Archive for the ‘technology’ Category

The Internet of Things World Forum (IoTWF)

May 25th, 2017

Stanza at The Internet of Things World Forum (IoTWF.  Stanza big data, Smart cities, IOT , internet of things , art, software Stanza at The Internet of Things World Forum (IoTWFStanza artwork on show at the The Internet of Things World Forum (IoTWF) is an exclusive industry event, hosted by Cisco. The IoTWF is widely recognized as the premier thought leadership forum designed to Evangelize and Energize IoT. Known as a must-attend event for key stakeholders and innovators in business, government, and academia, IoTWF brings industry leaders together to collaborate, network, partner, and solve the challenges facing IoT.

Previously held in Barcelona, Chicago, and Dubai, in 2017, IoTWF moves to London, Europe’s fastest growing technology capital. The 2017 IoTWF will explore the impact of IoT on business, technology and society and define a clear sense of the major priorities and challenges facing business as the world migrates towards IoT.

 Stanza big data, Smart cities, IOT , internet of things , art, software

Stanza big data, Smart cities, IOT , internet of things , art, software at the internet of Things World Forum thanks to Cisco Systems.

Artworks by Stanza about Surveillance art and privacy.

June 9th, 2011

Artworks by Stanza that in some way deal with surveillance and privacy.

Over the last ten years I have a made of  twenty artworks and large installations that survey my interest in privacy , control space, and surveillance. This also  overlap with my interest in cities, environmental monitoring and the building as display space. It seems to make a nice online exhibition. ( see below)

Main artworks using CCTV surveillance and notion of control space.

stanza_art_installation

Urban Generation; trying to imagine the world from everyone elses perspective, all at once 2002. Multiple CCTV cameras are accessed randomly in real time to make an 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. http://www.stanza.co.uk/urban_tapestry/index.html

Baa Ram Ewe…to your clan be true. 2008 This artwork performance focuses on local environmental concerns using ad hoc wireless networked devices for environmental monitoring. 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. The sheep monitor the environment in real time, generate sound, and send data to a server (online or offline) where this data is interpreted  visualized and sonified in situ using custom made software. http://www.stanza.co.uk/sheep/index.html

Public  Domain 2010. This project investigates the real time gallery space and the experience of the gallery visitor as they interact with artworks and with each other. The artwork explores new ways of thinking about interaction within public space using data gathered from new technologies. The visitors are “performers” whose movements can be tracked.  The patterns, movement, and exchanges of data in the real space, can be measured and interpreted as an emergent social space and used to make new artworks.  http://www.stanza.co.uk/public_domain_outside/index.html

“Visitors to a Gallery- referential self, embedded”. 2008 The gallery surveillance system embeds the visitors to the gallery inside the artwork. CCTV in public spaces. This artwork uses the live CCTV system inside an art gallery or any public space to create a responsive mediated architecture. Custom made electronics and sonar sensors are placed to create an installation in the gallery space. Visitors to the main upper 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. http://www.stanza.co.uk/cctv_web/index.html

Public Domain 2005. Is an artwork using live CCTV cameras given away to members of the public. The project places real time CCTV feeds online, creating a randomised narrative of the city landscape and its population. The images are grabbed and placed online and mixed in a unique and custom built software surveillance suite. This first version used ten cameras in Nottingham in 2005. http://www.stanza.co.uk/publicdomain/index.html

Sonicity. 2010. This artwork explores new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. http://www.stanza.co.uk/sonicity/index.html

Capacities. 2010. This project leverages the real time gallery space and the experience of the gallery visitor, using data gathered using these new technologies. The objective is to explore new ways of thinking about interaction within public space and how this affects the socialization of space. The project uses environmental monitoring technologies and security based technologies, to question audiences experiences of the event and space and gather data inside the space. http://www.stanza.co.uk/capacities/index.html

Public Domain: III. 2010. Continuing the series of investigations into the uses of CCTV to extend space and invoke impressions of transparency with architectural space. Here to extend the architecture of the building and extend it into the city. The artwork includes the performative aspect of those being watched as can be displayed inside the work. http://www.stanza.co.uk/CCTV_publicdomain/index.html

Stanza Artwork Live CCTYV

Stanza Artwork Live CCTYV

DATA DATA DATA  II. 2010 Made from the data that is collected from the sensors (usually across the city) or inside a building or a gallery. I have two networks of sensors which collect this data, all this is then published online. This is an art project that gives information about the fabric of our cities. By embedding the sensors like this we can re-engage with the urban fabric.  http://www.stanza.co.uk/data/index.html

“We have nothing to hide only to lose”. 2010 A performative piece using CCTV systems. The CCTV follows the artist around the building in the depths of the night and the result is projected outside in the city. http://www.stanza.co.uk/CCTV_performance/index.html

Stars of CCTV.  2007

These are the Stars of CCTV.  These images represent a portrait of England since the start of the CCTV imaging revolution.This image represented the start of the CCTV revolution. Since then we have seen CCTV cameras placed all over the United Kingdom for our “safety”, without any real debate about the ethic and accountability of surveillance in public domain space.

