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»Diatope Sketch«, 1978/1979 by Iannis Xenakis.




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“334m/s”, 2007 by Carsten Nicolai.




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“Isolated Depiction of the Passage of Time”, 2001 by Brian Jungen.




On the Origin of Species: The Preservation of Favoured Traces“, 2009 by Ben Fry.




»A Colour-Coding of Partch’s Ptolemy Keyboard Based on his Chromelodeon I«, (2008). Digital print applying the arbitrary colour scheme used by the American composer Harry Partch on the microtonal keyboard he constructed, called the Chromelodeon I, to his first-ever constructed instrument, the Ptolemy. The only record of the Ptolemy is a black & white photo. The colour print represents one “octave” (comprised of 41 distinct notes) of the Ptolemy keyboard as it may have appeared. The original instrument was misplaced by Partch sometime in the 1940s. By Craig Leonard.




»Data Diaries«, 2003 by Cory Arcangel.




SKIF++” is a collaboration of Jeff Carey, Robert van Heumen and Bas van Koolwijk.




“Global Tabacco Production, 1947-Present”, 2008 by Joshua Callaghan.




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»Flüchtige Gewissheit«, 2004, by Gerhard Mantz.




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»004«, 2008 by Takeshi Murata.




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“Tempest”, 2004 by Erich Berger.




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»Fragments from the Edge of Los Angeles (detail 1)«, 2001,

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Preliminary image for »The Triumph of Democracy«, 2008,

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»ether machine«, 2007,

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»www.automaticcity.com«, 2007 by Benjamin Edwards.




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»Turing Train Terminal«, 2004 by Severin Hofmann and David Moises.




DriftNet” by Norimichi Hirakawa.




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»DC Webcam«, 2006 by Mark Skwarek.




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»Songs Translated To Buildings« (2008) by Oliver Laric.




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“Organism”, a combination of an organ concert and a time based lightshow, by John Dekron and Gonzales.




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“Mount Fear – Statistics for Crimes with Offensive Weapon South London 2001-2002″ (Relief 1:3,000 (1m=3km) and 1:13.6364 (1 event per km2 per 13.6364) Greatest peak is at 44.8 incidents per km2 per annum) by Abigail Reynolds.




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“T2″ by Andrea Polli is an artistic exploration of real time ocean activity using wave and wind data and a live global ocean conservation news feed.




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»Aura Research«, 1994 – 1997. In their photographes of preserved abandoned places and the visualization of the invisible, Nina Fischer & Maroan el Sani, refer to the so-called phantom-leaf-effect in high-frequence photography, discovered by the russian researchers couple Kirlian in the 30′s of the last century.




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