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Hans Bellmer Machine Gunneress in a State of Grace (1937). Tony Oursler Alien Eye (1996). Thomas Kvam / Frode Oldereid , Machine 6.1 Walter Pichler. Jeppe Hein Shaking Cube (2004). 360 Presence (2002). Moving Bench (2000). Tatlin Letalin (1930-32)

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Hans Bellmer

Machine Gunneress in a State of Grace (1937)

Tony Oursler

Alien Eye (1996)

Thomas Kvam / Frode Oldereid,

Machine 6.1


Jeppe Hein

Shaking Cube (2004)

360 Presence (2002)

Moving Bench (2000)



Letalin (1930-32)

Novyj Byt (Nytt hverdagsliv) (1924)


E.A.T. (Experiments in Art and Technology)

(Billy Kluever, Fred waldhauer, Robert Rauschenberg, Robert Whitman)


Cory Doctorow

Little Brother

Jevgenij Zamjatin


Joseph Paxton

Crystal Palace(1851)


ctrl [space]

ZKM Karlsruhe (2001)


Rem Koolhaas / OMA

Study for the renovation of a Panopticon Prison (1980)


Dan Graham

Time Delay Room (1974)


Martin Jay

Downcast Eyes (1993)


"The potential freedom for individuals (or artists) supposedly provided by new developments in digitally driven, automated production is to some extent illusory—or, at the very least, temporary. Perhaps we think that the factory has arrived on our own doorsteps, providing us with infinite possibilities. But while most anything can be “hacked,” the inherent structure of the tools and software still defines the field of possible forms that can be made. “Customization” will come to look more and more generic as the number of participants in its system increases. Our common understanding of production may move from the infinitely repeated, identical forms purchased off the shelf to one in which every industrial object is a unique commission, perfectly geared to our personal taste. It’s not that technology is bad as far as opening up new conceptual space for artists is concerned. The question is, How does one produce idiosyncrasy in a future where everything that is made already looks idiosyncratic?"

-- Josiah McElheny, "Readymade Resistance"

(Artforum, October 2007)


In an age of Artifacts, I’m living off the land with most of my objects made by myself or my immediate kin. I know a lot about what I have, but I’m basically poor and ignorant.

In an age of PRODUCTS, I can engage in markets. But I’m just a gray flannel man in the crowd; I have to shut up and settle for what comes out of the assembly line.

In an age of gizmos, I’m an unpaid developer. I’m eyeballs, I’m keypunches, I’m Web site hits.

In an age of SPIMES, the object is no longer an object,

but an instantiation. My consumption patterns are worth

so much that they underwrite my acts of consumption.

(ss. 78-79)

Bruce Sterling

Shaping Things (2005)


"In the societies of control, on the other hand, what is important is no longer either a signature or a number, but a code: the code is a password, while on the other hand disciplinary societies are regulated by watchwords (as much from the point of view of integration as from that of resistance). The numerical language of control is made of codes that mark access to information, or reject it. We no longer find ourselves dealing with the mass/individual pair. Individuals have become 'dividuals,' and masses, samples, data, markets, or 'banks.' [...] Types of machines are easily matched with each type of society--not that machines are determining, but because they express those social forms capable of generating them and using them. The old societies of sovereignty made use of simple machines--levers, pulleys, clocks; but the recent disciplinary societies equipped themselves with machines involving energy, with the passive danger of entropy and the active danger of sabotage; the societies of control operate with machines of a third type, computers, whose passive danger is jamming and whose active one is piracy or the introduction of viruses."

-- Gilles Deleuze, "Postscript on the Societies of Control"