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

YOU ARE MY SUBJECTS. 2005. This online networked artwork uses live real time data from a camera in NYC . What you are seeing on the screen is happening in New York as you see it in real time.  Someone is always watching you in a world of total surveillance culture. This artwork deals with the aesthetics of CCTV and the voyeuristic notion of who controls the data and who has access to the data. Millions of hours of CCTV are watched in private in closed off networks. “You Are My Subjects”, turns CCTV images into artworks. http://www.stanza.co.uk/i_spy/index.htm

The World Is Watching, The World is Waiting. 2005 This artwork is networked, its real time, and its taking images in the present and representing them to you online as a media visualisation of the whole world. The software system uses over five hundred cameras are take the information and arranges the present time in a continuous flow.http://www.stanza.co.uk/watching_world/index.html

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

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

Timescapes 2004 -5.

Artworks from live media visualisations. Most of these are now large original artworks on canvas available for sale and exhibition. These images or mediascape are made from my software system that gathers images live from any webcam in the world. At your descretion it cuts them up them up to make time shift mediated artworks.

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

 

http://www.stanza.co.uk/timescapes_web/Public_Domain_Event_Space/index.html

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

‘america is bleeding’ – 2005 The computer manipulates the real time experiences and life of NYC as it unfolds. The city and its population are all actors in this real time play. Keywords: Visualisation, data, mediascape, net art, real time, CCTV, http://www.stanza.co.uk/new_york_stories/index.html

 

Syncronicity By Stanza

 

 

 

 

 

 

 

 

 

 

 

 

 

Urban Rhythms. Searching for the soul of the city. 2004 A networked real time experience of a city. The artwork collects cctv feeds from around city in real time. These real time images are fed into a software system where a series of specialized channels rework these images. The channels are always on, and always changing, a constant view of world cities changing and evolving around the clock. http://www.stanza.co.uk/spain_cctv/index.html

“Global…Never the same again always different….forever.”2004. A 3d web sculpture being transformed in real time with live data from around the world. This is being updated from webcams around the globe in real time. ‘Never the same again always different….Forever’, uses CCTV and web cams which offer readily available sources of continuous visual data from our environment and world cities. This work turns the notion of surveillance upside down, since in this work we are all watching everybody and opens up a question about the legality of the imagery. http://www.stanza.co.uk/global/index.htm

‘Blue Skies’, 2005 Uses CCTV cameras on the roof of the Watershed Media Centre in Bristol England. This is an online surveillance system using three cameras to monitor the sky above. Blue skies acts as a metaphor using new networked technologies that are generally used to observe people in society that might be engaged in criminal activity. http://www.stanza.co.uk/blue_skies/index.html

“The World Turned Upside Down”: 2007 This artwork was online from 24.9.2007 until the leaves fell in my garden on 12.12.2007.After that only documentation will exist, which is below.  This artwork is available as an installation for exhibitions.  http://www.stanza.co.uk/cam/trees_web/index.html

Seeing Through Walls. 2007. This installation using CCTV to open up the space to  play tricks and to  see through walls Commission idea for the Olympics 2012. This installation uses CCTV to open up the space to play tricks and to see through walls. http://www.stanza.co.uk/fake/index.html

“Monument” 2007. Robotic sculpture and CCTV systems to replace Eros in Picadilly London.The CCTV captured get replayed onto all the giant screens all over London. The robotic arms move and the CCTV cameras come down and say hello. They capture your image and relay the image to banks of screens across the city and online. http://www.stanza.co.uk/monumnent/index.html

DATA DATA DATA by Stanza 2008. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space. The old world of modernism was a world of fluids and gases atoms and molecules. This world is now a world of numbers. As we move about our interactivity affects the environment and this change is captured by a wireless sensor network. Real time artwork.  Technical note this can work in a gallery ( online over the internet) to represent the space (gallery or city) as numbers. http://www.stanza.co.uk/datacity/index.html

Soul 2004 -06. Soul is an artwork created to represent the ‘soul’ of the city that captures live data and visualizes the results as a piece of sculpture in a constantly evolving data sculpture. It is presented on a unique display technology, this is a 3 meter globe. Soul is a site specific work placed in urban space.The results of the installation are also viewable to a global audience as an online networked generative experience. Real time images are fed into a software system where a series of specialized channels rework these images to create unique visuals. The channels are always on, and always changing, a constant view evolving around the clock. The data is never the same, it is always changing. http://www.stanza.co.uk/soul_globe/index.html

“This England: A Green and Pleasant Land”, 2005. These pastoral landscapes and seascapes are real time paintings. Instead of CCTV watching our movement in urban space these cameras point out to the landscape or towards the sea. Typically this subject matter was the focus of the ‘Old Masters’. The digital landscape is fused with an ever changing present. http://www.stanza.co.uk/thisengland/index.html

Alpha to Omega 2006. Gathering images live from any webcam in the world that happens to be pointed or focused at the weather. The images are updating from around the globe in real time. http://www.stanza.co.uk/weather_another/index.html

Syncronicity 2008. This work developed out of my research fellowship at goldsmiths college.This is a live visualisation of a hand drawn city. Dozens of hand drawings are being walk on by small robots. The real space made as a visualisation. A special camera system, makes these digital images in the gallery space. Prototype was tested in Plymouth arts centre 2008. http://www.stanza.co.uk/syncronicity/index.html

 

FREEZONE 2005 Is a unique global company offering short holidays.  All bio chips, ID cards, GPS, will be neutralized at the door for the duration of the stay. Obviously “they” will know you are in Feezone, but what you do is up to you. FREEZONE The global “mother of big brother” will create a giant sensor net. The virtual world of databases will be connected via our electronic gadgetry. The giant sensor net of embedded chips, CCTV, bio tech and the internet will all be available to all via Earth pro version 10.2.  http://www.stanza.co.uk/ideasrus/freezone.html

