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.
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
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.
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.
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.
‘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
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
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