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A formative journey from encounters with signals intelligence and cybernetics to work with colleagues, students and engineers between March 1968 and June 1972 on interactive art systems that seemed (40 years ago) to be significant. Though widely exhibited, in once case at the VI Paris Biennale, the programme was aborted in 1972 for the lack of arts research and development funding. Two conceptual frameworks: the artwork as a system; and what an engineer termed the art work's 'logic engine'. The paper asks whether the time of these ideas did, should or ever will come. AN EPIPHANY In late 1967 or early 1968 the Sunday Times invited sculptors to compete for the opportunity to have one or two sculptures commissioned for a concourse through Woolgate House, a new development in the City of London. This was to be my first experience of documenting an architectural site where, as I drew, took measurements and photographs, I suddenly saw my father striding through the precinct. In the same instant I knew it was not he (my parents had recently moved to the West country). Nevertheless, in that instant, I had suddenly seen my sculptural oeuvre in what had been his stamping ground for 40 years, and through his eyes. The eyes, we might say, of Everyman.