ABSTRACT
This chapter proposes ‘interruptions’ as a necessary part of a collective, within a temporal assembly of different actors, producers and agents that are expected to work together. The question of fidelity, being faithful to a certain common cause, is transposed into a constructed situation of complicit infidelity. The situations played out in three cases such as ‘an interrupted image,’ ‘an interrupted meal’ and ‘an interrupted way.’ In a larger sense, the production of theory as a discursive, collective practice carries with it a questionable fidelity. Gabriele Basilico captured a moment when the Pantheon’s perfect and permanent presence was disrupted. In 1971, in Vienna’s prominent urban space in front of St. Stephan’s cathedral, to the shock of local conservative shop owners, a scene of ‘free’ architecture of play unfolded. The reality effect of the folly provides the ground for Assemble’s critique.
