Thomas Kvam / Frode Oldereid, Machine 6.1www.thomaskvam.com/

Tony OurslerAlien Eye (1996)

Hans BellmerMachine Gunneress in a State of Grace (1937)

Walter Pichler

Jeppe HeinShaking Cube (2004)

360 Presence (2002)

Moving Bench (2000)

Tatlin Letalin (1930-32)Novyj Byt (Nytt hverdagsliv) (1924)

E.A.T. (Experiments in Art and Technology) (Billy Kluever, Fred waldhauer, Robert Rauschenberg, Robert Whitman)http://www.9evenings.org/

Jevgenij ZamjatinVi (1924)

Cory DoctorowLittle Brother

http://w1n5t0n.com/

Joseph PaxtonCrystal Palace (1851)

ctrl [space]ZKM Karlsruhe (2001)http://ctrlspace.zkm.de/e/

Rem Koolhaas / OMAStudy for the renovation of a Panopticon Prison (1980)

Sania Ivekovic,Triangel (1979)

Dan GrahamTime Delay Room (1974)

http://www.medienkunstnetz.de/works/time-delay-room/

Martin JayDowncast Eyes (1993)

http://skisseblokk.wikispaces.com/Josiah+McElheny%2C+Readymade+Resistance

"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)

Bruce SterlingShaping Things (2005)http://mitpress.mit.edu/catalog/item/default.asp?tid=10603&ttype=2

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 worthso much that they underwrite my acts of consumption.(ss. 78-79)

"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"

http://a.aaaarg.org/text/1045/postscript-socieities-control