Artwork  

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

Five 3D printed pale yellow shell-like objects

Lifestreams

Proboscis

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

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

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

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

Image of an illuminated digital fountain dark blue on black background

Fountain

Katriona Beales

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

Rates for the Job

Sam Meech

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

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

The Clandestine Purse, Natasha Caruana, 2008

The Clandestine Purse

Natasha Caruana

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

Daemons of the Shadow World

Giles Lane

{poem}.py

{poem}.py

Pip Thornton

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

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

Forkbomb

Alex McLean

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

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

http://s33.820180e151.184813.com.au

Evan Roth

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

The Reader

Stanza

Black and white abstract image

Shadows of the State

Lewis Bush

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

Body 01000010011011110110010001111001

Stanza

Listening to Shetland Wool

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

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

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

Watching the Watchers

James Bridle

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

Metrography

Benedikt Groß and Bertrand Clerc

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

20Hz

Semiconductor

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

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

Recruitment Goes Wrong

Thomson & Craighead

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

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

Image of computer generated object in natural woodland

Shifting

Katriona Beales

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

Twenty Thousand Seconds

Dan Hett

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

Quasar-2A

Field

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Transmission series

Transmission One and Transmission Two

Dan Hett

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Canal Observatory

AusBlau

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

Screen capture of multi-coloured digitally generated flowers

Flowers

Daniel Brown

Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

Married Man, Natasha Caruana, 2008

Married Man

Natasha Caruana

Photo of multi story wooden tower

A Machine for Living

James Coupe

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

Sonic Pattern and the Textility of Code

Felicity Ford

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

Image of ghostly woman on black background (CIPHER artwork)

CIPHER

Katriona Beales

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

Data as Culture - Art that uses data as a material

Initially built for industrial use, canals in the UK have since evolved into spaces dominated by human living. But the water also attracts species beyond the human, creating an enormous potential to become thriving ecosystems and play a vital role in reversing biodiversity loss.

Ausblau envisioned Canal Observatory, a gamified tool for data collection and reflection. It acts as the link between human and non-human worlds, fostering change for a more biodiverse ecosystem.

In this commission, Ausblau collaborated with Applied Logic to create the tool as an openly accessible online interface that helps interpret and translate the state of the canal. Canal Observatory challenges who has the power to collect and share data – by using the non-scientific language of “canal emojis”, participants can intuitively log what they see in the quadrants located in Camley Street Natural Park and learn about the canal’s health. Through interaction with Canal Observatory, the designers intend to make citizen scientists become engaged stakeholders in the future of the canal’s ecosystem.

Canal Observatory, 2022 by Ausblau in collaboration with Applied Logic as part of the WaterWays: an invitation to reimagine the ecology of the Regent’s Canal project curated by 6 curators from the MA Curating Contemporary Art Programme as part of the Graduate Projects 2022, Royal College of Art in partnership with the Open Data Institute (ODI) Data as Culture.