Various sciences and arts have long been working with the term and technique of the scene – the theatre as much as film, psychoanalysis as much as sociology. But what lies behind this (universal) term and what does it accomplish? How does the theatre-related form of the scene organise our ideas, perceptions, entertainments, professional language or art works, both linguistically and technically, to the present day? How should one present the interplay between a term and technical media on the one hand, or on the other hand, between it and streams of thought and images that may not even be material? Heiko Christians relates a history of the scene in which terminological and material circumstances that are usually kept separate cross paths.