Artworks by Stanza

 

 

 

 

 

 

 

 

 

 

 

Publicity. 2004 Publicity is an artwork about the Surveillance of public domain space utilzing the CCTV systems in place and manipulating the CCTV feeds. A series of codes manipulates the CCTV of the building and created a new relationship with public domain space. This artworks questions who owns the data and who is watching us in these spaces. Most buildings have CCTV and they use it to observe the people inside the space, ie the public. http://www.stanza.co.uk/publicity/index.html

The City Re-imagined. Residency at FACT Liverpool. 2010

March 11th, 2011

A series of artworks centered in Liverpool by Stanza from a residency at FACT. These artworks are about the city and how we react to the changing space around us. They are focused on our relationship to urban space and how by incorporating live data and CCTV images, different representations of Liverpool and as a living breathing entity can emerge. The works are provocations that relate to our hopes and aspirations for the spaces around us.

In these artworks I set out to explore public domain space in innovative ways following on from my first Ropewalks Square proposal to FACT(http://www.stanza.co.uk/portal/) and to make artworks exploring the use of live data CCTV in public space. The works are located between art, urbanism, and surveillance culture and they focus on the ethics and ownership of public spaces and how they are used.  The work includes ten interventions and artworks which  are all online (see below). I have tried to create narratives that demonstrate innovation and ethics of space and in several projects used an audience or local people to be involved in the works.

Included in the body of artwork are sensors that monitors spaces for environmental change. Another artwork proposes to extend the building at FACT virtually by projecting CCTV into Ropewalks Square and across the city. Another is a spy frog that talks, and a series of new public squares have been made across the city with minimal aesthetic were one can go to contemplate just what is going on.

These projects like are like seeds. They have been planted and now they need watering.

I hope you enjoy the work.

Public Domain: Series III.

Stanza Artwork Live CCTV

Live CCTV across the city. Continuing the series of investigations into the uses of CCTV to extend space and invoke impressions of transparency with architectural space. Here to extend the architecture of the building and extend it into the city. The artwork includes the performative aspect of those being watched as can be displayed inside the work. http://www.stanza.co.uk/CCTV_publicdomain/index.html

We have nothing to hide only to loose.

 

Stanza Artwork

A performative piece using CCTV systems. The CCTV follows the artist around the building in the depths of the night and the result is projected outside in the city. http://www.stanza.co.uk/CCTV_performance/index.htm

Regeneration Squares.

 

Stanza Artwork

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.

Fortuna.

Stanza Artwork

Stanza Artwork

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

This is an online artwork using images from across the city, representing the struggle for change. The street was known as the Bond Street of the North, it was in the past a toll road. The working classes would go to work under the road in tunnels and enter via back doors of the expensive shops; never to be seen by the rich, thus kept separate. The city has a new “Bond Street” the L1 area. It is a cathedral of commerce separate from the issues that exist everywhere else in the city.

Binary Graffiti Club.

 

Stanza Artwork

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

Inspiring young people to see the city as canvas to create change. This is a selection of images that represents the hopes and aspirations of young people set in various contexts in especially made binary hoodies.

Data data data

 

stanza Artwork. Live sensor data. 2010

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

A live projection of environmental changes. Sensors scattered over the building respond to changes in space in real time. They are turned into an event space projected into ropewalks square. This artwork is networked, its real time, and its takes data from a wireless sensor network that is placed in the real space.

Mental Memes.

 

Stanza Artwork.  2010

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

The idea is to create a visual regeneration with the mind. I want to use space and time at a football match for an artistic intervention. The idea is to see the mind as a public domain space for this intervention; and to make an artwork using this space.  This project is about giving some time back to a collective entity, a visualisation for a common good to empower the space around us. In this case the city. It might be a simple mind map or it could be a complex linking of all the heartbeats of the audience.

Soundcities

 

Stanza Artwork.  2010

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

From the first UK soundmap project, here are 200 sounds from all over Liverpool, Gathering assets for mediated visualisations across Liverpool. (http://www.soundcities.com/)

an online artwork using images from across the city, representing the struggle for change.

Spy

 

Stanza Artwork.  2010

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

Robotic sculpture frogs see people and tell them what to do. The programmed frogs can talk and as you walk passed them they tell you what they think.

In God We Trust.

 

Stanza Artwork.  2010

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

The idea was to collect data in the house of god to monitors His presence. Sensing God with environmental monitors. The data is turned into sounds and visuals. ie a sonification of God space and a visualization thus questioning our belief systems.

Portal.

http://www.stanza.co.uk/ropewalks%20square/index.html

A proposal to cover Ropewalks and to create a unique arcade. Moving away from old metaphors of Liverpool’s imperial history, to create a newer global image, digital and creative, a vibrant risk taking culture that is  independent, free thinking and global.

All artwork Stanza. 2010

Capacities gets award in Digital Turku.

December 7th, 2010

Capacities was given an award in Digital Turku in Finland for 2011. This is more great news the whole installation will be on show for two  months some time next year.

stanza artist capacities

Image: Stanza Capacities.2010. Responsive data artwork.

About Capacities:  The real world is made virtual and the virtual is made real again and exposed in the process.

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.

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

Another view:

stanza artist capacities

Image: Stanza 2010. Artwork Capacities.

RESPONSIVE ARCHITECURE FACADE – DATACITIES

June 18th, 2010
stanza_artist_sidefacade_new2

Stanza . Responsive architecture. 2010. AOF Facade Norway.

