Data type: Environmental  

Image of an illuminated digital fountain dark blue on black background

Fountain

Katriona Beales

Installation photo of red frame, number display and construction

53°32’.01N, 003°21’.29W, from the Sea

David Gauthier

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

Mini Rugs and their Friends

Mini Rugs and their Friends

Riitta Oittinen

photo of sensor hanging in a darl room with two screens

Measure for Measure for Measure

David Gauthier

Photo of multi story wooden tower

A Machine for Living

James Coupe

Listening to Shetland Wool

Felicity Ford

Gallery photo of someone in a VR helmet viewing artwork

Substance – A whole history of hollows and reliefs

Phil Coy

Close up of lightbulbs from The Future artwork

The Future

Alicia Eggert and Safwat Saleem

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

The Reader

Stanza

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

Re-knitting step by step guide

Amy Twigger Holroyd

Dystopian digital city landscape

Cover designs for William Gibson’s Neuromancer trilogy

Daniel Brown

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

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

abstract sculpture in blue and pale pink

Public Protection, Private Collection

Felicity Hammond

{poem}.py

{poem}.py

Pip Thornton

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

Flipped Clock, Thomson & Craighead, 2008

Flipped Clock

Thomson & Craighead

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

Gallery installation of multiple photos

The Longest and Darkest of Recollections

Liz Orton

Weather Gauge, Thomson & Craighead, 2009

Weather Gauge

Thomson & Craighead

Voyager (Micromégas), Thomson & Craighead, 2013

Voyager (Micromégas)

Thomson & Craighead

Five 3D printed pale yellow shell-like objects

Lifestreams

Proboscis

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

Screen capture of multi-coloured digitally generated flowers

Flowers

Daniel Brown

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

Twenty Thousand Seconds

Dan Hett

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

20Hz

Semiconductor

Image of ghostly woman on black background (CIPHER artwork)

CIPHER

Katriona Beales

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

The spectrum of re-knitting treatments

Amy Twigger Holroyd

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

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

Re-knitting ‘tester’ jumper

Amy Twigger Holroyd

Six Years of Mondays, Thomson & Craighead, 2014

Six Years of Mondays

Thomson & Craighead

multicoloured cartoon collage with 3D rendered large golden hand

Unauthorised Copy

Antonio Roberts

Corruption, Thomson & Craighead, 2014

Corruption

Thomson & Craighead

Image of computer generated object in natural woodland

Shifting

Katriona Beales

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

Quasar-2A

Field

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

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

Metrography

Benedikt Groß and Bertrand Clerc

Fairytale for Sale, Natasha Caruana, 2011

Fairytale for Sale

Natasha Caruana

Black and white abstract image

Shadows of the State

Lewis Bush

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

Recruitment Goes Wrong

Thomson & Craighead

Photo of The Promises Machione a wooden display with embedded screen

The Promises Machine

Rachel Jacobs

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

Watching the Watchers

James Bridle

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

Body 01000010011011110110010001111001

Stanza

Circular blue, black and white inverted image of tree

Inverted Night Sky

Jeronimo Voss

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

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

Evan Roth

balck and white photo of sign in countryside landscape

50.080697, -5.694138

Evan Roth

image of screen and aerials in gallery

Open Space Observatory

Kei Kreutler and Libre Space Foundation

Pillars of Hercules, James Brooks, 2014

Pillars of Hercules

James Brooks

Data as Culture - Art that uses data as a material

The focus of Roth’s Internet Landscapes series are the points at which the Transatlantic fibre-optic cables that carry the Internet emerge from the ocean. For these works, Roth ventures out into the landscape that physically hosts the Internet, in a personal quest to visualise and reconnect with a web which gradually feels more and more centralised and controlled.

For http://s33.820180e151.184813.com.au, the image depicted in the gallery is a radio tower in Australia, captured in infrared and streamed to a web page. The accompanying sound consists of field recordings taken at the same location, along with sonic elements of the artist’s own bio-data (his heartbeat, for example). In order for the video to reach the viewer’s browser, it is converted into infrared laser light which passes through the same physical location depicted in the video.

The radio tower’s size is dictated by the invisible radio waves it is designed to transmit, affording a rare glimpse into that spectrum. Highlighting the inseparable relationship between the digital and the physical, Roth challenges the ways in which we approach online data. Through understanding and experiencing the Internet’s physicality, and related communication technologies like radio, one comes to understand the network not as a mythical cloud, but as a human made and controlled system of wires and computers.

Courtesy the artist and Carroll / Fletcher.