with the situation that a large share of our information is no longer accessible to direct experience. The current trade with images in the media world consists simultaneously of the most varied formal and technical expressions, for the most part interconnected and producing transmedia phenomena, mixtures of the most varied image-wise transport tracks, where it has mostly become impossible to look through at an underlying source. The question arises of whether the crossing of many thresholds of this kind does not to a certain degree change the disposition of these images with regard to content and whether in the extreme case the images’ reference is close to nil.

The apparatus contains both the users’ interests and strategies in their varied forms of application as well as the general conditions of the developers that have been transformed into technology—this is the gist of how Vilem Flusser sees it. Thus from the perspective of a common view of the different forms of mass media expression, what is required is a kind of ‹media deconstructivism› which peels off the surfaces to reveal structural preconditions: the apparative levels of the production of difference. [5] The works show a

shedding of complex visual systems, which in everyday use are entangled rhizome-like and which overlap. Extreme enlargements from visual mass media, both moving and still, such as computer prints, photocopies, computer and television monitors, different print media, etc., show the microscopic structures, indeed the ‹handwriting› of media images one normally does not always see. One sees microscopic details from media images that no longer refer to the representation of the transported content, but rather demonstrate the formal structure of the transport tracks itself. The emergence of the media-technical apparatus makes it clear that everything it represents is affected by it. The «Sources» are documentary, indeed ‹scientific› photographs that show internal construction principles and address conditions of representation. Apparative views are directed towards precisely the same systems and enable working with the ‹abstract,› a kind of media archeology behind the narrative strategies. The images look like paintings, speak of new media, and yet they are photographs: reproductions of a ‹media grammar› that lie on the extremely narrow boundary between representational