This proposal has won the Nova Folkets Hus facade international juried competition and is now in development. The facade becomes a live dynamic interface, an artwork that changes its behavior 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.

Environmental data is collected across the urban and environment infrastructure to make the artwork; using custom made sensors in the building and around the city. (30 custom environmental sensors units measure, light, noise, sound, humidity, and temperature). This data is turned into a online real time visualization of the space. The sensors interpret the micro-data of the interactive city. 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.

My environmental sensors are scattered all over the building and city; this means I am literally painting with live data.

Stanza Live City Data

Artwork sensors in the building and around the city. Stanza 2010.

Drones and Surveillance

February 27th, 2009

Image of new Police CCTV gear.

Remote-controlled drones are already used widely by the military. And they are coming to a city near you.

Now ministers believe they are likely to become ‘increasingly useful’ for police work. Armed with heat-seeking cameras, the Unmanned Aerial Vehicles would hover hundreds of feet in the air, gathering intelligence and watching suspects.In theory, their advantages are clear. They are cheaper and quieter than conventional helicopters, can circle their target for hours without refuelling – and they don’t get bored on long surveillance missions. The plan to deploy ‘spy in the sky’ planes is outlined in the Home Office’s latest Science and Innovation Strategy. It says: ‘Unmanned Aerial Vehicles are likely to be an increasingly useful tool for police in the future, potentially reducing the number of dangerous situations the police may have to enter and also providing evidence for prosecutions and support police operations in “real time”.Two years ago, Tony McNulty, then a Home Office minister, acknowledged that scientists were exploring the use of UAV technology for a ‘range of policing and security applications’. But the document cautions: ‘We need to investigate how such vehicles could be used, and their ability to provide high-quality evidence for convictions.’ There are also safety concerns surrounding the planes. Those used by the military are prone to crashes on takeoff and landing. Many have been lost over battlefields.

A trial by Merseyside police, of £30,000 ( not inc training costs)  remote-controlled miniature helicopters with still, video or infra-red cameras, highlighted more mundane problems related to battery life and the effects of bad weather on flights. Mark Wallace, of the Taxpayers’ Alliance, said: ‘I think a lot of people would be concerned at the Home Office looking to use technology more generally associated with the tribal borders of Pakistan and the fight against terror over British towns to watch the British public. The flying robo-constable is also “almost silent” in use, and “allows entirely covert operation”.The distributor spokesman said the aircraft are “military derived…obviously I can’t talk too much about that particular use…they are essentially reconnaissance tools.” Since the microdrone isn’t listed among those used by the regular military, this might indicate that the British special forces have taken an interest in the diminutive stealth-chopper, perhaps in a counter-terrorism role.

This would fit in with the Merseyside police reported plans to test it in firearms operations, as well as for more mundane tasks such as monitoring traffic congestion and crowds. So the CCTV revolution continues unabated. Liverpool has gone from Jamie Bulger ( CCTV abduction)  to aerial surveillance and still big brother and the mother of big brother uses money that  could be better spent elsewhere.

Still, as with all things wireless there are workarounds and if you have to  find one lying on the concrete in Bootle its sure to fetch a nice price on Ebay.

Interactive LEDS…say something please.

February 22nd, 2009

Sometimes I get all excited about leds, responsive architecture and sometimes I just think where is the depth of thinking in the current crop of publicly funded artworks. Maybe architecture need to shout and scream to be heard, maybe we need to re-discover the hidden parts of the city….. but, this isn’t art….it something else….

In an age of environmental and economic uncertainty, why is it there is just so many flashing eye candy architectural projects. We have Lab AU, Jason Bruges, Cinomod Studios, United Visual Artists…even Soda…..come on guys say something real about the world with some cultural relevance; or say anything beyond; hey it a playspace and you can control the lights by moving about……I  think Martin Creed did this one the best already)…

Parting shot: Graffiti is better in an underpass than this sort of thing….http://dobpler.com./images/front.jpg. The work appears seductive, technology does that all by itself, but where is the depth in this work. But maybe it will make the kids put the spray cans away….so it pleases the funding bodies. I personally hope its ‘sorted’ out at street level within the week.

I like the sentence about no “intrusive surveillance” involved (from  their website) , maybe thats fence sitting Scandinavian speak to get the commission in the bag, but if your going down this route don’t be afraid to ask the questions.

How to  make more than just flashing lights. The image below shows a proposal to use the CCTV images inside the building on the outside of the building. Presented to Colston Hall 2005.

Copyright Image by Stanza CCTV feeds 2005.

Stanza artwork, a proposal to use the CCTV images inside the building on the outside of the building. Presented to Colston Hall 2005.

Image above copyright Stanza. Live data tracked from CCTV system.

Robotic Wireless Sensor Networks

January 27th, 2009

In the last decade, Wireless Sensor Networks (WSNs) have been successfully deployed to perform numerous automation tasks such as environmental monitoring, surveillance and inventory tracking. By introducing actuation capabilities (in particular controlled-mobility), robots have the potential to improve the capabilities of existing WSNs significantly. Recent advances in robotics as well as the availability of inexpensive robotic platforms have made it feasible to develop hybrid networks in which multiple mobile robots interact with each other and other static sensors to perform complex tasks. On the other hand, design and implementation of such hybrid systems bring forth new algorithmic and systems challenges related to coordination, planning, and resource management.

