The starting point of this volume is the current economic situation of design and artistic research. Methodological discussions play a central role, often framed in metaphors of disorder, mixture, and non-linearity. On one hand, certain characteristics and myths of creative production processes are to be highlighted; on the other hand, there is an intention to connect with scientific traditions that have long described their approaches as irregular or wild processes. They share the belief that disorder in research is neither a secondary phenomenon nor something that can be technically or strategically avoided, nor should it be eliminated through scientific hygiene measures. Instead, its occurrence is considered constitutive, leading to recurring instances of knowledge generation where different degrees of order manifest in equally unpredictable and open-ended developments. This volume aims to engage with these discussions, which have recently been initiated by the history of science and cultural studies, and to critically apply them to design and artistic research practices. Its goal is to break free from the confrontation of order versus disorder and to circumvent stereotypical dichotomies of design and science, thereby releasing flexible and contingent modalities of research description. Contributions from Lisa Conrad, Knut Ebeling, Paul Feyerabend, Moritz Greiner-Petter, John Law, Claudia Mareis, Shintaro Miyazaki, Anja Schwanhäusser, Walter Seitter, Max Stadler, Nicole Stöcklmayr, Stefan Wellgraf, Friedrich Weltzien, Christof Windgätter.