Open  

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

Still Lifes and Oscillators 1

Ben Garrod

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

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

Metrography

Benedikt Groß and Bertrand Clerc

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

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

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

Twenty Thousand Seconds

Dan Hett

{poem}.py

{poem}.py

Pip Thornton

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

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

Listening to Shetland Wool

Felicity Ford

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

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

Forkbomb

Alex McLean

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

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

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

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

Re-knitting step by step guide

Amy Twigger Holroyd

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

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

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

20Hz

Semiconductor

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

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

Body 01000010011011110110010001111001

Stanza

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

Transmission series

Transmission One and Transmission Two

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

Animation of William Blake’s Jerusalem running through the 24 official languages of the European Union, plus Welsh, via Google Translate

William Blake’s poem Jerusalem has been hailed as the unofficial English anthem, the defining narrative of this ‘green and pleasant land’. But, by subjecting Blake’s mastery of language to the forces of Google Translate, which uses Artificial Intelligence to translate a chosen language into another, other tales of England begin to emerge. In Bring Me My Firetruck, poet Mr Gee explores the ‘soul of Brexit’ through combining Blake’s poem with the visual metaphor of an airport arrivals board. As we stare at the board, incoming planes are landing from countries of the European Union, bringing with them the free movement of people, the free movement of language, and the free movement of interpretation. By translating the English poem through the 23 other official languages of the European Union and Welsh, Mr Gee reveals a rib-tickling series of new versions: ‘O Clouds unfold’ becomes ‘Get my bed’ and ‘Bring me my Chariot of fire!’ is transformed into the title of this new piece, ‘Bring Me My Fire Truck’. Old meanings deteriorate and new ideas emerge according to algorithmic assumptions and corruptions. The poem’s point of view shifts between the sinister, the banal, and the absurd, raising a few wry smiles along the way.

Commissioned by ODI Data as Culture art programme.

Credits

Production: Translating Nature (Julie Freeman, Stephen Wolff)
Arrival icon by Daniela Baptista from the Noun Project
Plane icons by Denis Sazhin from the Noun Project
Country flags via http://flag-icon-css.lip.is
Split-flap animation adapted from Flapper