The goal of this workshop is to explore the algorithmic and systems aspects at the intersection of robotics and sensor networks. We seek work in a variety of areas including:

  • Development of hardware and software platforms
  • Experiences from deployments
  • Resource allocation algorithms
  • Novel research challenges and applications
  • Localization and route planning
  • Sensor tasking, control and planning

http://hinrg.cs.jhu.edu/RWSN09/Home

City links and mobile city projects (mainly with phones)

December 3rd, 2008

Here is a selection of city links and mobile city art projects (mainly with phones). Pervasive media in the city.

http://urbantapestries.net/

Public Authoring in the Wireless City Urban Tapestries is the name of a research project and experimental software platform for knowledge mapping and sharing – public authoring – conceived and developed by Proboscis in partnership with collaborators such as the London School of Economics, Birkbeck College, Orange, HP Research labs, France Telecom R&D UK, Ordnance Survey. The Urban Tapestries software platform allows people to author their own virtual annotations of the city, enabling a community’s collective memory to grow organically, allowing ordinary citizens to embed social knowledge in the new wireless landscape of the city. People can add new locations, location content and the ‘threads’ which link individual locations to local contexts, which are accessed via handheld devices such as PDAs and mobile phones.

http://www.mobilebristol.com/flash.html

The Mobile Bristol Centre was a programme investigating how mobile devices and pervasive information technology can be used to enhance the ways in which residents and visitors experience and interact with their physical environment and with each other in urban and public spaces.
Imagine a digital landscape overlaying the physical world. As we walk around this landscape, we can tap into the digital sounds, sights and interactions that are positioned in the landscape and activated by our presence and actions. The digital landscape is formed from a dynamic and overlapping set of mediascapes which are context-sensitive combinations of digital media and interactions created and deployed by various authors. The project has created a toolkit, which provides a digital canvas over the physical landscape onto which digital experiences can be painted and new commercial opportunities can be explored. As people walk through the physical environment, a diverse range of digital media experiences augment the ambiance and bring these spaces alive.

The client software that we are developing for Mobile Bristol is capable of finding, downloading and interpreting the application specifications developed on our authoring tools. It provides a set of built-in capabilities to detect and respond to changes in the sensed environment, to download, cache, render and capture a variety of media types, and to exchange messages with other clients and with services. This led to mscape.

http://proboscis.org.uk/prps/artists/rokeby/nml5.html

NML: Neighbourhood Markup Language by David Rokeby.ccess is possible from any wireless networked portable computing device with a GPS unit.
The user would be able to configure the device to continuously scan the content attached to the immediate vicinity for the presence of annotations, with customizable filters to reduce local data clutter to those of greatest interest to the user. Things already accessed would be marked as read and filtered out as well, unless intentionally called up. As the aim is not to further fragment public space by encouraging people to walk around with faces glued to small LCD screens, audio would be a preferred format for the annotations.

The device would indicate, perhaps through vibration, when data comes into range. On the other hand, a discrete but distinctive audible indicator (the social calls of crickets or frogs?) might be interesting as a signifier of data reception. Having a sound that is not personalizable might result in a positive confusion: “It was not my device, but then what is here that someone else is interested in…” Browsing or searching the entire set of annotations for one’s current position would be possible through a familiar web-style interface.

http://gimodig.fgi.fi/objectives.php

The objective of the GiMoDig project is to develop and test methods for delivering geospatial data to a mobile user by means of real-time data-integration and generalisation. The project aims at the creation of a seamless data service providing access, through a common interface, to the primary topographic geo-databases maintained by the National Mapping Agencies (NMAs) in various countries. A special emphasis will be put on providing appropriately generalised map data to the user depending on a mobile terminal with limited display capabilities.

http://www.futuresonic.com/futuresonic/mobile_connections/index.html

The exhibition explored how mobile and wireless media reconfigure social, cultural and information space? Looking beyond computing in its current form, towards the social and cultural possibilities opened by a new generation of networked, location-aware media. Seeking an art of mobile communications: are there any forms of expression that are intrinsic or unique to mobile and wireless media. It explored how artists are responding to new ways of seeing, sensing and representing: radar, sonar, GPS, WiFi, Bluetooth, cellular, GIS, etc. The exhibition probed new horizons in wireless and mobile media, and looked at the diverse ways in which artists and technical innovators are pushing the limits, and soliciting unexpected or unforeseen results from communication media past and present, from the radio to mobile telephony and wireless LAN. Some are seeking to make visible and audible the signals and transmissions that fill the air around us, exploring the potential of interfaces unfettered by wires and cables for performance or interaction, or the kinds of communication and creative expression that emerge within networks with no fixed centre, but rather multiple, mobile nodes. http://www.mobilebristol.com/cititag.html

CitiTag is a wireless location-based multiplayer game, designed to enhance spontaneous social interaction and novel experiences in city environments by integrating virtual presence with physical. In the first version of CitiTag you roam the city with a GPS- and WiFi-enabled iPaq PocketPC in search for players of the opposite team that you can ‘tag’. You can also get tagged yourself if one of them gets close to you. Then you need to find a friend to free you. Urban space becomes a playground and everyone is a suspect.

http://www.shrinkingcities.com/

In the 21st century, the historically unique epoch of growth that began with industrialization 200 years ago will come to an end. In particular, climate change, dwindling fossil sources of energy, demographic aging, and rationalization in the service industry will lead to new forms of urban shrinking and a marked increase in the number of shrinking cities. To illuminate this, the project Shrinking Cities. Within the next twenty years, the fossil fuels crude oil, natural gas, and coal will reach their maximum production levels, after which they will begin to decline, while global energy demands rise. Mobility and energy supply will become considerably more expensive, which will lead to a change in settlement structures.

http://research.microsoft.com/nec/senseweb/

SenseWeb is a peer produced sensor network that consists of sensors deployed by contributors across the globe. It allows developing sensing applications that use the shared sensing resources and our sensor querying and tasking mechanisms. SensorMap is one such application that mashes up sensor data from SenseWeb on a map interface, and provides interactive tools to selectively query sensors and visualize data, along with authenticated access to manage sensors.

