The book illustrates that supposedly outmoded, analog practices in contemporary photographic and cinematic art not only have maximum actuality, but also critical potential. Using the example of artists’ practices that are motivated by the idea of the photographic and/or the cinematic but do not necessarily lead to photographs or films, the book shows how, in multiple ways, the display tool—the apparatus—can be explored, taken apart, reflected, modified, and newly arranged. The contributions that have also emerged from cooperative efforts between artists and scientists focus on the required technical/material processes and demonstrate that knowledge of medial difference is also socio-politically relevant.