Ellie Harrison  

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



Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

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

KNITSONIK Stranded Colourwork Sourcebook

Felicity Ford

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

Still Lifes and Oscillators 1

Ben Garrod

Canal Observatory


Five 3D printed pale yellow shell-like objects



Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

Illluminated acrylic sculpture of a red-lit person holding a book

The Reader


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

Re-knitting step by step guide

Amy Twigger Holroyd

image of pylon-like communications tower inverted white out of red


Evan Roth

image of a screen with four chairs each with a ventriloquists half-masks hanging above each

Recruitment Goes Wrong

Thomson & Craighead

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

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

Body 01000010011011110110010001111001


multicoloured cartoon collage with 3D rendered large golden hand

Unauthorised Copy

Antonio Roberts

image of black and white animation on a screen of women and a wire fence

There Are Worlds Out There They Never Told You About

Jackie Karuti

Image of computer generated object in natural woodland


Katriona Beales

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

Twenty Thousand Seconds

Dan Hett

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

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

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

balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

Screen capture of multi-coloured digitally generated flowers


Daniel Brown

Image of an illuminated digital fountain dark blue on black background


Katriona Beales

Corruption, Thomson & Craighead, 2014


Thomson & Craighead

Transmission series

Transmission One and Transmission Two

Dan Hett

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

Felicity Ford

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

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

Black and white abstract image

Shadows of the State

Lewis Bush

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


Alex McLean

kinetic artwork of a circular wooden base and brass arches with a small brass seasaw with a weight

Allusive Protocols (prototypes)

Julie Freeman

Photo of multi story wooden tower

A Machine for Living

James Coupe

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

black and white image of booklet called Daemons of the Shadow World

Daemons of the Shadow World

Giles Lane

person in white wearing a sci-fi helmet with lots of protrusions



The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana



Pip Thornton

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

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

Sonic Pattern and the Textility of Code

Felicity Ford

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Image of ghostly woman on black background (CIPHER artwork)


Katriona Beales

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


Benedikt Groß and Bertrand Clerc

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

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

Rates for the Job

Sam Meech

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

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

Watching the Watchers

James Bridle

Data as Culture - Art that uses data as a material

A rundown but functional old vending machine stands alone in the kitchen at The Open Data Institute. Every now and again, without warning, it springs into life – spewing out free packets of crisps for gallery visitors. The machine has been modified. It no longer functions in the conventional way – at the whim of snack-hungry people – but instead now finds itself in the control of outside forces… Its new nervous system is a networked computer. Hidden out of view and running special software, it continually scans data from the news on the BBC News RSS feed – commanding the machine only to release snacks when words relating to the recession make the headlines.

Whilst seemingly an act of generosity – gifting free food at moments when data indicates that further doom and gloom is reported – the Vending Machine also hints towards a time in the future when our access to food may literally be determined by data connected to wider political or environmental events. We may not be able to access what we want, when we want, at the touch of a button.

Vending Machine was one of the outcomes of Ellie Harrison’s period of residency at Plymouth College of Art in 2009.

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Vending Machine, Ellie Harrison, 2009