Explicit and implicit, declarative and procedural knowledge about migration society issues is not only found in organisations (such as missions, schools, immigration authorities, migrant self-organisations, support programmes), in the infrastructure and media (self-)staging of diasporas and social networks (such as Pegida, refugee movements), but also constitutes them. This knowledge is powerful insofar as it influences individuals' behaviour and self-perceptions. Knowledge systems and border formations are in a reciprocal relationship: borders are created by means of knowledge, borders are simultaneously incorporated and also produce heterogeneous knowledge. Possible doctoral projects that can be located in this area enquire in particular into (hegemonic and counter-hegemonic) orders of knowledge of ecclesiastical, political, administrative, artistic etc. organisations, networks or individual actors. Organisations, networks or individual actors in which issues relating to migration society are addressed and boundaries are created through normative and semantic settings, among other things. Finally, projects assigned to this observation perspective can also focus on media forms of mediation and representations of borders. At the forefront of the investigation are, among other things, questions about how border formations (and/or knowledge about them) manifest themselves in cultural and social practices and forms of expression and to what extent these practices and forms of expression can contribute to the effectiveness (to the 'perceptibility') of these very border formations, but also to the articulation of transgressive subject positions (cf. Butler 2012, for example). Representations of border formations, their specific aesthetics and the prerequisites and conditions of their production, dissemination and reception or use in globalised contexts are thus addressed (cf. Appadurai 1986; Miller 2001). The potential of these representations in the production and circulation of knowledge, for example about the 'own' and the 'foreign' (e.g. in museums, see Baur 2005; see also Ellwanger/Bollmann/Herrmann 2015; in new formats of traditional costume, see Ellwanger 2015b; or in popular music (see Butler 2014a); on the knowledge-generating potential of popular cultural artefacts, see Binas-Preisendörfer/Bonz/Butler 2014), can also be of interest here.