“It’s an era in which information blurs the boundaries, enabling multi-channel, cross-platform, trans-media, physico-digital user experiences. To succeed, we’ll need teams that are multi-disciplinary and individuals who can help us think visually. If we work together, the practice of ubiquitous service design will afford an intertwingularity that’s useful, usable, and desirable. The destination beckons, but the journey looks even more fun, for in the uncharted waters of futurity, it’s the map that makes the territory. Isn’t it time we set sail?”
- Peter Morville - Ubiquitous Service Design (2010)

It’s an era in which information blurs the boundaries, enabling multi-channel, cross-platform, trans-media, physico-digital user experiences. To succeed, we’ll need teams that are multi-disciplinary and individuals who can help us think visually. If we work together, the practice of ubiquitous service design will afford an intertwingularity that’s useful, usable, and desirable. The destination beckons, but the journey looks even more fun, for in the uncharted waters of futurity, it’s the map that makes the territory. Isn’t it time we set sail?”

- Peter Morville - Ubiquitous Service Design (2010)

Computers for personal use have focused on the excitement of interaction. But when computers are all around, so that we want to compute while doing something else and have more time to be more fully human, we must radically rethink the goals, context and technology of the computer and all the other technology crowding into our lives. Calmness is a fundamental challenge for all technological design of the next fifty years.

The Papertab Tablet looks and feels just like a sheet of paper. however, it is fully interactive with a flexible, high-resolution 10.7” plastic display developed by plastic logic, and powered by the second generation intel core i5 processor.

Instead of using several apps or windows on a single display, users have ten or more interactive displays or “papertabs”: one per app in use.

"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.

(Source: wired.co.uk)