aggregate is reproduced. The caption of technical terms and functions on it was replaced by vocabulary from the history of human development  and an artist's life.The diagram follows the path of perceptions and informations that are sucked into the compressor until the gate pipe behind which it finally comes to artistic 'operation'. On the way there the impressions, that were shoved-in by 'Neugier' (curiosity), pass through a series of compression steps which are in relation to the mental mecahnisms that control and cencor what is perceived. They are complemented with virtues and contestations like 'Zweifel (doubt), "Analyse" (analysis), "Überlegung" (consideration) and "Widerspruch" (contradiction).

In comparison with the considerably slimmer jet engine the narrowest spot with the artistic engine is the money which extremely reduces and at the same time compresses the influx amount of air/perception before the actual power expansion in the combustion chamber through a narrow pathway by the thickness of the drive shaft which results in the capacity of production of an artist reaching less than half of the output of an aircraft engine (90%) - about 43%. The fuel in the large-dimensioned combustion chamber is named as 'Suche nach der Lösung für leidenschaftliche Ungeduld" (search for the solution for passionate impatience). The true turbine is relatively tight and concentrates the escaping hot gases as 'Realitaetsflucht' (flight from reality), before eventually the results can be confirmed where still a last instancy - namely the "Moral' (morale) has to be passed. Only then art can be produced. The engine thus does not prove itself directly as a model of art production but of perception mechanism the psycho-physcial which is connected upstream with the art production in order to envision its material and imaginary conditions.

The turbine thus has also become a model for the energy household of an artis who is engaged extensively with the coping of the sensations before one even thinks of the production of an artwork. The abundance of perceptions and the input from media are connected upstream with the art production and influence thus the quantity and quality. After all also lack of money contributes that inspite of high input only a small part of the impressions that sank in are utilizable for the art production. In the exhibition thus we are dealing with a pre-stage the passing through of which only puts an artist in a position to produce an artwork later.

The analogy between art expansion and power expansion connects the technical and the biological therefor psycho-physical metabolism. In this way the model relates conceptually and systematically to the psychoanalytical 'Trieblehre' (the theory of the instincts) that pull(s) together the energy balance of a living being with drive, a connection that was already named by Sigmund Freud in relation to machines. In those days primarily flight gadgets as well as photo and film cameras were named 'Apparat'(apparatus) and thus had the same terminology like the nervous system or perception organs in biology.

This denomination points out that also Freud's phrasing of death- and life-instinct as well as of the sensual activities is in relation to drive and imaging technology. It is perhaps crucial that it wasn't possible to localize the human drives like it is with a technical apparatus. With a human no drives could be localized in the heart even if it could be reasonable to see it as an equivalent of a motor. Conversely engineers tried to concentrate on reduction of motors because these were in demand in the pioneer era of development of for example "Flugapparaten" (aircrafts) because a power unit of a plane had to be lightweight.⁸ With increasing diminishment piston engines as prime mover of vehicles of all kinds prevailed, until aircrafts disconnected themselves from the development of piston engines after the introduction of jet engines in the 1940s and made supersonic-fast speeds possible. But still the motor as source of impulsion remained clearly discriminable from all other units of an 'apparatus' whilst it proved difficult to localize mental and physical sources of impulses with humans.

3. Apparatus
Coming from the meaning of the word 'apparatus'  identifying a composed machine and it being used around 1900 for the first aircrafts, it proves itself nowadays clearly more hybrid than back then; because it does not only identify the engine but also the connection that it has to have in cooperating with a number of ancillary units in order to fullfill its task. Today we would be speaking of complexity especially as the active 'apparatus' within the social frame has to be added. Only controlling and the administration makes a certain configuration or hardware function at all. Thus ministries or administrations ensure that for example streets are built and repaired so that any vehicle can move on the streets as ideally as possible. Countrywide administration became precondition for railroad as well as postal systems and telecommunications to be able to be developed. They established the technical  foundation for mass traffic and communication in the first place. Thus it can be asserted that we are dealing here with a deployment. Insofar the technical development and the medical understanding of organisms only made it possible for a dialectic relation of machines and living  beings to develop.