Technē/Technology is not a book organized around a single thesisexcept the assertion that technique is a major concern for film and media scholars, whether we approach this in terms of philosophy, techno-aesthetics, semiotics, apparatus theory, (new) film history, media archaeology, the industry or sensory/cognitive experience.It deliberately includes contributions by scholars working in very different ways on a wide range of technology-related issues; but it does so in the spirit of the series, The Key Debates, in which Technē/Technology marks the start of a second phase of unique transnational co-operation, centrally between the Netherlands, France and the UK.The series has already supported a number of stimulating symposia and workshops in all three countries, and produced three collections: Ostrannenie (2010), Subjectivity (2011), and Audiences (2012).The series, like this particular book, owes much to Ian Christie, who never fails to generously add precision, critical insight and overview to a discussion, and to our loyal third series editor, Dominique Chateau, who, in one of our Paris meetings, was the first to stress that a book on technology was paramount in our series, not only because the topic is debated so often and so eagerly in our field of studies, but also because philosophies of technologies tend to reflect recent and past technological transitions and in turn have transformed film theory and some of its key concepts.One of the real challenges of this project was to bring an international group of scholars together from a variety of countries, speaking different languages, and coming from different disciplines and academic traditions.The real pleasure was to see all the different inputs come together, challenge and contradict each other, to form a coherent whole.The ongoing dialogues with all the authors from which the book grew were in themselves inspirational.Therefore