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URBAN AGE ELECTRIC CITY CONFERENCE

December 10th, 2012

URBAN AGE  ELECTRIC CITY  CONFERENCE

A worldwide investigation into the future of cities

LONDON 6-7 DECEMBER 2012.

I went along to this….

Maybe it was the venue, the Electric Light station but too many speakers acknowledged the venue as a landmark  site and rooted themselves in anecdotal reflection while failing to jump into speculative imaginings of a smart, connected, intelligent city which is what I was hoping for.

The conference started at a tangent when  it was side tracked / hi jacked  by the political with the PM David Cameron and Mayor Boris Johnson announcing a new initiative showing to a crowded room of designers and architects how a 50 million pound building that would be sited on a roundabout would be the centre of a new technological age.

From Craig Calhoun onwards the word infrastructure was the default position or reference point and maybe quite rightly. As an observation even cities without any notable infrastructure seem to have and behave like cities. Cities are systems. Rem Koolhaas observed and documented this lucidly several years back in his film about Lagos.

The smart city will be a system that is designed or at least implemented and to evaluate  this  two things were missing:-  real world examples and speculative  approaches with answers. The conference needed to find the new questions revolving around not only the climate based  issue and new migrations but also  this issue of the control space and the new virtual borders. Richard Sennet was wrong to suggest this technology (ref fibre optics etc) is too expensive for people to have in their own homes. I have two wireless sensor networks that I have developed and it hasn’t stopped me commenting and taking apart. Individual will drives political change.

Cities change rapidly because of events. These can be anything from acts of god, to events in other systems that cause change through initial unpredictable behaviour. Deyan Sudjic, Director, Design Museum referenced the shipping container. It caused mass changes in labour markets and intitated globalisation. Ten years after the container was invented thousands of dockers had lost their jobs. The process of a city butterfly effect has knock on consequences.

Saskia Sassen, brought in another anecdote about gentrification of poor urban areas which led to a revival of the space and local park because dog owners where forced to walk their dogs in the park thus reviving local and public space; thus demonstrating causal effect on the organic system of the city.

And as much as Richard Sennet argues for the horizontal against the vertical, I would speculate that lines don’t matter anymore in the smart city as everything can be reduced by closeness to in the virtual world to being next to one another. In the smart city everything is compressed. The network system can ignore both the horizontal and the vertical and just make the connection. One doesn’t need to travel up or along but through space.

Adam Greenfield remarked that the city is controlled from above. From Gods eye to the electronic eye the world has always been controlled from above except now we have all become Gods eye. Since we can acknowledge this the Electric City missed an opportunity to  offer new  perspectives on how the legal profession will deal with this very new multi point perspective that is now available to all. “Order might start from below” as Jane Jacobs noted  but control is now in the heavens. The new  technologies which I call the mother of big  brother  will oversee all battles that get played out in out future cites and will act on them as purposed. The question therefore is how do we re-purpose the technology?

A point which Wolfgang Pietsch, Munich Center for Technology in Society alluded to. He said increased experimentation leads to more control. IE social; forecasting and predictive modelling and visualisation might be part of the problem.

Carlo Ratti, Director, MIT Senseable City Lab  pointed to a few of his examples where sensing and actuators can allows something to ” start to speak ” and found that accidents in the machine can illustrate ways forward. However people always find a way, and generally it’s that of least resistance. Erik Spiekermann noted that like sheep we will take or own route forcing the design to change for us.

The focus also came back to politics on day two with Anthony Giddens, whose brilliant keynote hi jacked the whole agenda focusing the audience into a reality of risk based around the political will and agency of the climate change problem.

Which was illuminated by the quote of the conference from Tessa Jowell, Member of Parliament, UK; “trust it’s too high to aspire to”.

And in that one short statement she hi-lighted an inflexibility in the system. Trust is imperative in everything we do, it is something everyone should aspire to, and a politician who cannot aspire to be trusted cannot by default be trusted.  The generation that cannot aspire to be trusted needs to get out the way. No politics is better that un-trusted politics. All system will find a path, all dogs need to be walked, all cites change and evolve. Out future and the future of the smart city is based on trust, both in the technology that it can serve us all and the trust that if we work together and share knowledge it will be for a better city.

Anthony Giddens, hi-lighted the importance of the moment we are now in and stressed its significance. We live in an age of high risk but great opportunity.

Stanza dec 2012

 

 

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Posted in emergent city, ideas, research

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Stanza wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city.

November 1st, 2012
Stanza  wins SHARE PRIZE 2012 in Torino for Capacities. A piece of work using real time data of the city.This artwork captures the changes over time in the environment (city) and represents the changing life and complexity of space as an emergent artwork. Its an artwork about the internet of things, smart cities and connecting spaces.

Jury Statement

What is the role of art today, in this moment of social transition towards the city of the future? It was from this perspective that the artists interpreted the theme Open Your City, exploring the key concepts word by word. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, the information and the database, a real, but dematerialized city. Artists have been short-listed by an international jury, consisting of Simona Lodi, Carlo Ratti, Bruce Sterling and Mirjam Struppek, on the basis of the artistic value of their work and its relevance to the Share Prize theme.

Capacities: Real Time Complex – Connected Cities by British artist Stanza is an installation dedicated to the complexity of life in an environment. Changes in each of the spaces are monitored in real time, as they give rise to constant tensions, highlighting the behaviour of complex systems and the emergent properties that appear. In this case the organism is the city and not the single individual; it is the entire urban habitat as a whole, revealing its nature as a multifaceted system. The installation is the real-time mirror image of everything that changes, gathering huge amounts of data that are transformed aesthetically into a physical copy of the city, made up of cables, lights and sensors that represent shifts in environmental parameters measured numerically. The obsessive focus is on the observation of environmental data by gathering measurement on temperature, light, atmospheric pressure, noise and the sounds of the city outside the museum. Gathering digital data on the environment has become an art, and art has become a data set rather than a collection of molecules. The short-list of the Jury reflects the reappearing artistic interpretation of the modern urban landscape as system, where the solid element is replaced by the message, theinformation and the database, a real, but dematerialized city.

Le parole OPEN YOUR CITY sono la traccia tematica che ha guidato la mostra di Share Prize. Il premio ha come obiettivo scoprire, promuovere e sostenere le arti in epoca digitale. La selezione delle opere finaliste della mostra è dedicata agli artisti che interpretano l’innovazione come linguaggio di espressione artistica, in ogni modo e forma. Una giuria internazionale composta da Simona Lodi, Carlo Ratti, Bruce Sterling e Mirjam Struppek hanno scelto gli artisti in base all’aderenza al tema e al valore estetico dell’opera.

