From a flat in Brooklyn, I uploaded bundles of text and images to a website, hoping that—like messages in a bottle, or like the golden record mounted on the Voyager spacecraft—they may reach someone on the other side of the planet, or in other planets altogether. And in a manner of speaking, they did. Shortly thereafter, Organs Everywhere had started to feature the writing, drawings, and experiments of some of the most provocative thinkers on the European and North American scenes, and to pro-mote conversations that approached architecture from the edges of the discipline, plunging it into a strange fabric that combined the voices of architects and designers with those of philosophers, artists, science fiction writers, activists, researchers, poets and scientists. Following Peter Cook’s intuition that to experiment in architecture is to experiment “out of architecture” (Cook 1970, 7), each new issue aimed to question the discipline’s boundaries, technologies, methods, and (e)valuation systems—and to keep them unstable. The first rule was the absence of rules. Magazines and journals tend to abide by strict protocols and formats, prescribing fixed word and image counts, or consigning relevance to the narrow frames imposed by specific ques-tions and themes.