State  

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

Metrography

Benedikt Groß and Bertrand Clerc

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

Twenty Thousand 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

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

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

Listening to Shetland Wool

Felicity Ford

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

Forkbomb

Alex McLean

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

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

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

20Hz

Semiconductor

{poem}.py

{poem}.py

Pip Thornton

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

Body 01000010011011110110010001111001

Stanza

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

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

Transmission series

Transmission One and Transmission Two

Dan Hett

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

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

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

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

Re-knitting step by step guide

Amy Twigger Holroyd

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

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

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

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Data as Culture - Art that uses data as a material

What’s your city sweet-spot? Mood Pinball playfully reimagines how city-wide data might be used by an individual to find their comfort zones, and improve their experience of a city. It invites us on a sonic journey through the dreamlike city-scape of neurodiverse artist Edie Jo Murray. The otherworldly qualities of her highly stylised graphics and rich saturated colours are based on her experience that autistic people can “feel like aliens”. For Edie, her sensitivity to noise – which has an impact on how well she feels at different city locations – is part of this. The goal of Mood Pinball is to keep its Mood-o-Meter at ‘happy’, by responding to noise-level data revealed by gameplay. Accessing data about noise levels in public spaces is difficult, so the data in this artwork has been synthesised by computer scientists at Southampton University. Mood Pinball acts as a reminder that citizens, as well as businesses, need to use information and data to better understand the world and improve people’s lives.

Mood Pinball was created following a series of workshops for autistic and neurodiverse people at BOM in Birmingham in 2018. We are grateful to the participants, who wish to remain anonymous, for their insights.

Prior to being part of Copy That? at the ODI from February 2020 Mood Pinball can be seen in Birmingham at Hacked! Games Re-designed 13 September to 21 December 2019, at Birmingham Open Media 1 Dudley Street, Birmingham, B5 4EG  @BOMlab

Commissioned by ODI Data as Culture in partnership with the University of Southampton Data Stories project, supported by the EPSRC, grant number EP/PO25676/1. Produced by BOM centre for art, technology and science, Birmingham.