Image: Stanza Capacities Installation. 2010.

Image: Stanza Capacities Installation. 2010.

Dichiarazione della giuria

Quale è il ruolo dell’arte, in questo momento di transizione sociale verso la città del futuro? In quest’ottica gli artisti hanno interpretato il tema Open Your City, sviscerando le parole chiave. La short-list della giuria riflette l’interpretazione del riapparire artistico del paesaggio urbano moderno come sistema, dove l’elemento solido è sostituito dal messaggio, dalle informazioni e dai database, una città reale ma smaterializzata.

Capacities: Real Time Complex – Connected Cities dell’artista inglese Stanza dedica la sua installazione alla complessità della vita in determinato ambiente. Ogni ambiente è sottoposto a cambiamenti continui che sono monitorati in tempo reale. I cambiamenti portano continua tensione e stressano il concetto di linearità ed evidenziano le emergenze che compaiono. In questo caso l’organismo è la città e non il singolo cittadino ma l’intero complesso urbano, tracciandone il profilo come sistema multiforme. L’installazione è lo specchio in real-time di ciò che si modifica, raccogliendo grosse quantità di dati trasformati esteticamente in una copia della città ma fatta di cavi, luci e sensori che esprimono il passaggio degli elementi ambientali raccolti in forma numerica. L’attenzione insistente è osservare i dati ambientali raccogliendo la temperatura, la luce, la pressione atmosferica, il rumore, e il suono della città fuori dal museo. Raccogliere elementi numerici che riguardano l’ambiente è diventata un’arte e l’arte e’ diventata un insieme di dati piuttosto che un insieme di molecole.

http://www.stanza.co.uk/capacities/index.html

 

 

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Posted in architecture, artworks, cctv, city, code, data, display, emergent city, hardware, installation, surveillance, technology

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Stanza portraits.

October 30th, 2012
Stanza Portrait inside CCTV
Stanza Portrait of The Artist

Stanza Portrait

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Posted in artworks, emergent city, surveillance

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Complex-cities. Art, mapping, within the new digitised city space.

September 3rd, 2012

Complex-cities. Under the new digitised city space from artists walks to virtual cities.

Around the 1900 century the city became the focal point for an intense debate about the dynamics of technological civilization and its effects on the quality of human life. The Futurist manifesto of 1909 identified the city as the pre eminent theme of modern poetry and painting.

Ezra Pound pointed out in his comments on Eliot’s The Waste Land: “ the life of the village is narrative…..In a city the visual impressions succeed one another, overlap, overcross, they are cinematographic”.

The city ceases to be pictured as a social environment and it is transposed on to an existential plane. The metropolis ultimately becomes a metaphor – a dynamic configuration of the confiding hopes and fears of the twentieth century.

Writing played a huge part in the metaphorical and poetic interpretation of world cities. But it is through cinema that we can appreciate the scale, pace movement and patterns that where emerging in the modernist city.

The imagined city is constructed in Fritz Lang’s Metropolis (1926). It is an imagined city, a city of the future a city that is seen time and time again in modern science fiction films like The Fifth Element.

Lang referred to The Tower of Babel, the massive control tower in Metropolis is called “The New Tower Of Babel. The comparison to Babylon within the city has become common in metaphorical language of the city ever since cities really became too large for easy assimilation. Lang’s city thus becomes a city of “idea”.

 

The flanuer.

While Baudelaire characterized the flâneur as a “gentleman stroller of city streets”, he saw the flâneur as having a key role in understanding, participating in and portraying the city. A flâneur thus played a double role in city life and in theory, that is, while remaining a detached observer.

This stance, simultaneously part of and apart from, combines sociological, anthropological, literary and historical notions of the relationship between the individual and the greater populace.

This term refers to a person who plays a sensor role in understanding the urban environment.

Any pedestrian environment that accommodates leisurely exploration of city streets. Walter Benjamin adopted the concept of the urban observer both as an analytical tool and as a lifestyle….. making social and aesthetic observations during long walks.

The wrap it seems, is the collections of observations about the cityspace. These can be made into histories and documented, sights and sounds, experiences of the city.

The flaneur is a suitable metaphoric vehicle for the ‘witnessing’ of this space because ‘the flaneur moves through space and among the people with a viscosity that both enables and priviledges vision.’

Being a product of modernity, he was a spectator of modern life in the urban sprawl; now a product of post-modernity, the cyborg-flaneur is an androgynous spectator of virtual spaces.

A person’s whose aim is to disappear in the spaces of the city – ‘a prince who is everywhere in possession of his incognito’ – is the person who has the best view of the basic nature of cyberspace, a space where anonymonity is maintained by a process of vaporisation upon departure.

The flaneur is also an ‘image of movement through the social space of modernity’ – an explorer who finds their identity among the realizations of the city. The cyber-flaneur’s exploration of virtual spaces is achieved through their natural propensity for movement; they wander anonymously within the boundaries of virtual space, developing a virtual identity while connected.”

The Situationist City.

A precursor of flash mobs, CCTV performances, interactions with GPS and networked performance the Situationists existed to politicize the urban domain.

The networked internet and virtual city space allows the movement of sources and codes that can be re mashed, played with to be “re-routed”.

By cutting up maps of the city Guy Debord and Asger Jorn where re coding city space, creating new patterns and urban forms. Or see Constant’s, “North New Babylon”, watercolour on collage. It is a single continuous organic structure spreading to the edges across the landscape. Unit blocks are repeating in an organic web like structure. The most famous of these images was “The Naked City”, criticises traditional mapping and at the same time investigates the relationship between various urban elements by re- assembling the map of Paris.

“Situationists promised that their architecture would one day revolutionise everyday life and release the ordinary citizen into a world of experiment, anarchy and play.” Simon Sadler.

The HP media platform for mobile computing the city based games using GPS tracking all continue this theme of playing in city space.

Simon Sadler, draws a comparison between Jackson Pollock’s Autumn Rhythm (1950) an  (p87  The Situationsit City) abstract expressionist painting, and the webs traced by both Paris metro and London railways maps. Debord insisted that interest was because of the content however the aesthetic comparison cannot be ignored.

