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Media art which fulfills its paradigmatic claim to innovativeness as media-systemic art beyond the canon of production, distribution and reception of the work of art (which, thus, does not define itself in the employment of new means, but rather in the behavior of things among themselves whose means are mediators) nominates conditions of production other than processes resulting in a work of art. 11. The term "media-systemic" refers to the fact that the engaged media are merely mediators of their applications as specified by their function. For example, the teleinformation system is not received with regard to that which is sent (an image), but rather with regard to the process of sending and how the transmitter makes this appearance possible; the image itself is secondary. In a media-systemic art as we imagine it and in accordance with the way it is being carried out as a project of its own development [through art projects and the formation of theories and experience with respect to them], the public space thus becomes an integrative part of the developmental process. The term public space in the case of *Liquid Space* subsumes the entire spectrum of exchange dealing with the object. This mode of proceeding resembles the experimental designs of the empirical social sciences. The project is based upon this and, to a certain extent, upon Michel Foucault's conception of "discourses" as "practices," which systematically constitute the objects of which they speak. 12. In this sense, it is also intended to design the space of which the project "speaks," about which is spoken through the project, and by means of which it functions. Spatial perception and the use of space are meant to be set up in a way that allows for a symbiotic relationship to arise, so that one would ultimately be able to speak of "space applications."
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