Since 2012  

KNITSONIK Stranded Colourwork Sourcebook, Felicity Ford, 2014. Crowd-funded publication

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

Re-knitting step by step guide, Amy Twigger Holroyd, 2012. Digital prints on paper

Re-knitting step by step guide

Amy Twigger Holroyd

Still Lifes and Oscillators 1, Ben Garrod, 2012. Paint

Still Lifes and Oscillators 1

Ben Garrod

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

Listening to Shetland Wool, Felicity Ford, 2013. Interactive online aporee sound map

Listening to Shetland Wool

Felicity Ford

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Rates for the Job, Sam Meech, 2016. Order form and performative contractual exchange action 

Rates for the Job

Sam Meech

Watching the Watchers, James Bridle, 2013. Multiple mounted colour prints

Watching the Watchers

James Bridle

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

Punchcard Economy, Sam Meech, 2013. ODI: 3.5 x 0.5m knitted banner, FutureEverything: 5 x 3m knitted banner & knitting machines

Punchcard Economy

Sam Meech

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Re-knitting 'tester' Jumper, Amy Twigger Holroyd, 2013. Hacked knitted garment

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Twenty Thousand Seconds, Dan Hett, 2016. Algorithmically generated live coding image film (from an ongoing series)

Twenty Thousand Seconds

Dan Hett

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

Metrography, Benedikt Groß & Bertrand Clerc, 2012. Print on aluminium

Metrography

Benedikt Groß and Bertrand Clerc

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Listening to Shetland Wool by Felicity Ford

Sonic Pattern and the Textility of Code

Felicity Ford

Body 01000010011011110110010001111001, Stanza, 2012. Perspex, Arduino, electronic components, internet connection

Body 01000010011011110110010001111001

Stanza

20Hz, Semiconductor, 2011. HD + HD 3D single channel video. 05.00 minutes

20Hz

Semiconductor

Forkbomb, Alex McLean, 2001. Perl script computer code with paper output

Forkbomb

Alex McLean

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

The spectrum of re-knitting treatments, Amy Twigger Holroyd, 2012. Digital print on paper

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Three Hundred and Sixty Seconds, Dan Hett, 2016. Algorithmically generated live coding production stills (from an ongoing series)

Three Hundred and Sixty Seconds

Dan Hett

The Doffing Misstress Takes a Stroll, David Littler, 2016. Participatory installation. Piano player, paper scores, materials for contribution

The Doffing Mistress Takes a Stroll

David Littler

Data as Culture - Art that uses data as a material

The Open Data Institute connects, equips and inspires people around the world to innovate with data. ODI’s Data as Culture programme exhibits and commissions artworks, engaging diverse audiences with artists and works that use data as an art material.

We exhibit and commission artworks for our space and for external venues. We have reached over 100,000 people, shown works from 14 artists, and commissioned 6 new pieces. Artworks have included a knitted data discrepancy, a larger-than-life sized electronic sculpture, a semi-sentient vending machine, data collection performances, kinetic objects, and pneumatic machines. The programme is intended to expand in many ways – increasing the partners we work with, engaging larger audiences, broadening our geographic reach, working with more artists, and exploring innovative and exciting ways to use data in creative ways.