Future Cities

Future cities will be merged into real time connected up data cities connection of networks of real time information flows.

The internet presents of a myriad ways to create ephemeral art across cross networks using all sorts of data information and media. The internet provides gateways and access for all, the editing process, mash-ups, authors as editors, as choice makers, as decision makers.

The key to a multi/plicities project is the nature and openess of the gateways so that its acts without borders.

One has to experiment with the technology and understand how to get under the bonnet, and then new  outcomes will shed light on how data flows overlap in live streams demonstrating what are the possibilities for novel artistic experiences and outputs as well as new business models which will benefit from sonifications, visualizations, and sculptural objects; as well as apps, and feedback into other networks and intergrated systems.

By researching current systems, software, and artworks one can  come to an understanding about the social and ethical implications of such technologies both in artworks as well as public domain space and to speculate where these technologies could lead us in the future.

 

Future cities / spaces will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created lead to mashed up cities and real time performative city experiences.

There fore can one build an open ended platform  where the content too can be mashed up , intergrated into  non linear streams, re- assembled, used by other artists, curators, via tag  or XML streams.

(NB: I don’t like the term open source or but my work endeavours to collapse the borders created by networks so there is a free flow and exchange through the system both for input and outputs of ideas and latterly resources which I call assets (the data and the information.)

The examples below are experiments around the world in this field of location based devices maps and artworks that all have varying objectives. They mostly I believe have developed without speculating on future content delivery  scenarios.

From a recent essay with my work (Issues In Science And Technology, Spring 2012.) … “the more people online contributing ideas,  the more valuable the network becomes to all the other users”…Hillary Rodman Clinton

So the objective is to  maker a platform that  makes it easy to  contribubute from the first instancee whose structure or front might be re/ assembled depending on the flow / need/ content narrative)

Interesting links.

http://www.bbc.co.uk/news/world-europe-19267930

“It’s a good way to tell the story of a person. And we all have a story. Both the farmer, the director, they all have a story. And also it makes a visit to the graveyard much more interesting.”

http://www.notours.org/audioguides

***

NoTours proposes an augmented aurality experience. In other words, you can add a new layer of reality to your place. You can leave messages, tell stories, create geolocated concerts or just share your thoughts. The team of noTours.org is looking forward to know your ideas and your possible uses. In fact we are artists and developers. Take a look at some of the sound walks we have made in the world. Some companies and individuals have already asked us about creating their own customized walks. They offer you the possibility of having your own app with your logos
http://code.google.com/p/timemap/

Timemap.js is a Javascript library to help use online maps, including Google, OpenLayers, and Bing, with a SIMILE timeline. The library allows you to load one or more datasets in JSON, KML, or GeoRSS onto both a map and a timeline simultaneously. By default, only items in the visible range of the timeline are displayed on the map.

http://www.soundcities.com/

***

Stanza sound maps, softwares, performances and installations around the of many cities, big investigation around the city soundscape. he interesting thing now is the project is opened up for others allowing a re mixing or mash up. It allows these “others” to do with the “material” other things for example concerts and art installations. Using the XML feed other applications are created ie phone apps merged with you PS position or visualisation of noise across a space…all sorts of things are possible.

Regeneration squares

http://www.stanza.co.uk/stanza_regeneration/index.html

Re-animating and remapping the city. This project involves making new public squares in the city to make a regeneration of the city. Here area selection of these new squares in Liverpool. In addition I invite the public to find these squares and present situations to intervene and to regenerate these new public spaces.

http://www.huellasolar.com/

Solar-imprint cities (Huellasolar ciudades) is a project for mapping urban solar exposure. This mapping is dynamically configurable by the user to study the incidence of the sun at any time of year in various cities in Spain.

http://www.sonicwonders.org/

This a travel guide to our Sound World – listing places where what you hear is an important part of the experience. Increasingly, people are going to capture the World’s sonic wonders, whether deliberately by recording what they hear on a mobile phone, or almost by accident, as the soundtrack on a video recording. A sort of travel the world listening to  sounds guide.

http://voiceofkibera.org/

Voice of Kibera aims to give collective global voice to Kibera residents by aggregating local citizen reports, Kibera community media and other relevant news and information.

http://birdmap.5dvision.ee/index.php?lang=en#

At this url you can  track on a “migration map” some birds travelling between Europe and Africa.

http://www.equator.ac.uk/index.php/articles/c61

As mobile phones and computers become more complex, the range of media that affect our experiences of cities has expanded. What makes a city meaningful to us is not just its bricks and mortar, but the texts we read, people we talk to and experiences we have. Maps, conversations and images of a city all influences our activity and enjoyment. City focuses on bridging or blurring the boundaries between these different media. The systems we build mix local interactions and remote collaboration, using ubicomp technology, digital maps, virtual environments and hypermedia.

http://www.beatrizdacosta.net/pigeonblog.php

Art project Pigeonblog was a collaborative endeavour between homing pigeons, artists, engineers and pigeon fanciers engaged in a grassroots scientific data gathering initiative designed …. How could animals help us in raising awareness to social injustice?

http://www.christinakubisch.de/english/install_induktion.htm

“Electrical walks”, is an invitation to a very special kind of stroll in cities (or elsewhere) With a special magnetic headphone and a map of the environs, upon which the possible routes and especially interesting electrical fields are marked, the visitor can set off on his own or in a group. The perception of everyday reality changes when one listens to the electrical fields; what is accustomed appears in a different context. Nothing looks the way it sounds. And nothing sounds the way it looks.

