The inspiration for this thesis comes from the fascination of the overwhelmingness of the world in its multiplicity and the abilities of the aestetics and arts to evoke insights into to this multiplicity. The thesis is primarily based on the epistemology and aestetics of the French philospher Michel Serres and especially as these present themselves in the work Genesis. The philosophy of Michel Serres finds some support in the phenomenology of French philospher Maurice Merleau-Ponty. On the grounds of Michel Serres? episte-mology of multiplicty the thesis discusses and tests the usability of an Aesthetics of Epistemology where the boundaries between truth and beauty are blurred. The thesis sets out in a search of an understanding of both aesthetics and epistemology where the authenticity of the immediate and bodily experiences are regarded with as much value as the knowledges and experiences of the reflections. The structure of the thesis is based around the three main elements of the phenomenon of perception ? being the perceiver, the perception, and the perceived. The three elements are discussed through the readings of a novel, through the analysis of a painting, and through a discussion of the premises of net art as a whole. The perceiver?s role in the phenomenon of perception is discussed through an analysis of the novel The Body Artist by the American writer Don DeLillo. During this analysis the importance of the understanding of the body and its role in both perception and aesthetics is pointed out and made clear through the readings of the novel and in comparison with the works of both Michel Serres and Maurice Merleau-Ponty. Especially the latter?s essay Eye and Mind is brought in for a thorough investigation. The findings of the analysis is then compared in the end of the chapter and written into the understanding of the Aesthetics of Epistemology. In the analysis of the perception in itself the thesis finds its point of departure in the painting Turquoise Dog with Apple by the Swiss painter Daniel Patrick Kessler. Through an investigation of color, form, and narrative in the painting and painting in general on the basis of the works of the Russian painter Wasilly Kandinsky, the Aestetics of Epistemology shows the value of composition through inner necessity where the tension between the parts and the whole of the painting both opens for an understanding of the concrete painting and its premises, and an understanding of the perception in itself in relation to both human, natural and cultural forces. This analysis of the perception in itself is then again turned towards the description and understanding of the Aesthetics of Epistemology which gives further grounding for its usability. In regards to the investigation of the perceived the focus is turned towards the world of net art as an representation of our understanding of our world and its phenomenons. Through an analysis of a representative range of danish net art and its main elements the thesis searches out the premises of net art in the tension between the local and the global. The understanding of the tension between the local and the global opens for an analysis of both our human being and our world, which is again turned towards the description of the Aesthetics of Epistemology and its usability as both a method for analysis and an authentic epistemology. Finally the findings about the Aesthetics of Epistemology are rounded up with a few words which are related to its function throughout the thesis and its usability and possible uses in future works and as a general view of scientific work.