Title: Visitors To A Gallery - Referential Self, Embedded . 2008

Stanza, Surveillance based artwork

===============================================================

A surveillance system that embeds the visitors to the gallery inside the artwork, 2008.

Visitors in any of the galleries and all spaces in the building can appear inside the artwork at any time. In this way Stanza creates a parallel universe what he calls " a parallel reality". The gallery become a panopticon a surveillance space of the live breathing data "The Visitors To A Gallery". This artwork continues the series of investigations by into privacy, identity within public space and networked space.

Visitors to a Gallery- referential self, embedded uses custom made electronics and sonar sensors which are placed on the gallery floor to create the installation in the space. Visitors to the main gallery control the CCTV feeds by their own movement in the space. The piece becomes a semi performative controlled system. The proximity to the main ultrasound sensors affects the aesthetic of the image.It become a responsive installation. The visitors act as an intervention in the the gallery space and become embedded in the artwork. The visitors to the gallery thus become the artwork.

The visitors to the gallery, are in fact assets, and could be referred to as data. Visitors are units of data, moving around the giant database. The patterns, movement, and exchanges of data in the real space, can be measured and interpreted as an emergent social space or flow space. Though I have indicated that visitors can be thought of units of data, it is also possible to “re-mediate” the body in the data space in order that a new, emergent, social space is created. New technologies will monitor the space to track public interactions and provide “interpretative” and the cluster of visitors within the gallery.

Exhibitions

Publicity version one (2004) Watershed Media Centre UK2004. Thanks to Dick Penny and Clarks Bursery.

Plymouth Arts Centre Feb. 2008.

"A Look Inside". Surveillance Art expo De Markten | Brussels Belgium 2013

Touring

This work is available for touring and for any public space wishing to expand on my concept of privacy in public spaces as artwork.

Technology:

Live CCTV from the Gallery. Projectors, custom electronics system . Download sensor layout Download sensor notes

History

For version one of 2004 see here.

Concept, images, design, visualisation, installation, copyright Stanza. 2008

Thanks to Plymouth Arts Centre, Paula Orrell. Supported by Helen Sloan of Scan. Part of distributed South, which is a project funded by The Arts Council England. Thanks for support and custom electronics from Ian Steele. Thanks to an AHRC creative fellowship and Goldsmiths digital studios.

KEYWORDS: network, CCTV, networked, generative, sensor, installation, real time audio, visualization, environment. responsive.

Stanza, Surveillance based artwork

BACKGROUND CONTEXT:

The city has millions of CCTV. In essence the city is the biggest TV station in existence. Millions of hours worth of data are recorded every day by these cameras on city TV. One can take the sounds and images off live web streams and re-represent them thus creating new interpretations of the city in the process. The increase of technology infrastructure in the daily existence of a city means that technology will, more than ever be everywhere in our environment. Mobile data mining will be part of the fabric of the landscape. We will be carrying this data in pods, phones and IDS cards. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones and id card movement tracking in the guise of anti- terror activity. The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. The value of information will be a new currency as power change. The central issue that will develop will be the privilege and access to these data sources. By at least taking some of this data and making something with it one is at least reclaiming ownership of the data and putting it back in the public domain.


So let us imagine a space in which every action, memory, thought, feeling, has a connection to every other action. A space where all data in the system, seamlessly integrates with all others. This place exists, its inside our heads. The emergent metaphor of the brain has many similarities with the emergent connectivity of cities. The city experience is a web of connected networks and multi layered threaded paths that condition us to the emotional state of the city space. In essence, the city fabric is a giant multi user multi data sphere. To take part you really have to put something back in, that's like life. In this case, to take part you have to input data so others 'may' see the output of the data response. This scenario leads to identification of various type of mobility. Mobility can be seen from traffic patterns, to pedestrian patterns, to bird flocking patterns; to multi-threaded patterns along a time line. Patterns can be seen in the architecture, patterns in the buildings, patterns in the architectural fabric of the urban design network. And closer inside the micro patterns of the city, we have the life cycles of the atomized, the insects, the life of continuity all of which exist along a timeline of past present and future.

The city has a history. Stories relative to time and place, stories from the street. Love stories personal and extreme, crime stories, stories that are small or that can affect global parameters. Inside the mobile city there are future stories and future worlds to invent and discover. All of these spheres can be represented by media and therefore by data within the digital realm and becomes a data source so powerfull so interwoven that its scale can only be imagined as metaphor. The size and scope of such an archive, of such rich mediated data experience would support many projects. As such it can be interpreted as history via one sort of interface or as a game via another sort of interface. A possible objective is to 'mediate' data into conceptual artifacts. With this perspective there are many unimagined threads of data and connections that describe our world that can be explored. within which we can create artistic interpretations.


CCTV systems are everywhere in the public domain. We are all actors, bit part actors, in a giant movie called life. Except we cannot watch, it is not on public display and the results are monitored, filtered and distributed without our permission.


The increase of technology infrastructure in the daily existence of a city means that technology will, more than ever be everywhere in our environment. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones and id card movement tracking in the guise of anti- terror activity. The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. The value of information will be a new currency as power change. The central issue that will develop will be the privilege and access to these data sources.

Stanza 2002

Stanza, ,

Stanza, Surveillance based artwork

 

This artwork by Stanza, , uses the live CCTV system inside an art gallery to the art installation

Press Images

Hi resolution image of above 8mb here

Hi resolution image of fisheye image from below, 8mb here

Below more images from Stanza's installation. 2008

 

Image above shows Exhibition installation version "Visitors to a Gallery- referential self, embedded" 2008

 
Stanza, ,
Stanza surveillance and art
Stanza privacy and art
Stanza privacy and art
Stanza privacy and art
Stanza privacy and art
Stanza The gallery become a panopticon a surveillance space of the live breathing data "The Visitors To A Gallery

 

(c) Stanza 2008

Stanza, ,