 

http://www.conormcgarrigle.com/writing_the_city.htm

Writing the city was a GPS drawing walk intervention which took place in Dublin in collaboration with Tactic. The walk with a handheld GPS to a preplanned route used the tracklog to write a giant word in a single movement onto Dublin.

http://www.walkingthroughtime.co.uk/

***

Walking Through Time is a mobile application that allows smart phone users with built-in GPS to not only find themselves in the present, but find themselves in the past. By making available historical UK maps, users will be able to scroll through time and navigate places using maps that are hundreds of years old. This new iPhone app brings this imagination to reality. Just head out for a walk, set the app to play, and let the story of the birth of the solar system and the evolution of life unfold under your feet.

http://www.urban-atmospheres.net/Jabberwocky/info.htm

Jabberwocky captures a unique, synergistic moment – expanding urban populations, rapid adoption of Bluetooth mobile devices, and widespread influence of wireless technology across our urban landscapes. The United Nations has recently reported that 48 percent of the world’s population current live in urban areas and that this number is expected to exceed the 50 percent mark by 2007,

http://www.storymashup.org/

Manhattan Story Mashup is an urban game, taking place on September 23rd 2006 in Manhattan, New York City. During the event, approximately 250 players will move around Manhattan, taking photos which match a given target.

http://www.savetheelephants.org/tracking.html

Save the Elephants uses Google Earth to visualize our elephant tracking data from across Africa. Google Earth is the rich mapping application that will allow you to fly through a global database of Earth imagery and detailed mapping information.
http://www.atmosphereindustries.com/gentrification/

A transmedia game, which uses mobile technology to facilitate and augment offline gameplay. It has been presented at game and culture festivals around the world to critical acclaim. Small teams compete to collect real-world properties, “convert” them, and transform the neighbourhood. As developers, they’ll build swanky lofts, erect coffee shops, and raise property values

http://realtime.waag.org/

GPS trace maps built into flash all online.

http://homepage.ntlworld.com/keir.clarke/web/thereandthen.htm

*** Check This

Historical movies on Google Streetview  (Looks Like a screenshot of streeview)

http://maps.google.com/maps/ms?ie=UTF&msa=0&msid=209536004200975525899.0004af02bf59e643ac521

Geolocate the painted tags in the mountains of Lima:

http://www.google.com/mars/  Google Mars is a great tool but when shall we geolocate our own information on Mars and the other planets in our solar system ?…that is the question.
Streetmuseum™ Londinium directs you to locations across the capital where you can immerse yourself in the sights and sounds of Roman London. As you’re guided around the city you’ll unearth exquisite artefacts as if discovering them for the first time and reveal the stories of life in Londinium (OFFLINE)

http://www.boxofficequant.com/100-years-of-set-locations/full_screen.htm

This map, showing 2100 movies locations is a great resource for people who want to geolocate the scenes of the movies in a “Walking Cinema” spirit. It could be a great starting point fo a mobile phone app.
http://www.paintyourstreet.com/

On the website “Paint Your Street” Google Maps mashup you can write words over the Street Maps view ! Nice idea ( full of script errors)

http://glowapp.com/

***Glow is the mobile app that tells people how you are doing and where you are doing it. Download Glow and discover how people around the world are feeling right now! (Use the map view to reveal areas near you where people are feeling good. We use color to show you how people are feeling as a group. Blue is “awesome” and red is, well…”not so awesome”.)

http://www.markermusic.com/

Interesting use of Google Maps for mixing locative audio recordings. “you can click and hold on the map to move it around, and use the YouTube volume controls to change the mix” :

http://sounds.bl.uk/uksoundmap/fusionmap.aspx

UK Sound Map is a online “soundscape” project from the British Library Board and the “Noise Futures” network. Welcome to our interactive map showing 1675 soundscape recordings contributed so far by members of the public: (now closed)

http://whatwasthere.com/ What Was There is A great project with Google Maps to travel in time…visit the site and test the iphone app !

http://urbansonar.com/

Urban Sonar is a personal space monitoring system that senses an individual’s experience as they move through the urban environment and records that information for review at a later time. Turning the gaze both outward and inward, negative

space surrounding the individual and their heart rate are used to visualize a lived experience through quantitative data.The visualization program was writting in Processing.
http://pixelsix.net/wanderer-gps-game/

Keep Walking! from Jonas Hansen. The object of the GPS game Wanderer is to be in continuous motion and to follow auditive commands given by the game system. Because the game is not mapped onto the coordinates of the physical space, it can be played in any location. The player is continuously con fronted with the objects in public space functioning as game obstacles. In this way the game trans­forms the meaning of the

http://www.thehiddenpark.com/

It seems to be a geolocated game for children but it is really more than this. This app and the editing tool is full of great ideas, mixind reality with animations. Let’s hack The Hidden Park for some activists purposes ;-)

http://imapflickr.com/default.aspx

Create custom Google Maps from your geotagged Flickr Photos to embed in your website or blog, or for sending to Facebook, Twitter or your favourite website.

 

Walking.

http://walkart.wordpress.com/

A virtual tour of Stuttgart and London

August 6, 2012 by Ana Laura

A walk with Amy’ functions as an urban drift, in which each participant is simultaneously a spectator and traveling companion, tourist and tour operator. The intimacy of an unknown voice can lead to unexpected insights and connections, noticing details we might have overseen, as we share cities across a remote landscape. ‘A walk with Amy’ asks what is worthy of attention – without road names or landmarks, what will function as signposts and how will we make our choices?

New Artworks involved with walking

http://walkart.wordpress.com/artworks/

Misc

http://www.museumoflondon.org.uk/London-Wall/Whats-on/Exhibitions-Displays/LomoWall.htm

The Museum of London has collaborated with Lomography – the vibrant community dedicated to analogue photography – to create an eye-catching LomoWall display.

 

Books

http://www.rodopi.nl/senj.asp?BookId=ATC+5

The convergence of mobile technologies and ubiquitous computing is creating a world where information-rich environments may be mapped directly onto urban topologies. This book tracks the history and genesis of locative and wearable media and the ground-breaking work of pioneer artists in the field. It examines changing concepts of space and place for a wide range of traditional disciplines ranging from Anthropology, Sociology, Fine Art and Architecture to Cultural and Media Studies, Fashion and Graphic design.

 

Cities. Visualisation Environment

http://flowingcity.com/

http://villevivante.ch/

The City of Geneva decided to take the challenge to visualize these digital traces created by our mobile phones. The objective of this installation is to make this data visible and allow you to explore these streams of connected people around the city, in their everyday life. A particle flow-field inspired map provides a view of the ‘liveliness’ of the people using their cell phone as they move about, as the activities and directions are embodied by the density of lines shown on the map.

http://stamen.com/clients/mysociety

Interactive maps of travel time and housing prices in London. an NGO which builds websites that give people simple, tangible benefits in the civic and community aspects of their lives, came to Stamen with a remit to explore two fascinating datasets: median prices of homes throughout London, and the time it takes to travel from one place to another throughout the city.

http://www.emotionmap.net/map.htm

The Bio Mapping device was invented by the artist Christian Nold. It combines a finger cuff sensor, which records the wearer’s Galvanic Skin Response (GSR) – an index of emotional response – in conjunction with a Global Positioning System (GPS) which locates the wearer’s position on earth. The finger cuff sensor was derived from the Polygraph, where it is used by law enforcement agencies to identify the physiological symptoms of stress induced by lying. Bio Mapping uses this technology very differently.

