The experience of digital art and how it is relevant to information technology. In Windows and Mirrors: Interaction Design, Digital Art, and the Myth of Transparency, Jay David Bolter and Diane Gromala argue that, contrary to Donald Norman's famous dictum, we do not always want our computers to be invisible "information appliances." They say that a computer does not feel like a toaster or a vacuum cleaner; it feels like a medium that is now taking its place beside other media like printing, film, radio, and television. The computer as medium creates new forms and genres for artists and designers; Bolter and Gromala want to show what digital art has to offer to Web designers, education technologists, graphic artists, interface designers, HCI experts, and, for that matter, anyone interested in the cultural implications of the digital revolution. In the early 1990s, the World Wide Web began to shift from purely verbal representation to an experience for the user in which form and content were thoroughly integrated. Designers brought their skills and sensibilities to the Web, as well as a belief that a message was communicated through interplay of words and images. Bolter and Gromala argue that invisibility or transparency is only half the story; the goal of digital design is to establish a rhythm between transparency-made possible by mastery of techniques-and reflection-as the medium itself helps us understand our experience of it. The book examines recent works of digital art from the Art Gallery at SIGGRAPH 2000. These works, and their inclusion in an important computer conference, show that digital art is relevant to technologists. In fact, digital art can be considered the purest form of experimental design; the examples in this book show that design need not deliver information and then erase itself from our consciousness but can engage us in an interactive experience of form and content.

Trained in both classics and computer science, Bolter considers the cultural impact of computers on our age, comparing the computer to earlier technologies that redefined fundamental notions of time, space, language, memory, and human creativity. Surprisingly, he finds that in many ways the outlook of the computer age bears more resemblance to that of the ancient world than to that of the Enlightenment. The classical philosopher and the computer programmer share share a suspicion of infinity, an acceptance of necessary limitations on human achievement, and a belief that results are more important than motives.
Although Bolter fears that the growing use of computers may well diminish out culture's sense of the historical and intellectual context of human endeavor, he contends that the computer also offers new ways of looking at intellectual freedom, creativity, and the conservation of precious resources.