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

City

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.pm-air.net/index.php

Air. Participants or “carriers” are able to see pollutant levels in their current locations, as well as simultaneously view measurements from the other AIR devices in the network. An on-board GPS unit and digital compass, combined with a database of known pollution sources such as power plants and heavy industries, allow carriers to see their distance from polluters as well. The AIR devices regularly transmit data to a central database allowing for real time data visualization on this website.

http://www.sensorplanet.org/

SensorPlanet is a Nokia-initiated cooperation, a global research framework, on mobile device-centric large-scale Wireless Sensor Networks. The results of SensorPlanet are 1) a test platform that enables the collection of sensor data on a never seen scale, and 2) a central repository for sharing the collected sensor data for research purposes.

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://research.cens.ucla.edu/projects/2006/Systems/Urban_Sensing/default.htm

Unlike scientific applications, the hardware is not owned and managed by a small number of central authorities. Citizens carry sensors and contribute data voluntarily. A single entity does not pose interesting ‘hypotheses,’ design experiments, force participation. Instead, the process of learning from an urban environment can be organic and decentralized, existing more in the realm of social networking software. However, the power of this network still comes from our ability to verify the context of shared data, to actuate (to filter, identify and respond to events); to aggregate data in space and time; and to allow individuals to coordinate activities.

http://metrosense.cs.dartmouth.edu/metro-projects.html#metrotrack

We are interested in applying the people-centric sensing concept to the problem of detecting and tracking mobile events (e.g., a lost child’s voice, a teenager’s disruptive car stereo). There are a number of challenges in building a mobile event tracking system using people-based mobile sensors. First, mobile sensors need to be tasked before sensing can begin and only those mobile sensors near the target event should be tasked for the system to scale effectively

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, thus marking the first time in history that the world will have more urban residents than rural residents. abberwocky is a free, device independent software that can be installed on your own mobile phone. Jabberwocky uses the industry standard MIDP 2.0 (Mobile Information Device Profile). MIDP 2.0 provides a flexible standard for developing and deploying applications across a wide range of mobile phones and PDAs.

http://www.urban-atmospheres.net/Sashay/index.html

Sashay is a mobile phone application that leverages the fact that every fixed mobile phone cell tower transmits a unique ID that can be read within the phone’s software. As a user moves throughout an urban landscape this “cell ID” changes. Sashay keeps track of the temporal patterns, history, and adjacencies of these cell encounters to help it build a visualization of connected “places”.

http://www.urban-atmospheres.net/Experiments/UrbanScore/index.html

Measuring familiar strangers (bluetooth), friends (bluetooth), distance from “city center” (GPS), air quality (onboard atmospheric sensors), nearby traffic patterns (RSS feeds), etc. a “score” is determined and displayed as a personal steganography visualization. The name comes from steganography which is the art and science of writing hidden messages in such a way that no one apart from the intended recipient knows of the existence of the message.

“Robotica­- Control inside the panopticon” by Stanza

November 11th, 2008
Copyright Image by Stanza

Copyright Image by Stanza: Robots making paintings. 2008.

A world premier of Stanza’s Robotica: Control inside the panopticon playful robot installation – with performative and interactive aspects – that questions ideas of surveillance and tracking in popular culture using, robots, CCTV and sensor technologies.

Twelve robots – each named after prison inmate numbers – roam freely on a canvas on the floor of the Gallery. These robotic prisoners are sent out across the canvas with small tasks to complete. This robotic “wandering” is captured over the evening onto the canvas. They create their own painting in their own little prison. The idea of the Panopticon originated with the English utilitarian philosopher Jeremy Bentham as a prison design that would allow an observer to monitor all the prisoners at all times, without any prisoner being aware of whether he was being monitored or not.Like people, robots have common behaviours and can be programmed accordingly i.e. robots can follow a path (path following mode), the can avoid obstacles (avoidance mode) and they can operate in wander mode. They all try to avoid one another – depending on their proximity to one another – while searching the space. In doing so they demonstrate social behaviour.

In moving through the gallery people create a ‘memory space’- a reference to a past created by the traces and paths left behind. The patterns we make, the forces we weave, reveal different ways of moving through the space. These patterns disclose new ways of seeing the world. All the robots are recorded via CCTV and each is made to wear CCTV which is shown on a monitor which also records the event. Police “tape” keeps the robots inside their controlled space. The robots mimic and trace the patterns people make – but based on algorithms. The robots are tracked – everything is watched and recorded – and unlike people their movements can be networked into retrievable data structures that it can be re-imagined and sourced for information. The digital patterns of the robots are re-made as analogue patterns. The robot path is in effect replaced with a series of ‘brushes’ – and it is these that are wandering around the canvas. A series of actions are applied to the movement of the digital brush across the rectangular canvas to create these robotic generative paintings.

This artwork investigates the relationship between the analogue and the digital aesthetic. The robots wander over the canvas to make the image – and this also protects the floor. The suggested canvas size 2.5 by 5m – and therefore a reasonable floor space is needed. All the robots will see the edges of the canvas and turn around automatically) i.e. they are roped off and will not go wandering off on their own!