http://research.microsoft.com/en-us/projects/urbancomputing/

Urban Computing With the rapid progress of urbanization and civilization on earth, urban computing is emerging as a concept where every sensor, device, person, vehicle, building, and street in the urban areas can be used as a component to probe city dynamics to further enable city-wide computing for serving people and their cities. Urban computing aims to enhance both human life and urban environment smartly through a recurrent process of sensing, mining, understanding, and improving.

http://casualdata.com/senseofpatterns/

Sense of Patterns is an on-going project, a series of printed data visualizations aiming to depict the behaviors of masses in different public spaces. The visualizations have a focus on the patterns of moving entities in public like commuters, cars and public transportation vehicles as well as the interaction between these entities and physical structures like roads, sidewalks, buildings and parks. The project intends to provide strong visuals on what we all experience in our daily lives in different cities.

http://www.techcitymap.com/index.html#/

Tech City Map is a constantly-evolving compendium of East London’s vibrant technology and creative ecosystem. In addition to showing where businesses are located Tech City Map uses advanced technology from Trampoline Systems to reveal the web of connections linking them together and calculate each company’s influence in the community.

https://geoloqi.com/blog/2012/03/data-portraits-powered-by-3-5-years-of-data-and-2-5-million-gps-points/

These are images of map generated entirely from GPS logs gathered by various versions of the Geoloqi sample application for iPhone and Android for the past 3.5 years. Once gathered, the data was run through a custom script that projects the GPS logs onto a 2D image plane. There is a little bit of logic to smooth out the lines and remove some (but not all) GPS noise.

Other

mobilebristol (now offline)

Founded by Hewlett Packard Laboratories, the University of Bristol and the Appliance Studio, Mobile Bristol’s programme of research ran from 2002-2005. It investigated how pervasive technology could be used to enhance how residents and visitors experience and interact with their physical environment and each other in urban and public spaces.

Cityware with Imperial

Sensity by Stanza

Sensible cities MIT

London AA

Dog attention Over 115,000,000 views

 

Stanza 2012

 

 

 

 

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Posted in city, code, emergent city

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Three Stanza shows currently upcoming.

July 2nd, 2012

Shows

1. Madrid. Fundación Telefónica Arte y Vida Artificial. VIDA 1999-2012. April – Dec 2012 The competition of Art and Artificial Life LIFE was created by Fundación Telefónica in 1999 to promote artistic creation based on new technologies and has become one of the most prestigious art awards in the encounter between art, science and technology . Throughout its thirteen editions, LIFE has awarded works of art developed with artificial life technologies and related disciplines such as robotics, artificial intelligence, chaotic algorithms, computer viruses, biotechnology, virtual environments or sound sculpture and 1,478 projects were submitted from over 50 countries.

This exhibition project, curated by Karin Ohlenschläger, makes clear how the concept of artificial life in relation to art and the existence of different ways to investigate and deal with the dialogue between art and new technologies and exhbits previous winners including Stanza for the “The Central City”  project an internet art  project from 1997 – 2004.

 

2. Austin Texas “The Future Of  Imagination” Friday September 7th 2012.

Stanza will perform Soundcities. ( www.soundcities.com). During the performance Stanza operates the soundcities applications and soundmaps on three laptops these generate sound control data and image data. This is basically a live world tour of city sounds as music. These machines are connected to a mixing desk. Images are coming from the website projects. Performances during the eight years have been heavily focused on the sounds of cities, the database live and soundmaps. Selected performances have included: The Arts Depot in North London, DorkBot in Ghent Belguim, The Samsung Media Centre Korea, The DANA Centre London for Cybersonica, Delux in London, open-digi Brixton, Test Portal Holland, Digifest inToronto, the Museo Tamayo in Mexico City.

 

3. Zebrastraat Ghent from the 14th  until the 22st  September. Stanza will exhibit Capacities.. (http://www.stanza.co.uk/capacities/index.html) “Capacities Life In The Emergent City” captures the changes over time in the environment and represents the changing life and complexity of real time space as an emergent artwork. Capacities goes beyond simple single user interaction to monitor and survey in real time the whole city and entirely represent the complexities of the real time space as a shifting morphing and complex system. What you see is a sculpture representing the emergent properties of the environment the sensors network is placed situated. In this case the city .

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The Internet of Things. PART III The Third Space.

June 11th, 2012

The Internet of Things. PART  III The Third Space.

Future Avatar Cities.

I proposed in a recent interview for The Internet of Things Council  (http://tinyurl.com/3trotzq) that future cities will be merged into real time connected up data cities. Not just one space, but a connection of networks and of real time information flows. The results created will lead to mashed-up cities and real time performative city experiences.

Stanza Generative software map maker.

I am now interested in how this shared dataspace can overlap,  creating a new space in between, which only two nodes share, a future avatar city.  The aim here is to give tangible form to this new space, the space where the cities overlap, presenting an alternative urban virtual environment. In the prototype the audience sees the data  and will be able to mix data from cities; they can even mix the data to make music with it.  This novel approach allows a critical reflection on the real time city.

The Third Space speculates that social sensing might lead to a new social space and eventually a new business enterprises which can be exploited.  What is possible is that significant breakthroughs in knowledge about the shared data experience can be achieved through user-based interfaces online, on mobiles , media facades and other platform (multi distrubution will spawn micro businness.

In the last few years several systems have been deployed to monitor city environments. Mostly they exist as isolated networks.  My plan is to ask them to link up. This takes a step towards the “City of Bits” that Bill Mitchell talks about.

Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows as demonstrated in trials for Stanza’s earlier AHRC funded project (Sensity). The Third Space works impacts on how data flows overlap in live streams, demonstrating the possibilities for novel artistic experiences and technical outputs, including sonifications, visualizations, and sculptural objects.

Dewayne Hendricks says: “We’ve connected more people, but we haven’t connected more things yet;  we’re getting a convergence now, but what’s missing are the people that are advocates of this intelligent device stuff.”  The Third Space joins the dots and offers this vision thereby creating the potential for maximum impact.

The Third Space creates outputs that directly show how networks can be connected and data harvested for creative uses. In the last few years several cities have started to use motes sensors to create data spaces as test beds including Newcastle and soon Santander. The Third Space also impacts on Connected Environments, Smart Places, Smart Cities, Wireless Sensor Networks.

