When discussing science and art, one cannot remain silent about the experiment. Today, the focus is on artistic research, the poetics of the experiment, and art science as an experimental system. The current relevance of these terms must be understood in the context of an overarching development in which the experiment has become a key concept of a posthuman culture, where humans and machines, bodies and technology, the natural and the artificial are increasingly intertwined in new forms to produce effects of novelty. In this volume, Henning Schmidgen examines the concrete nature and specific effectiveness of experimental arrangements in art, cinema, and architecture. His investigation leads to the hypothesis that the discourse on the experiment, in order to do justice to its scientific and artistic subjects, itself takes on experimental characteristics.