Pace Gallery in London held an exhibition by the artist Trevor Paglen examining the visual products from artificial intelligence and digital data systems. 1 Titled 'Bloom', the exhibition featured an over-sized sculpture of a human head. Bald, white, and possibly male, this eerily symmetrical 'standard head' had been modelled on measurements from canonical experiments in facial recognition history by Woody Wilson Bledsoe, Charles Bisson, and Helen Chan Wolf occuring at Panoramic Research Laboratory in 1964. 2 Centring this 'standard head' in the space, Paglen surrounded it with photographic prints of leaves and flowers re-composed from RAW camera files by computer vision algorithms. These machine visualisations of nature encircled the 'standard head' illustrating how digital imaging using autonomous toolsets can achieve significantly different graphical outcomes. The exhibit foregrounded face recognition technology yet provoked viewers to consider the cross-practice connections between computing and data classification, humans and nature, and how image-making is becoming technically autonomous. 3 Another take-away is how these systems requireThe author would like to acknowledge Stephanie Dick, Ausma Bernotaite, and Kalervo Gulson for their generous insight on different case-studies that comprise this chapter. Thanks also to Monika Zalneirute and Rita Matulionyte for their editorial guidance, and finally, Kathryn Henne at Australian National University, School of Regulation and Global Governance for her continued support.