By using the standardized XML data streams that were developed  previously  to make the data / city available in the public domain. The aim is to improve this availability and connect up multiple data spaces (cities) to show the impact on our experience of the city, and thus create an ecosystem prototype. The data environment becomes a virtual data map of the real events.  What is demonstrated is that the collected data can be re-made reconstituted to be real again enabling physical objects to interpret the virtualised city data. The analogue is made digital and the digital can be re-formed into a variety of output devices.

One has to experiment with the technology and understand how to get under the bonnet, and then new  outcomes will shed light on how data flows overlap in live streams demonstrating what are the possibilities for novel artistic experiences and outputs as well as new business models which will benefit from sonifications, visualizations, and sculptural objects; as well as apps, and feedback into other networks and intergrated systems.

Image: Stanza. These are Our Children.

Problems inside the Emergent City

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control up, separate us, divide us, create more borders. Will the securitization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system?

The result will be used to test the main hypothysis which is I believe there is a new social space that exists in between these independent networks. What happens when future cities are merged into real time connected up data cities. The results created will lead mashed up cities and real time performative city experiences.  For example how can we  merge collected data from various real time cities to visualise this new space, the space where the cities overlap. This could allude to a new architectural and urban virtual space.

This might also allow for a greater community of interpreters and beneficiaries to see, and to come to their own understandings arising from this data about our socially-networked environment.  (as the data in this projects is open source via XML.

Will the securitization of city space create digital borders that monitor our movement and charge us for our own micro movements inside the system? Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted and logged.

The conceptual ambition of the project is to answer this question.

The Mother Of Big Brother

Can we use new technologies to imagine a world where we are liberated and empowered, where finally all of the technology becomes more than gimmick and starts to actually work for us or are these technologies going to control up, separate us, divide us, create more borders. The world we will live in seems to be a much bigger brother than the Orwellian vision, it’s the mother of big brother.

Social Spaces.

Underpinning this research, are a whole series of potential problems about observation, surveillance, and the ethics of the control space.  By researching current surveillance systems, tracking software, and pattern recognition software one can  come to an understanding about the social and ethical implications of such technologies both in artworks as well as public domain space and to speculate where these technologies could lead us in the future.

By building my own art systems and tools using custom made software, I try to raise further questions about the ethics of the control space and surveillance space

Alongside this technology research I have focused on the aesthetic development of the systems outputs by investigating different ways to represent the data and different ways to question the meaning of the system.  

Cultural Contexts.

How we understand and value information is of great importance. It seems reasonable to suggest that visual metaphors might simplify our understanding of data in space. I want to make my work eternally current. It will allow a real time multiple perspective of an identified space.

Stanza 2010

 

 

 

 

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The Internet of Things. PART II. A City of Sculptures.

June 11th, 2012

The Art of Environmental Data. The Internet of Things

Visualisations and sonifications of the real time city.

In 2004 I layered the city with sensors for my Sensity projects. Dozens of them to access the “data” and make it public. I wanted to claim this space as a public domain, and to create a series of social sculptures affected in real time by the changes in the city.

The aim is to make smart networks that have data open to all, and not closed off spy surveillance oriented systems. These networks could be thought of as open social sculptures that inform the world and create new meaningful experiences.

Thousands of motes could be deployed across the city for gathering data in wireless sensor networks. Used in large numbers they communicate with one another via radio signals across the network. They can reconfigure themselves, so that the network stays stable. The data is funnelled through a system to a point where it can then be interpreted.

The motes monitor the the environment for changes in temperature, sounds, light, position, acceleration, vibration, stress, weight, pressure, humidity, and gps. Motes and sensor boards monitor the micro incidents of change in the city, the noise, traffic flows and people flows. The interactions of all this data, controlled via mixed up interfaces that can re-form and re-contextualise experiences in real time as social sculpture.

The Control Space.

Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analysed, interpreted, and logged. The world we will live in seems to be a much bigger brother, than first realised. Its the mother of big brother. Its a world full of data that can help understand the fundamentals of our outside environment, and monitor the micro codes of our DNA, a world where we are liberated and empowered by data, where finally all of the technology becomes more than gimmick and starts to actually  work for us. This is where these projects and artworks start. In addition to this, the artwork allude to a more socially engaged practise, based on critical reflection of notions of privacy, surveillance space, and control space, speculating on the interactive city and meaning of real time space.

Towards The Emergent City

The “Sensity” artworks were made from the data that is collected from urban environment locations. The networks of sensors collected data, which is then published online. The sensors interpret the micro-data of the interactive city. The output from the sensors displays the “emotional” state of the city online and the information is used to create installations and sculptural artifacts. I believe them to be in effect emergent social sculptures visualizing the emotional state of the city. The sensor network can be moved from urban to rural setting and different types of visualization can be made depending on the environment.
Sensity is also a highly technical project that can output vast amounts of information about the fabric of our cities. By embedding the sensors like this we can re-engage with the urban fabric and waeve new artistic metaphors within city space. Custom made software enables these sensors to communicate will one another in a network over a proxy server in real time.  The data is also available for others and can be used to create visualizations in the open source environment that is online. (see xml streams).

Representations of these datasets allows unique understanding of the urban environment from this real time perspective. The interactions of all this data, controlled via interfaces that can re-form and re-contextualize experiences in real time. Sensity becomes a holistic city system. The sense city is a city of, accumulated incidents of love, abuse and death. The micro incidents of change in the weather, the noise traffic flows and people flows. Sensity leverages the real time data city and represents it online showing the life of the system and the emergering changing bahaviours of the space.

The data is the Medium.

stanza

stanza

In artworks such as Sensity, Facade, House, Sonicity, Capacities  etc I  connect up networks of real time information flows. The shared data space can overlap and there is a new space the space in between that only two nodes share. I have merged collected data from various cities and created an aestheticization of the shared city space.

I now believe there is a new social space that exists in between these independent networks. Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created lead to mashed up cities and real time performative city experiences.

These systems re–employ our perception creating new understanding of how this mixed city behaviour unfolds. There is an opportunity to influence this process and the system and we can also create variables into the networks that will allow greater understanding of the data and the resulting information. Data has become the medium of the age.

