My colleague Harri Laakso suggested in one of his presentations that we should stop talking about the different types of knowing and admit, or even emphatically argue, that in art we are dealing with something that is "otherwise-than-knowing". Harri Laakso's remark suddenly shed light on an issue that was partly clouded and partly lit: why is it important to so many that art remain art, and why are so many interested in doing research that is based on artistic activity and that takes seriously art's own way of operating, its manifestations and methods of conveying something to others, either through whispers, screams or discussions?These meditations stem from the frenzied thinking and discussion going on in art universities around the world. Art is seen as the ability to change the world, not by money or force, but by orientation: by radically transforming the "sensible", or sensory, reality of the eye, ear, taste, touch and smell, which unavoidably results in a change in ideas, understanding and insight. It may be about distancing, it may be about getting closer; sometimes it is irony or camp, sometimes it is a serious attempt to find illuminating concepts and their verbalisations, and sometimes it is the need to create new myths or just tell stories.