How, then, does the artist respond to an electric world in which everything is at once? I suggest that his most imaginative response is first to point out the existence of this world (as it shapes us), and not to be misled into interest in the old machinery of the industrial age. Secondly, the artist tends to respond by pointing out that this all-at-once environment has now itself become a work of art. For the first time in history we have enough power, energy, and ability to program the entire human environment as a work of art. The artist has begun to enter on this kind of enterprise with a whole variety of sallies and witty performances - some of them merely Pop art performances. If you take a piece of the environment and put it inside an art gallery this is a way of announcing that, from now on, the environment itself is a work of art ... It is a sort of anticipation of the immediate future in which we are going to tackle the business of programming or shaping every aspect of the human environment as a human artefact. This surely implies that we must shape it so as to heighten human awareness — rather than black out perception.