"I created the work for many reasons, but perhaps the most pervasive reason was a simple impulse towards contrariness. The computer as a medium is strongly biased. And so my impulse while using the computer was to work solidly against these biases.

Because the computer is purely logical, the language of interaction should strive to be intuitive.

Because the computer removes you from your body, the body should be strongly engaged.

Because the computer’s activity takes place on the tiny playing fields of integrated circuits, the encounter with the computer should take place in human-scaled physical space.

Because the computer is objective and disinterested, the experience should be intimate.”

Very Nervous System - David Rokeby (1986-1990)

As an individual – if you don’t have literacy with science or technology, you’re at a disadvantage. I may not go quite as far as Program Or Be Programmed, but it’s definitely no longer funny to laugh away lack of technical prowess. Technology directly affects lives every moment and every decision, and unless you understand what and how the technology works, and who and why they are using it, you’re being blindly led.
As we move away from interaction via screens and into physical space, we have the potential to make the world significantly more magical. We can make the everyday into the any day, especially if we focus on communication and understanding.
Zach Lieberman of Openframeworks responding to the question “how will technology become more humanised in the next decade”, in Wired’s March 2012 issue. (via tim)

The Object Permanence series by Marco Pinter explores our perception of the existence of objects over time, which is fundamental to how we experience the world and our place in it.  By exploiting the perceptual effect of object permanence through the use of graphics, computers and robotically-controlled sculpture, the viewer perceives objects over time which do not in fact exist.  The “virtual” objects in the works behave as physical objects, thus impacting the gallery’s and viewer’s corporeal space.  The work cycles between states of chaos and order, where the component sculptural systems are alternatively perturbed and at peace.

Remember when we had to tell graphic designers that they couldn’t control how things looked online? That the lovely page they’d designed might not look like that on someone else’s computer, in someone else’s browser? Soon we’re going to have to do that with everything. Designers are going to have to design things that might or not get made with the specified materials, in the specified way, to the specified tolerances. They’re going to have to design the idea of an object and let the world make it the way it wants to.