A City of Sculptures

In one of my experiments “Capacities” I have made a new city of ‘sculptures’ re-presenting real time spaces and data environments. I investigated the loop from the real to the virtual and back to the real space. This notion of playing or manipulating with a malleable form (data) is made possible as each stream, each node, each sensor, or even the entire network can be communicated with using XML online gateways. The project was instigated by setting up my own wireless sensors networks across London to collect environmental data which was then published online in real time for an extended period of time. The output from the sensors display an interpretation of the real time city online, while that same information was evaluated and then re-visualized in the creation of numerous artworks, back in the public domain.  The resulting artworks represent the real time conditions of the city.

Image: Stanza Capacities Installation. 2010.

Image: Stanza Capacities Installation. 2010.

The artistic aim is create new meaningful experiences allowing critical reflection on the real time city and the social political undercurrent embedded in the search for the real time city. This allows for a greater community of interpreters and beneficiaries to see, and to come to their own understandings arising from this data about our socially-networked environment. ..stanza 2010

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The Emergent City. 2004 – 2012

June 11th, 2012

The Emergent City. 2004 – 2012. From Fixed Assets to open Systems and Media visualisations.

The newness of the internet is still a viable claim. The internets ability to draw assets and data to create post modern allegory allows all sorts of media visualisations. The internet presents of a myriad ways to create ephemeral art across cross networks using all sorts of data information and media. The internet provides gateways and access for all, the editing process, mash-ups, authors as editors, as choice makers, as decision makers.

One can create these gateways oneself as artists to allow other access ones information and data create organic, generative ever changing artworks and experiences which is what Stanza does.

 The development of Stanza’s work has shifted from asset gathering and media collection as artworks into a new studio space online. In earlier works Stanza used video cameras and sound recorders to gather assets or media to edit and make into artworks, that would be presented in various forms. Mostly edited and then used for distribution as editions or later online or displayed as output as art in an art gallery.

The Centrtal City for Madrid Vida

Even in earlier interactive pieces circa 1995 – 2002 Stanza was using assets and remixing re working these assets in system, usually mouse controlled and all displaying some level of user control, and generative visual aspect. IE in these interactive works Stanza is manipulating or allowing the user some control over my content, a remixing of this content.

This artwork has moved from fixed assets to interactive systems to open generative systems.  In 2002 Stanza started to develop less fixed systems that culled data and media from other sources. These mash-ups or interactive collage systems include “Subfusion”, “CITYV” etc. In these systems there is no fixed tangible lists of assets (ie they are not databases) they are drawn or harvested via software from spaces.

Stanza also moved away from real world studio practise to a online studio space for experimentation and output of ideas, and finished artworks. From artist as author to system as author….whose does the output being to?

The City Of Data.

The Emergent city has become a body of all connected by a central theme. As you know a city is a web of  connected networks.  In essence, the city fabric is a giant multi-user, multi-data sphere. The city is made up of traffic patterns,  pedestrian patterns,  bird flocking patterns. Patterns can be seen in the architecture, patterns in the buildings, patterns in the architectural fabric of the urban design network.  All of  these spheres can be represented by media and therefore by data within the digital realm. And all of this data can be interpreted and mediated. It becomes a matter of choice. Collections of data can be stored to be retrived later. The mobile data infrastructure becomes a data source so powerful 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 can support  many projects.  As such it can be interpreted via a variety of interfaces.

Cities offer the opportunity for unique types of data gathering experiences via a  variety  of sources.  My objective has been  to ‘mediate’ data into conceptual and cultural artifacts. With this perspsective there are many unimagined threads of data and connections that describe our world that can be explored through wireless mobile networks within which we can create artistic interpretations.

There are various types of data can be re-imagined. This includes pollution data recorded via sensors in the street, to create audio files. Weather and forecast data, acquired via weather station equipment, this can be used and can create ambient soundscapes and morphing visualisations as the wind shifts direction or the rain increases. Noise monitor levels, and noise maps, create a symphony of true urban sounds that can be used to make sound reactive sculptures.

Under this umberella title of ‘The Emergent City’ project I have made a number of artworks, installations, sonifications and visualisations between 2004 and 2012  that have move beyond the process of research, beyond what I  term as asset gathering, into softwares, installations and prototypes.

Parrallel Realities

An example is the artwork ” Urban Generation; trying to imagine the world from everyone else’s perspective, all at once”. 2002- 5.

Multiple CCTV cameras are accessed randomly in real time to make this urban tapestry. What you see is an evolving, generative artwork. These images are from taken London, and they happen as you see them, in real time. The installation versions of this work can be presented in art galleries using projectors or plasma displays.

This online artwork represents many realities that exist in city space. The observed real time surveillance society is re worked into a series of grids. This presents London to a global online audience. The data that you see is protected by the data protection act. Here it is re mixed into what you see, which is this online artwork that look like a filmic experience, but sits not a film. Its a real time experience of the city from multiple perspectives I cal it a parrellel reality.

The online version now runs as a series of twelve real time perspectives of the emergent city experience . This ‘film’ is constantly evolving and will never be the same again, the images are not recorded. Each screen is a live real time image from a camera in the city of London. The artwork seeks to explores the rhizomatic multi nodal networked experience. Urban Generation draws on images across the networked city, the artwork creates a unique interpretation of a multi point perspective that exists in time always in the present.

Stanza: CCTV Media Visualisation 2005. Large print On Canvas.

Data cities and control spaces

The city also 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 city already has a recorded source of data, cctv is everywhere. Using data from CCTV, you can bring the outside inside. Selected feeds are collected from around the world in real time. These real time images are fed into a software system  where a  series of specialised channels rework these images. The channels are always on, and  always changing, a constant  view  of  the world changing  and evolving around  the  clock. This artwork uses  specially created software and technology  to  randomly find images in real time from anywhere in the network, in this case anywhere in the world.

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 ID cards. Everything is or will be tracked. CCTV, car sensors, tracking inside our phones, ID card movement, and 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. Uses of this information and data should allow rich new interpretations on the way our world is built, used, and designed.

So we need to imagine the city at a different scale. The possibility is to extend our imagination and enable that perception of the city as a dynamic network. We can now put systems in place that can re–employ our perception and thus create new understanding of how this behaviour unfolds. There are patterns, they are connected and the systems that evolve, can be simulated and acted upon.

