Menon and Patteeuw make a case for ‘magazine architecture’ where the graphic strategies which bring together multiple voices on the page serve as ‘critical editorial devices’ (2018: 84).83 83. Menon, C. & Patteeuw, V. (2018) ‘Magazine Architecture’, Karel Martens and The Architecture of the Journal, OASE, (100), NAi Publishers. Available at: https: //www.oasejournal.nl/en/Issues/100 [Accessed 15 August 2024] Coincidentally they draw on Genette’s Paratext as a conceptual referent but their framing differs from mine. Firstly the paratextual writing within this thesis as outlined in my Introduction retains the more literary sense of Paratext, to refer to the surrounding and framing elements of any publication. Genette’s Paratextual elements (which might include ‘a title, a subtitle, intertitles; prefaces, postfaces, notices, forewords, etc.; marginal, infrapaginal, terminal notes; epigraphs; illustrations; blurbs, book covers, dust jackets, and many other kinds of secondary signals’) have a ‘more distant’ or ‘binding’ relationship to the totality of the text, performing as accompanying elements (1997: 3). Paratextual elements surround the text. Beyond this however my graphic strategies are performed by the bricolage of my practice, and intrinsic to this are the bricolage of sign, timbre, and technicity, each of which is applied in a performance and enactment of the subject matter and my enquiry into communicative mechanisms: they form part of the text, and hence my application of other transtextual modalities to more precisely characterise my practice. The distinction is important for me in that this is ‘performative’ rather than applied from a suite of strategies and confined to supporting the ‘text’. The bricolage is malleable, allowing both interdisciplinary foldback and technicity to shape meaning. Despite this distinction, and in common with Menon and Patteuw these elements which surround the writing (and in my practice enact or embody it) are ‘critical’, serving ‘to present it, in the usual sense of the verb, but also in its strongest sense this is: to make it present, to ensure its presence in the world, its ‘reception’ and its consumption.’ (Genette, [1997: 4] quoted in Menon and Patteeuw). Where for Menon and Patteeuw ‘magazine architecture could designate a form of architectural practice that invests the journal as its privileged site’ (2018: 86), these components (if these are the bricolage of processes, techniques, timbres, signs) of On Being There constitute a privileged site for an enquiry into in architecture discourse. It hardly makes me an architect but I am part of the discourse, and with this Tom’s practice is inserted back into that discourse both through his practice outputs, and through the proposition of presenting his (architectural) practice in this interstitial way.