Since 2012  

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

Watching the Watchers

James Bridle

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

Voyager (Microm├ęgas), Thomson & Craighead, 2013

Voyager (Microm├ęgas)

Thomson & Craighead

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

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



Metrography, Benedikt Gro├č & Bertrand Clerc, 2012. Print on aluminium


Benedikt Gro├č and Bertrand Clerc

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

Listening to Shetland Wool

Felicity Ford

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

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

Body 01000010011011110110010001111001


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

Still Lifes and Oscillators 1

Ben Garrod

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

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

Corruption, Thomson & Craighead, 2014


Thomson & Craighead

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


Alex McLean

Listening to Shetland Wool by Felicity Ford

Sonic Pattern and the Textility of Code

Felicity Ford

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Transmission series

Transmission One and Transmission Two

Dan Hett

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

Twenty Thousand Seconds

Dan Hett

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

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

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

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

Rates for the Job

Sam Meech



Pip Thornton

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

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

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.