between motor, gearing mechanism, shafts and wheels as 'drive'. At the time Freud transferred these current terms in order to name psyche-related and the activity of the unconsciousness and at the same time he brought about an ever stronger pervasion depth of psyche and individual organs of the body. Thus the interconnections of a machine were ultimately transferred onto the body as ensemble of organs.9
The film industry that was just taking shape and was able to capture chronological sequences of no longer existing occurrences also used this terminology. Thus the apparatus existes in film in two variations: once as recorder, hence as film camera and then as play-back recorder, hence as projector. The film camera is a three-dimensional perception mechanism  and we have the raw material that is exposed and developed in laboratories. Then the material is cut and assembled so that under the hands of the film maker a film is made at the cutter's table that can be shown to viewers by a projection apparatus on a projection screen. This does not only make a model of the human perception but these complex processes of construction and rearrangement also entered psycho-analysis as 'projection'.

In the relevant psychoanalytical film literature the aspect about 'apparatus' is hardly noticed today, so that the psychoanalytical approaches remain related exclusively to film contents and the subjects shown in cinema.10
The cooperation of technology and science culminated on the other hand already in the beginnings of film in linking cinematography with flying and shooting when as a result of  Eadweard Muybridge's and Étienne-Jules Marey' stroboscopic photography machine guns and film projectors were constructed with similar principles and synchronized with plane propellers.11 This reflects the bellicose activities of the industrial nations in the 20th century which along with the aerial warfare as technological means of mass extermination developed also the film subjects where shooting, flying and killing are preferred topics. To bring these aspects together all anew could help understand the material and immaterial conditions that constituted construction of machines and the image of psyche in parallel.

This excursion seemed necessary to me in order to clear the interest of a visual artist with video and cinema  and to understand their complex forms of appearances as examinations with all that involves 'apparatus'. At this point I see a possible approach to clear the self-engagement of artists with the means of documentaion12, to exceed beyond this and to enable a novel way to make art.
9 "Obwohl Freuds Schriften konsequent einer Auseinandersetzung mit dem kinematografischen Apparat aus dem Wege gingen, entlehnte er aus dem Bereich der optischen Medien und der Medien schnellere Verschlusszeiten spezifische Begriffe, um die Unzulänglichkeit der zeitgenössischen Neurologie und ihres wesentlich auf Lokalisation beruhenden Schemas durch die Konzentration einer erneuerten Theoriesprache zu überwinden."  (Although Freud's writings escaped a dispute with the cinematographic apparatus consistently he borrowed specific terms from the field of optic media and media of fast shutter speeds in order to overcome the shortcoming of contemporary neuology and its essential on localization resting pattern by concentration on a renewed language of theory). Ramon Reichert also proves that Freud was interested in the localizing ability of functions in an apparatus in order to transfer it to the mind. Im Kino der Humanwissenschaften. Studien zur Mediatisierung wissenschaftlichen Wissens, Bielefeld 2007, S. 169 (In the cinema of human sciences.Studies about  mediatization of scientific knowledge. Bielefeld 2007, page 169.)

 		10 "Das frühe Interesse weniger Psychoanalytiker am Kino, das Interesse des Kinos an den 'Geheimnissen einer Seele'. Die Vehemenz, mit der Filmanalytiker und Kinotheoretikerinnen sich psychoanalytischer Konzepte bedienen.", (The early interest in cinema of some psycho analysts, the interest of cinema in the 'secrets of the soul'. The vehemence with that film analysts and cinema theorists help themselves with psychoanalytic concepts.)  highlights Veronika Rall in order to interest students in her course at the University Zuerich. Ballhausen, Thomas, Guenter Krenn and others (editors), Psyche im Kino: Sigmund Freud und der Film (mind in cinema: Sigmund Freud and the film), Vienna 2006; Jasper, Kristina, Wolf Unterberg,(editors) Kino im Kopf(Cinema in the head):Psychologie und Film seit Sigmund Freud (Psychologie and the Film since Sigmund Freud), Berlin 2006.
11 Compare here the demonstrations by Friedrich Kittler: 'Grammophon - Film - Typewriter', Berlin 1986. "Die Geschichte der Filmkamera fällt also zusammen mit der Geschichte automatischer Waffen." (thus the history of film cameras goes together with the history of automatic weapons), page 190;  "Zusammenfall von Kino und Krieg" (coincidence of cinema and war), page 196; in addition also: Paul Virilo:  'Guerre et cinema: La gogistique de la perception", Paris 1984
12 Boris Groys: "Kunst im Zeitalter der Biopolitik. Vom Kunstwerk zur Kunstdokumentation" (art in times of bio politics. From the art work to documentation as art) in: documenta 11_level 5: exhibition, Kassel 2002, 107-113;

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