This is the book of the architecture and not about the architecture, with the purpose to investigate the logic of the own work. By the process of analyzing and re-working the projects for the book, it is also a search for some lost aspects or underlying the ideas even more precisely, as well establishing the web of the connections between various themes.

Public and Audience V1.3e - the concept of the book

Let's start with the basic statement, since we believe this will radically change architectural theory.

If == "Medium is the message" Then => "Wiki Book is the Medium".

So, this sentence was departure point.

This book is of experimental character.

As the discussion have been started, years ago, how one can organize his theoretical work, i tought that i would like to skip on traditional approach how to make a book. It was a kind of adventure and risk, since the work i produce is always connected to the group of people (artists, media theorists, literates, architects, art historians, musicians, and others).

Well, one may argue that publishing the book, like this one is, has nothing artistic about it. But to me as an architect, the practice of working in collaboration with people from different fields involved in creative processes and exchanging ideas is very exciting and a great opportunity for avoiding the usual traditional one way, linear, design process (this sounds like a Microsoft representative, but it is my honest opinion).

There is no classical relation: speakers on the stage and listeners on the other side. There is only the Public and the Audience. The Public is propagated, the Audience is manipulated.

In terms of organization, this book is a 24-hour permanently ongoing FAQ | fa:k | - Frequently Asked Questions - marathon, with theory for the PROJECTS as the main focus. Thus, THEORY-FAQ or FAQ-theTHEORY. 24 hours nonstop.

The 24h-diagramm describes the book's focal points.

The Timeline, read vertically, is based on the “sections” of unfiltered input and varied density. It is also a strategically organizational concept for any type of publishing. For example: during a discussion about a certain topic corresponding info-inputs occur on the various levels (such as theory texts, project presentations, technologie and techniques, etc.) and are incorporated into this structure.

The author of this “on- and off-line book delirium” is, at the same time, a graphic operator, starts and ends discussions according to the timeline, encourages participation, filters the coarsest garbage, settles disputes, establishes contacts and directs the development of this publication.

The difference between the Public and the Audience is: that the public is active coincidentally and the Audience is passive intentionally (like a simple chat room: there always active ones, and a bunch of voyeurs – and of course the third group, which is saying: "hi and hello" all the time, but they are minority). Public space and the User. Virtual and real. Inhabiting spaces and the passive and active use of environments. The point is a certain handling of the architecture - not theory, but instead a practice of theory. A definition of the general public in the architecture of the future.

The open season for novices, who only look around a bit, is over. Networks are already places of decision, where future power structures are depicted and restructured. New spaces originate and permitted access makes them public or they are deprived of their privateness (a reversal of qualities). They often have no spatial correspondence in the real environment. They are, however, organized in a similar fashion and inhabited as well (but partially the corresponding visualizations of those spaces are missing). What is public is defined anew and structured much more subtly than the real images. Security and insecurity increase dramatically. This radical change of paradigms creates a fertile ground for media-theory and architecture of the networks.

Online games, mailing lists, various forums, newsgroups, chat rooms, search engines, are, for example, instruments for creating parallel media worlds.

It is not least due to the common economic network, that art, science and technology are drawing nearer to each other. Since most artists are not experienced technicians, complicated processes of producing images must often be performed in cooperation with technicians. In this process of developing an aesthetic technology, “art” must still find its own place and its own purpose first.

Discursive forums and artistic methods that are not designed for the long run take the place of the individual work of a single artist or an artists’ group. Their temporary nature is the prerequisite for their inherent possibility of continuous change. It could be a model for how postindustrial societies can succeed in involving as large a number of people as possible in societal processes.

We become very nervous and impatient about the content we are consuming. But this can change once we get involved in it. Every person has plenty of creativity, which can erupt. As Joyce said: "There are molding times".

If something is not readable for us, maybe it is because one can read it in many ways. The power lies in many meanings, one can choose, but those are not dominated and cannot be eliminated through any method of selection.

In almost every chapter you will read: "free this", "open that". And indeed this book has an open content, and unlimited public access is also guaranteed; and in addition, it addresses itself to the community. But again, please think of "free speech", not of "free beer". The new understanding of the artistic practices will also radically change the way, how we create and re-model the environments we live in. In the open architecture there is no hierarchy of the values, the only value is always the confrontation.