“if they are able to penetrate the software, I’m not worried. If the software is still the frit of anonymous programmers dependant on big corporations, I’m against it. I said as much to architects: so long as you don’t design your own software, you guys are losers. What do I expect of architects? That they do not follow the exmple of Frank O. Gehry, using the Mirage 2000 software to design the Bilbao Opera. If architects today wanted to prove themselves equal to the new technologies, like Paolo Uccello or Piero de la Francesca, they would make the software themselves, they would get back inside the machine. Whereas now they are sold the equipment, and they work with it. That’s what I can’t accept. This doesn’t mean that I am some Luddite eager to destroy machines, not at all. I have always said: penetrate the machine, explode it from the inside, dismantle the system to appropriate it. Here we come back to the phenomena of appropriation.”
Lotringer, Sylvère, and Paul Virilio. The Accident of Art (Semiotext(E) / Foreign Agents). Semiotext(e), 2005. Pg. 74
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If Vertov's Kino-Eye describes the computer interface, we should blow up the camera, or the cinema, and re-appropriate its elements to further its functions.
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