The Fragmented Orchestra (2008-2009) - Jane Grant, John Matthias and Nick Ryan

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The Fragmented Orchestra is a huge distributed musical structure modelled on the firing of the human brain's neurons. The Fragmented Orchestra connects 24 public sites across the UK to form a tiny networked cortex, which will adapt, evolve and trigger site-specific sounds via FACT in Liverpool.

Each of the sites has a soundbox installed, which will stream human-made and elemental sounds from the site via an artificial neuron to one of 24 speakers in FACT. The sound will only be transmitted when the neuron fires. A firing event will cause fragments of sound to be relayed to the gallery and will also be communicated to the cortex as a whole. The combined sound of the 24 speakers at the gallery will be continuously transmitted back to the sites and to each of the 24 sites.

-- FROM THE PROJECT SITE

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Untitled (1974) - Mark Wilson

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Of course, there was certainly a long history of machines and technology inspiring 20th century artists. The path of geometry, technology, and art was in part formed by the late paintings of Kandinsky, Mondrian’s Broadway Boogie Woogie, and the machine aesthetic of artists like Charles Sheeler and Gerald Murphy. I was also influenced by the work of artists who were currently involved with imagery of machines and technology. For example, I loved the graphics of the London-based avant-garde architectural group, Archigram, and the Pop Art prints and paintings of the Scottish artist, Eduardo Paolozzi. There were also contemporary collaborative experiments like E.A.T—Experiments in Art and Technology—at MOMA, and Art and Technology, an exhibition of collaborations between artists and engineers, at the Los Angeles County Museum of Art.

-- FROM AN INTERVIEW WITH THE ARTIST

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Random Distribution of 40,000 Squares using the Odd and Even Numbers of a Telephone Directory (1960) - Francois Morellet

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With Random Distribution, the purpose of my system was to cause a reaction between two colours of equal intensity. I drew horizontal and vertical lines to make 40,000 squares. Then my wife or my sons would read out the numbers from the phone book (except the first repetitive digits), and I would mark each square for an even number while leaving the odd ones blank. The crossed squares were painted blue and the blank ones red. For the 1963 Paris Biennale I made a 3-D version of it that was shown among the Groupe de Recherche d’Art Visuel installations (and re-created it again on different occasions). I wanted to create a dazzling fight between two colours that shared the same luminosity. This balance of colour intensity was hard to adjust because daylight enhances the blue and artificial light boosts the red. I wanted the visitors to have a disturbing experience when they walked into this room - to almost hurt their eyes with the pulsating, flickering balance of two colours. I like that kind of aggression.

-- FROM ARTIST'S DESCRIPTION ON TATE ETC.

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Timemachine 1.0 (2007) - Tobias Leingruber

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This Firefox Add-on uses the syntax of any webpage, and changes it into a beautiful Web 1.0 amateur page. This is my tribute to all the pioneers of the web.

-- FROM THE PROJECT SITE

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Disorganiser (2007) - Jaka Železnikar

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Technically, the work is executed as an add-on for the Web browser Firefox (v. 2.0.0.*); its execution involves the use of a number of Internet or computer technologies. I myself have executed the program in its entirety, which I emphasize because I consider the idea of the work and the execution of it as an indivisible whole that emerged over a period of development in which these two aspects were constantly interacting....

The image of any give Web page (or the visible part of the Web page if it is bigger than the computer screen) is understood as a matrix that reproduces itself. The size, height, and width of the reproduction are transformed depending on the matrix. The reproduction is placed in a selected section of the matrix and becomes part of it. The process repeats several times. The result is an unrepeatable visual structure that is based on manipulations of the particular Web page.

-- FROM THE ARTIST'S STATEMENT

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it will never be the same .com (2004) - Rafael Rozendaal

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Mayan Pyramid I and Mayan Pyramid II (2009) - VERSELEY

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From the series "About The Field Of Statistics"

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Evil Interiors (2003) - Palle Torsson

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Evil Interiors is a series of sixteen digital prints that depict the sets of some of the key scenes in film history: the home of the old man in Clockwork Orange, the hotel corridor in Shining, the empty warehouse in Reservoir Dogs, the motel room in Psycho, Hannibal Lecter's cage in The Silence of the Lambs. Using the editor in Unreal Tournament 2003, Torsson worked painstakingly on the architecture and on texture of the various parts of the furnishings to make these polygonal reconstructions totally believable.

"These images point at the psychological dimensions of violence, at least those that are imprinted in collective memory. As we live in a society where violence is accepted and ritualized our own consciousness is full of images of violence which can be triggered by a digital architectural space. Violence is not actually depicted here, but it certainly exists in the eye and mind of the beholder," Torsson explains.

-- FROM AN ESSAY ON "EVIL INTERIORS" BY DOMENICO QUARANTA IN "GAMESCENES: ART IN THE AGE OF VIDEOGAMES"

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o::: (2009) - Elna Frederick

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Logo (2009) - Oliver Jennings

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