Schwab develops artistic research through the epistemology of experimental systems, treating knowledge as something generated inside materially organised situations rather than applied to them from outside. His pivotal concept is the epistemic thing: an initially indeterminate object whose significance emerges at the contact zone between graphematic space—material traces, operations and inscriptions—and representational space, where those traces acquire conceptual articulation. The methodological consequence is substantial. Research is not reduced to a single experiment or to the verification of a prior hypothesis; it depends on a system capable of sustaining iteration, contingency, attention and the appearance of questions whose answers are not yet known. Schwab retains the specificity of artistic practice while refusing a simple opposition between art and science, proposing instead a proximity-in-difference grounded in experimental labour. The bridge extends directly into history of science, practice theory and media epistemology, where instruments, traces and representational formats become active conditions for what can become knowable.