artistic and scientific - does not just come from art. From the point of view of science, the current tendencies, such as the turn from representation to performativity, the understanding of scientific activity as a performative act, the turning to language, the experiment, the importance of visual studies, the understanding of imagination as a strategy, the necessity of participation. In the end, both types of activities can be easily and equally described in the digital age as procedures and strategies for collecting and evaluating data. In addition to describing situations where artistic research takes place at the level of technological support of art from the point of view of technological science or the approach of art history, where artistic production is a source of data for theoretical fields, we will focus mainly on the form of artistic research where art activities directly produce research findings as well as research The conclusions are communicable in artistic or hybrid form. The course will focus on specific areas where the artistic and scientific fusion is successful. Describes the strategies of individual projects, including the ways in which scientific and academic institutions allow for the integration of artists, eg in the field of technology and biotechnology, art-lab programs within universities, humanities, disability studies and others (eg publishing and magazine Performance Research, Office of Accessibility at The National Endowment for the Arts, SymbioticA lab at the University of Western Australia, Nature and Technology Lab, School of Visual Arts, New York, BiofiliA at Aalto University in Helsinki).