We can influence the process and the system and we can also create variables into this system that allows understanding of the bi-products of the system, the data and the resulting information..stanza 2009

 

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The Internet Of Things. Part 1

June 11th, 2012

Selected projects I have made since 2004 that demonstrate the art of gathering environmental data. The Internet Of Things. These work came into being because of a Nesta Dreamtime award and AHRC creative fellowship grant. Most of these artworks where made 2004 – 2012.

 

Sensity

http://www.stanza.co.uk/sensity/index.html

Sensity artworks are made from the data that is collected across the urban and environment infrastructure. The sensors interpret the micro-data of the interactive city. The output from the sensors display the “emotional” state of the city online in real time and the information is also used to create offline installations and sculptural artworks.

Datacities

http://www.soundcities.com/data.php

These datamaps show live environmental data from a 40 motes wireless sensor network that can be deployed anywhere. They monitor light, temperature, humidity, noise.

 

Intelligent Sheep: Baa Ram Ewe…to your clan be true.

http://www.stanza.co.uk/sheep/index.html

This is an interactive sound performance and concert. This artwork uses local environmental data collected using ad hoc wireless networked devices for environmental monitoring, which are attached to the sheep. In this case the dozen sheep collect and send data about the environment, and respond to the space as a collective as they move about.

Faith

http://www.stanza.co.uk/ingodwetrust/index.html

Faith is an artwork made using data harvested from sensors scattered over the cathedral. The sensors respond to changes in the environment they are located in this case Liverpool Catherdral. The data is turned into a sound stream, this sound stream represents Gods presence and you can listen to this sounds, the sound of God.

 

House

http://www.stanza.co.uk/house/index.html

House is a dynamic public sculpture viewable over the internet. House describes the space, a real Victorian terraced house, in this case, that the artist lives in. House is a live embodiment of change and renewal. In “House”, the private interior has been made public. Sensor data unfolds and discloses the inherent properties of the space, creating an online artwork.

Tree

http://www.stanza.co.uk/tree/index.html

A tree that makes music and sings a song about the environment. The first version of Tree used 40 networked multi sensors. The sensors are hidden all over a tree, broadcasting sensor data ( light, temperature, humidity, noise, and GPS location). The data is translated to music. The results produce a singing networked tree which can be heard in the park.

 

A world of new possibilities.

http://www.stanza.co.uk/possibilities/index.html

The landscape becomes virtual, dynamic, and encoded. The artwork discloses the underlying data that we see that is changing all the time in front of us.

 

Gallery

http://www.stanza.co.uk/gallery/index.html

The gallery becomes the artwork formed by the emergent real time data in the space. The gallery laid bare as a work of art. Gallery proposes that the data is art. The art is a real time flow of the things around us that allow our senses to invoke understanding. The gallery space becomes the art described by the shifts in light, temperature and noises in the space over time.

data data data

http://www.stanza.co.uk/data/index.html

“data data data”, is a live real time data visualisation made using sensors which are scattered over the building. The sensors respond to changes in gallery space ie the environment of the building. The changing data is turned into this visual event and projected outside across the city, in this case Liverpool. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space.
Façade

http://www.stanza.co.uk/facade/index.html

The facade is a live dynamic interface, an artwork that changes its behaviour as a result of the changing condition in the environment. This works by sensing the city and the environment to make art. The results become representations of the real time spaces and environment of Trondheim in Norway. The output from the sensors display the real time environmental and emotional state of the city online in real time and the information will be used on the façade and online interface to control it.
Capacities

http://www.stanza.co.uk/capacities/index.html

In Capacities the whole gallery space becomes one large artwork made from real time city information and data. The aesthetic and feel of the space looks like an electronic city.  The city is made of units, grids, repetition, building blocks. In the gallery city called ‘Capacities’ the leads, the wires, and cables are incorporated into the artwork to look like a city map.  Capacities looks “designed” like a piece of urban design, a city surveyed and controlled.  The whole space becomes a map to wander through.

 

Sonicity

http://www.stanza.co.uk/sonicity/index.html

This artwork is a responsive installation, a sonification of the real space and environment. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers. My system monitors the space (the building) and the environment (the city) and captures live real time data (light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.

www.stanza.co.uk

stanza@sublime.net

 

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Stanza In Madrid 2012, The VIDA retropsective,

May 31st, 2012

Here are some images from the recent exhibition in Madrid for Vida. The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive. On the floor is a generative map of the city of Madrid.

Stanza The Central City Installation

ARTE Y VIDA ARTIFICIAL- VIDA 1999-2012

El concurso de Arte y Vida Artificial VIDA fue creado por Fundación Telefónica en 1999 para promover la creación artística basada en las nuevas tecnologías y se ha convertido en uno de los premios artísticos de mayor prestigio en el encuentro entre el arte, la ciencia y la tecnología.

A lo largo de sus trece ediciones VIDA ha premiado obras artísticas desarrolladas con tecnologías de vida artificial y sus disciplinas asociadas como la robótica, la inteligencia artificial, los algoritmos caóticos, los virus informáticos, la biotecnología, los entornos virtuales o la escultura sonora y se han presentado 1.478 proyectos procedentes de más de 50 países.

La presente propuesta expositiva, comisariada por KarIn Ohlenschläger, deja patente la evolución del concepto de vida artificial en relación al arte y la existencia de distintos modos de indagar y afrontar el diálogo entre arte y nuevas tecnologías.Algunas de las 23 obras expuestas simulan la evolución y los comportamientos de los sistemas vivos en soportes digitales y animan materiales inertes. En otras, se acometen de manera decidida la manipulación y transformación de la materia viva. Con ello los artistas nos hacen partícipes de la reflexión sobre qué es la vida.

La exposición también permite explorar la convivencia entre distintas especies naturales y artificiales, entre lo físico y lo virtual, entre lo orgánico y lo tecnológico. Estas experiencias aproximan la vida artificial a nuestro entorno cotidiano.

Stanza The Central City Installation

Se muestran obras que afrontan los valores éticos y simbólicos del avance de diversas ramas de las ciencias y crean conexiones entre el arte, la ciencia y la conciencia social, política, económica y cultural.

El recorrido por la exposición se articula en cinco secciones que nos llevan desde la escala nanométrica del ADN hasta la dimensión planetaria de la vida : El código de la vida ); Robótica: orden e insumisión;, Sistemas simbióticos; la vida es comunicación y Membranas sensibles.Here are some images from the recent exhibition in Madrid for Vida. The installation called  The Central City has 15 touch screens built in towers blocks which are all interactive. On the floor is a generative map of the city of Madrid.

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