The field of Science and Technology Studies is not only consolidating itself. It is also becoming more and more transdisciplinary and dynamic. Pickering and other sociologists and anthropologists of scientific practice have drawn attention to the performance of scientists and shown how this perspective illuminates the ways in which knowledge is a social product emerging from ‘the mangle of practice’. Latour and others have proposed to conceive of this mangle in terms of a network of interactions between human and non-human actors. Not only scientists perform, but so do their instruments and the objects under investigation. Barad, as a physicist-philosopher, goes as far as to state that matter is as active as our interpretative frameworks, so that we do not give meaning to matter, but that matter and meaning co-constitute each other. Networks have been replaced by entanglements: instruments have become entangled with their users, and the measurements performed by this mix are but temporary stops in an ongoing form-making process. 21st-century media-technological developments “expand the sensible” (Hansen) beyond human experience, challenging the centrality of human experience in measurement even further and raising the question of the relationship between human experience and embodiment, technological agents and data. Art, science and technology meet in experimental approaches that foreground sensation, substance and practice (from STS to START and from STEM to STEAM). These developments affect how science is performed and how this performance may be understood. How to understand the co-performance of humans and technology in scientific practice and transmission of knowledge? How do technology and design inform the way things are known?