Internet Art and technology. Stanza 2003

January 9th, 2008

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

The computer has now become a central tool within new media creativity. We are starting to see more and more traditional artists move into the web from other media. This has happened because of a combination of economic conditions, and the artists continual ‘search for the new’.

The internet offers various economical and valuable distribution benefits for artists and artworks. New media creativity also offers a variety of shifting parameters within which the interpretation of previous art histories may be re-evaluated. This is why ‘expression’ and use of the internet as a medium, and a resource has expanded to envelop our new world framework and is embraced by so many artists and art colleges. The use of this new technology also offers a sense of belonging which was never exposed through various other art histories.

This sense of connection is one of several qualities inherent to the internet as a medium for creative expression; sound, visual effect, time, movement and interaction all provide new parameters for the development of contemporary art. Here we have the convergence of painting and printmaking, photography, film and music.

The merging of the audio visual is increasingly becoming a central issue in the development of interactive media. Web artists are fusing the arts, incorporating a wide range range of approaches to the medium of the internet and audio visual practice. Artists are producing new audio visual experiences, and this includes art , games, generative music, interactive environments.

Artists have always been influenced by technology. Previously the artist’s or musician’s studio was a place of many hardwares, softwares, and bits and pieces. Today instead of brushes and paint and wooden stretchers and huge space for storage we a have a small box that can be both studio and gallery. For musicians instead of all sorts of instruments and masses of expensive gear, we have the same small box the PC. So the convergence of hardware and software has enabled many types of creatives to meet or converge. The PC acts as studio and gallery. Works can be disseminated globally. The distribution system has changed and the artist has direct access to a bigger audience through his very own “white cube ” gallery.


It could be said we are now starting to see the emergence of a new art form. As the newness unfolds a history will unfold with it. At the moment there is a blurring of the boundaries as many approaches are adopted, and this is confused further because of the constantly changing and developing nature of technologies which also allows for the artwork themselves to change. We are starting to see a much bigger emphasis on works that generate and evolve.


Certainly there is now a whole new category of online art and music driven by computer technology.

Online, we have net art. These works encounter and engage the user without whose presence in the interactivity the work is not only meaningless but does not exist. Within the global exhibition of such works the parameters of the artists relationship to his audience has shifted ground. We see emerging, a shared multidimensional relationship to these works. So now we find that the computer, this box, is in fact the gallery, the exhibition space, the computer as white cube. This box has become specification for which these works are made and are experienced.


Fifteen to twenty years ago very few computers where being used by creatives in colleges or universities. Now a visit to any college will see classes of art , fashion, graphics, music, all huddled up around the computer screen.

Artists are specifically looking at creative possibilities for the computer and the internet as a medium. One thing seems obvious, more and more artists are being drawn to new media. The diverse range and plurality of backgrounds means that the specifics of this form are hard to evaluate. From design, music, art, and programming various skills are needed to produce work in the digital domain.

So to fully engage with the internet as a medium, the artist must adopt multiple skills and languages in addition to those traditionally associated with the arts. Presented with an internet specific artwork, the visitor must physically engage with the work to experience it as it is meant to be and by that I mean that the work must utilise the qualities inherent to the medium if it is to be considered internet art at all – time must pass, things must change, connection must be made for the experience to be complete.

Text stanza 2003

Crossbow Motes. Details of experience to date. 2004 – 2006

April 9th, 2006

Crossbow Motes.

What follows is a sort of diary / journey of my experiences of dealing and researching new technologies at the fuzzy edge where ‘stuff’ is getting developed and marketed to end users as research tools. The technology in this case is Crossbow Motes.

My interest and work with Crossbow motes (Mica 2 wireless board and sensors) and wireless technology goes back to early 2004 when I went over to Crossbow head office in San Jose and then attended a workshop in Boston in late 2004. For the workshop which costs over $500 dollars, you have to turn up owning or having ordered the technology,I actually wanted to evaluate it or at least see if it worked before I bought. I was looking for a technology that could fit my concepts (live real time data from a sensor network represented online for monitoring public space) and you have to start somewhere, however I paid upfront for the course and the technology , booked the flight from London, and got myself to a hotel in Boston USA.

It should have been a clue as to how difficult XBOW motes actually are. Out of 200 people at the workshop of which they said ten people would turn up to the free two hour session the day before (for the pre install). Well what I mean is, the clue should have been in the pre install day. Nearly every person or group, who had previously bought this technology needed to be shown how to install them. This audience included some navy seals, software engineers with PHD’s and all sorts of BSC and MSC graduates working in professional fields, ie hardware and software engineers. That is nearly everyone who had bought this couldn’t get it to work and needed their hand holding.

Anyway I went ahead and bought the kit at the workshop except the director of Crossbow couldn’t get mine working and he eventually gave me his used mib 510 board.

Its three years I have been messing around with these motes and there are some simple truths.

The first is this is expensive, the second is there is hope offered but failure is always close at hand, the third is your on your own.

I also wonder out of all the people that bought/buy these kits off Crossbow Technology who has actually to used them successfully. If anyone has can you write to me. I did ask crossbow for a list but they wouldn’t give me one. How many of these kits are deployed somewhere and working, or are they all left in dusty cupboards; my guess is the later.

