The Palimpsest Machine is an automated device which prints on paper on which text has already been printed and imperfectly erased. TPM is an innovatory assemblage of digital, physical, chemical and mechanical elements allowing for the relationships between old and new media, and theoretical conceptualisations of the materiality of print, to be critically explored in a playful and accessible fashion.

Me_asure is an interactive artwork which 'reads' you -- making assumptions about your personality based solely on digital measurements of your head. Inspired by biometrics, data mining and current surveillance techniques, this special commission has been produced in collaboration with John Bowers and in partnership with The Double Negative and FACT to celebrate Science Fiction: New Death.

Antiphonal is a two site multi-channel audio installation of poetry and field recordings. Twelve poems were commissioned in response to the return of the Lindisfarne gospels to the North East. The installation, cuts, layers and remixes the poems over a backdrop of field recordings to create an immersive experience of poetry.

The first site is a watch tower on the Holy Island of Lindisfarne in the North East of the UK. The tower has panoramic views around the island and surrounds. The second site is a crypt beneath the Parish Church of Saint Aiden in Bamburgh.

The piece was commissioned and supported by the Newcastle Centre for the Literary Arts and would not have been possible without the invaluable assistance of the following people and numerous others.

Linda Anderson (director of the NCLA)
Bill Herbert with whom the poems were mixed and cut.
Stevie Ronnie with whom many of the early concepts were discussed.
Benjamin Freeth and Peter Evans who installed the work and contributed to the technical and aesthetic development.
Finally the twelve poets whose work made the project possible.

Gillian Alnutt
Linda Anderson
Peter Armstrong
Peter Bennet
Colette Bryce
Christy Ducker
Alistair Elliot
Linda France
Cynthia Fuller
Bill Herbert
Pippa Little
Sean O'Brian

Optimism Skywards from tom schofield on Vimeo.

'Optimism Skywards' is an installation artwork which intervenes in participants’ twitter messages to the Angel of the North by giving them physical form and firing them skywards in an optimistic attempt to get them closer to the angels.

A computer programme checks for new twitter messages (@mentions and direct messages) to the @_dearangel twitter account. When a new message is received, the tweet is automatically printed on to a small piece of paper, dropped into the barrel of an 'air cannon' and fired skywards. It is hoped that the combined impact of the deluge of tweets directed at @_dearangel will cause the ceiling of the bank vault in which the installation is located to be eroded, finally allowing access to the sky.

Optimism Skywards explores the relationship between physical space and the social space of twitter. Physical metaphors underscore the structure and language of twitter (following, direct messaging) and the @_dearangel twitter account has become a destination point for correspondence. Optimism Skywards attempts to fulfil Dear Angel’s function by redirecting tweets a step further towards the angels.

All images below are the copyright of Colin Davison @ www.rosellastudios.com
I wish to acknowledge the invaluable support of Suzy O'Hara and Stevie Ronnie

Neurotic Armageddon Indicator V1.0 from tom schofield on Vimeo.

Neurotic Armageddon Indicator (NAI) is an installation artwork which visualises the ‘Doomsday Clock’, a symbolic clock maintained by an academic journal, ‘The Bulletin of Atomic Scientists’. The Doomsday Clock represents the proximity to armageddon expressed as minutes to midnight where midnight represents nuclear holocaust. The clock is ‘set’ by a panel of scientists and experts at long intervals, usually years apart. The artwork is in two pieces. One is a small computer programme running on a server which ‘scrapes’ the content of the bulletins home page as often as possible. The software checks the current status of the clock and then sends the results over the internet to the second part of the work, a small wall clock which displays the time of the Doomsday Clock on a red LED clock display. This process repeats as fast possible so that the device shows in near-real-time the status of the doomsday clock. At the time of writing, it is currently five minutes to midnight.

NAI is also being developed to provide a locus point for discussion of the end of the world. To this end I have developed a second indicator which can be set by participants at any time, over the web. Their time will feed into a physical clock located in Culture Lab, Newcastle, UK and they may justify their input and contribute to a time line, similar to the one published by the bulletin of atomic scientists.