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

»Swing«, 2009 by Harm van den Dorpel.

“Laboratory for Ephemeral Investigations”, 2002 by Jennifer Hall and Blyth Hazen.

»Singing bridges«, 2007 – … , is a sonic sculpture, amplifying and playing the cables of stay-cabled and suspension bridges as musical instruments. By Jodi Rose.

“Harmonic Bridge”, 2006 by Bill Fontana.

“This Is Not A Loop” by Niall Flaherty. Sound loop digitally generated from Rene Magritte’s painting “The Betrayal of Images“, 1929.

»DC Webcam«, 2006 by Mark Skwarek.

“Karaoke Landscape” by Norbert Möslang.

»Wichita Lineman 1:3000 Scale«, 2001. The work derives from audio data of the 70′s country and western song “Witchita Lineman” (listen) by Glen Cambell. The landscape was generated from contour maps created from computer modelling data of the original song file. Computer audio visualisation processing software was employed to reconstruct the song using a series of 2D and 3D computer generated models from which the final version was modeled in clay and cast in glass-reinforced plastic. The geology of the landscape is a direct copy of the computer model created from the the song data and gets its characteristics from the XYZ axis of time-frequency-volume. By Calum Stirling.

In the installation »Infinite Loop« (2004) a camera is rotated on its side and pointed into a television at close proximity. The camera feeds the image of pixels on the screen back into the TV’s audio and video inputs. The auto focus and auto exposure struggle to gain some coherence expected in an image, but cannot. The result is a fluctuating, oscillating signal.

In »Thaw« (2004) an empty swimming pool, a large mass of black, volcanic, basalt street bricks is interlaced with bricks of white ice. The cube will fall prey to entropy over the course of approximately 8 hours. The ice bricks fuse together and hold on to the bricks as long as possible, causing the structure to warp and sway pendulously before collapse. The brick cube rests on a steel table and hovers over a mirror, which floats above the floor. The mirror has microphones attached to it, which pick up the stochastic dripping of water and is amplified in the space, counting off the time between collapses. Both projects by Chris Musgrave.