Not only is it difficult to appraise what they should do, they don’t even do what the company promises (more on this later) but to try to develop your own ideas you have to read one of five manuals (which I did) this isn’t the problem, I mean at least there are some manuals. The problem is lots of the stuff is either not true or misleading.( the online forum is useless.)

Maybe I just ask the wrong question, however for three years my question has been the same. Can I get the data online using motes. I want to make real time online environment with the live data, not the local saved data. And after much questioning I was told use XML RPC. The answer to this has always been yes, but how?

They actually sold me software which they said does this out of the box. Well I can tell you and them it does not. It does not take XML RPC into flash for example. The version of XML RPC is proprietory and unique to Crossbow. Believe me it took months to figure this out. ie it’s a non standard version. I repeated the same question after I bought more stuff and they said I would now need to develop either a bridge or a PHP or CGI script in order to do this. (Which I have now also achieved as of 2007.see below.)

I asked them for examples or to at least show me that you at Crossbow have done this and their reply was to say that the code is Crossbow property ie proprietry intellectual property. OK what does this mean. Well first it means that the product doesn’t do what they say it does. Second it means either they are still developing this and also that they weren’t prepared prove to me that this worked. Thirdly it meant that I still hadn’t got my sensors blasting out data online over a network so that I can manipulate it.

However this isn’t the point.

The distributors in UK Willow and Crossbow in USA all said I can get real time data online to my website using the software they sold me for £800 pounds, err that’s why I bought it. They said it is built in. I made several requests about this and they assured me before I purchased that it was. Anyway you can not get realtime data to be presented to an online source using the kits and the software they supply you with. What they said is not true and as such is misrepresentation.

However, I did get my real time data but only after having written my own custom software which was mote proxy bridge in java. (Thanks to Eamonn) There is also way to do this via PHP and postgreSQL , but they didn’t help with this. In other words, you have to do a lot of your own software development to get this to happen, so be prepared.

The other issue with the motes is that I am always having issues restarting the program Xserve and trying to establish re -connections. In other words getting them running is one thing, keeping them running is another.

And of last month (mid 2007) Xbow announced they are now giving the software Moteworks away I bought this from them two months before for £800 ie $1600 us dollars. (No Joke) from their UK distributor Willow Technology. ER can I have my money back?

Recently I updated from version 1.4 moteview to version 2.0 and my mote bridge stops, working. They probably have updated their XML structure, so I rolled back to an earlier version. Well OK I here you say its the cutting edge of technology….er bleeding edge. So my bridge was re-wrote and updated again so I am now running version 2 of moteview with my own mote proxy.

I also bought a “stargate” wireless gateway (It cost £700 pounds via UK Distribution Willow Tech). This was advertised with built in micro wireless camera, err they could have said what it was. The built in micro camera was in fact an external USB Logitec webcam, this is what I got when I opened the box. They charged about £120 pounds $240 dollars for this webcam. The other thing about the “stargate” is it needs a regular power supply. It should be solar or battery powered. It makes no sense to have a battery unit for a wireless sensor network for remote monitoring. (True I can adapt it) At this price I should have just bought another laptop, and that’s what I recommend to anyone else..

There has not been one stage in this process when I have felt like I have had good service either off Willow ( Xbow UK distributors, although Willow tried their best, since their interest is making a sale in redirecting products that come from the USA with 100 percent mark up) or from Crossbow USA who I have dealt with directly.

Although I am still pursuing this project and my research, (I have started so I will finish)…this is more of a warning. Really I feel like should just ask for my money back with all this as it feels like sales misrepresentation.

You see I actually went to San Jose head offices from London and told them what I was going to do and what wanted before I started to invest my time and money in this, this was early in 2004.

Maybe all the researchers use other peoples money so it doesn’t matter and nobody speaks up; but this is just a word to those that might even want to invest in this. WARNING; look at any other wireless technology for sensors platform and avoid Crossbow Motes, maybe gumsticks are better, or build your own. Anyway you have been warned.

Oh, one more thing, I even bought housing to protect them, this does not fit properly and you have to break solder connections to get them inside, and they arent waterproof. This felt like more money wasted.

To conclude you have to do a lot of your own software development to get real time online visualization.

I have also been doing tests for continual running, mainly battery life but also stability and data polling. So far thirty six hours is the longest period I have had my sensor networks running without either a re-start or some other related health issue. Well maybe there is a memory leak in moteview 1.4. Also on this endurance testing during the last month of this two motes have now stopped working in my system. This means that they are fairly unstable for anything beyond “play” development.

Some positive points

I now have written my own custom software which was mote proxy bridge in java to get real time data online. I have tested this now and I making several online real time visualizations. A version mote proxy middle has been made. Current Version 1.23

There is also way to do this via PHP and postgreSQL though opening ports, I have also done this and an online PHP kit Vers 0.9 has been developed.

I am still trying to develop with this, for my Sensity and House project. Its part of my AHRC creative fellowship and I have now set up my studio ie main operational headquarters in the Digital Studios at Goldsmiths College University of London.

Maybe Crossbow would like to support me by giving me a complete set of the new motes and sensors boards with GPS that can network over larger distances.(Imotes and Iris), so I can continue my research..

 

Wish list

Smaller more stable motes.

Data of much larger distances.

Plug in solar power cell to power them.

Stargate with solar polar or battery

Some decent housing that easy to clip wrong and fits well.

Much better technical support.

Easier set up.

More sensors available that can just clip on and piggyback the set up.

ALSO

A mote with Ethernet that just clips into a new work ports and configures to send data…that would be cool.