Temporal Scan is a generative digital monument commemorating the James Went Building, demolished in 2004. Once home to a Honeywell 200 mainframe computer, the building played an important role in Leicester Polytechnic's early engagement with computing and computer arts.

Rather than constructing a physical monument, Temporal Scan exists as a continuously operating digital system. It runs autonomously, generating an evolving artwork that can be experienced through an internet browser.

The system draws upon an expanding archive of Taitographs, images produced using mechanical drawing machines. For each cycle, eight images are randomly selected and processed through a sequence of computational instructions.

Working within the outline of the demolished building, the system gradually erases its photographic image, replacing it line by line with marks derived from the Taitographs. The process recalls early dot-matrix and line-printer technologies associated with the period.

Each cycle produces a different result. The building is repeatedly reconstructed, erased and reimagined through the processes of the computer.

Signals in Residence is a computational sculpture exploring the relationship between information, political systems and cybernetics.

Taking inspiration from Project Cybersyn, the experimental information and communication system developed in Chile during the early 1970s, the artwork examines how computational systems can interpret and respond to information.

The physical installation consists of an illuminated architectural structure containing a network of individually addressable lights, controlled through a custom-built electronic system.

Using the GOV.UK Search API, the artwork accesses information published by the British government. This information is interpreted by the system and translated into changing patterns of light, colour and movement.

Rather than presenting government information as text or statistics, Signals in Residence transforms it into an evolving visual composition.

The work operates autonomously, responding to information through a set of computational rules.

Tab-a-gotchi is an interactive, browser-based digital pet created as part of Computala 2026, a project by New Media Art Club.

Developed using p5.js, the artwork combines simple character animation, generative sound and interactive text responses.

Visitors interact with the system through a button-based interface, triggering animations, short musical sequences, positive messages and automatically generated haikus.

The work explores how relatively simple computational processes can create the impression of personality and responsiveness within a browser-based environment.

With everything going on in the world right now, the big question on everybody’s mind is surely: who do you get to DJ at your gallery opening, exhibition private view or fashion show?

We can’t all persuade Björk to perform a gabber set at our exhibition opening, and hiring DJ Hairdo for the evening isn’t always an option.

Fortunately, there’s now a solution to one of the most pressing problems of our times.

AEAB - Automatic Exhibition Ambient Backdrop.

AEAB is an autonomous generative audiovisual system that produces an endless stream of electronic music and accompanying moving images.

It doesn’t use playlists, fund wars or require someone standing behind a table pretending to adjust things. It generates its own rhythms, melodies, musical arrangements and evolving visual structures through clever generative systems (not AI).

There are two modes. EVOLVE is a more considered moving generative artwork, allowing the music and visuals to develop gradually. PERFORMANCE works as if you have a DJ/VJ combo in the place.

Every performance is different. It plays, performs and evolves its own cool Ambi-Tech sets for as long as required.

AEAB doesn’t require a dressing room, a rider, a manager, a 6-hour soundcheck or a fee.

It won’t turn up late, complain about the monitors, drink too much or ask where the afterparty is.

SWARM.FORM.003 is an autonomous generative audiovisual artwork exploring composition, synthesis and the behaviour of interconnected systems.

The system develops an evolving electronic composition through interacting sound-generating instruments, while an independent radio swarm searches for signals from around the world.

The radio material found becomes part of the compositional structure and sound material as the work continues to develop.

Rather than following a fixed arrangement, the composition gradually transforms through changing relationships between instruments, sound, memory and chance. Each performance develops differently and has no predetermined ending.

Browser compatibility: This version is currently optimised for Google Chrome. Other browsers may not reproduce the audio correctly.