In this art project-dissertation, the artist Arnas Anskaitis explores the relation between their own artistic practice and artistic research along with all the conceptual, epistemic, aesthetic, and other dilemmas that might result from it. The artist questions how the voice of a specific artist-researcher, with their own ways of conceptual or material thinking and forms of individual articulation, contributes to the emancipation of the specificity of 窶和rtistic knowledge,窶� and analyses the possible roles of a written component in an art project. The aim of the research is to examine the methodological capacity of the creative-artistic practice and rethink it as a system of artistic knowledge, thus contributing to the discourse on artistic research and the epistemic boundaries of the doctoral studies in art. The art project is comprised of two parts: 窶彝esearch Essay窶� deals with the questions of methodology, and 窶弋race-Maps窶� provides an exposition of seven artworks. The dominant paradigm of academic artistic research can be overcome and played over by the 窶和rtistic expositions窶� and 窶和rtistic arguments窶� which are laid out in 窶彝esearch Essay,窶� and which Anskaitis has put to an experimental use in his 窶弋race-Maps.窶� The 窶和rtistic argument窶� here can be understood as an irreducible assemblage of artistic ideas and epistemic claims, where the material and epistemic types of 窶蕨oise窶� play a positive role. The work draws from the discovery that, while writing in the narrow sense appears as an (epistemic) obstacle, the notion of writing in general offers itself as the first and most adequate possibility of artistic research that might actually contribute to the positive (epistemic) break.