Archive for the ‘installation’ Category

“Visitors to a Gallery”- Exhibition. Plymouth Arts Centre.

March 4th, 2010
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Image: Stanza. Title "Visitors To A Gallery" - 2007

This artwork uses the live CCTV system inside an art gallery to create a responsive mediated architecture.  This project continues where Publicity version one (2004) left off, ie hacking or utitlizing existing real time CCTV networks.

This version is made inside the Plymouth arts centre where I was artist in residence for a month (feb 2008).

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.

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Image: Stanza. Title "Visitors To A Gallery" - 2007

Stanza Coded Reflex sandblasted onto mirror and hand painted.

March 4th, 2010
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Image: Stanza artwork. Made in 1995 .Six feet diameter across approx .

Image of Stanza artwork.  Made in 1995 …..Six feet diameter across approx .

This work is sandblasted onto  mirror and hand painted.  It back  supported and ready to  hang.  Part of a series of works under the title, ” reflexity”.

See some more:

Stanza exhibits real time data network at Decode: Digital Design Sensations. V & A Porter gallery

November 22nd, 2009

Stanza is in this show…Digital Design Sensations. 8 December 2009 – 11 April 2010.

Using custom made sensors in the V & A Porter gallery and around the city. 20 custom environmental sensors units measure, light, noise, sound, humidity, and temperature….this data is turned into a online real time visualisation of the space.

Stanza’s work “Sensity V & A” uses environmental sensors scattered all over the museum and the city to make visualisation and sonifications. Literally painting with data these works open up a discourse about networks and surveillance technologies. The ownership and interrogation of public domain space is opened out where anyone can view all the data in these networks. This is used by stanza to make artworks but it is of equal interest to urban designers, city planners, and architects. Stanza’s main point is to question the social political fabric of the landscape around us. This work aim to reclaim the city which is remade as a real time virtualised space belonging to all. The work is interactive, real time and responsive; it is also available online.

The Victoria and Albert Museum. The exhibition will be centred in the Porter Gallery. The exhibition will explore three themes. Code as a Raw Material will present pieces that use computer code to create new designs in the same way a sculptor works with materials such as clay or wood. This section will look at how code can be programmed to create constantly fluid and ever changing objects. The second theme, Interactivity, will look at designs where the viewer directly influences the work. Visitors will be invited to interact with and contribute to the development of the works, many of which show designers playing with the boundaries of design and performance. The final theme, The Network, will focus on works that comment on and utilise the digital traces left behind by everyday communications, from blogs in social media communities to mobile communications or satellite tracked GPS systems.

http://feeds.vam.ac.uk/exhibitions/future_exhibs/Decode/index.html

Sensity by Stanza as part of Decode: Digital Design Sensations at the V and A. I wont be showing the globe but I will be showing live data visualisation of London and the V @ A.

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.

Networked Cities By Stanza. Sensity project.

February 6th, 2009
Copyright Image by Stanza

Networked Cities By Stanza. Sensity project.

Copyright Image by Stanza

The ‘environment’ in these projects is created from a wireless multi nodal multi sensor network that is in place. The network emits live data via a proxy server and the online xml data gateway represent a live communication flow of the city space. This impression and this part of the work is what I term asset gathering and in this case they are constantly gathered into an online system ready for interpretation.

The online interfacing of live real time sensors networks allows a communication with environment, with real space in the present. Control mechanisms of ownership and rights access are opened up my making the data available in the public domain. These real time impressions can be modulated from online interfaces to physical sculptural interpretations.

The data is remade real again as physical objects interpret the virtualized readouts. The analogue is made digital and the digital can be formed into a variety of output devices. The data can be represented as online interfaces like I have made (Sensity , House, both online), or by triggering the technology in the physical world, ie sensors, Leds, displays, robots etc. Sensity can trigger buildings relating to whole cities, or vice versa. The flow of the data can be set to affect the behaviour of the output environment.
The data environment that is created is a mapped on top of the space, a virtual data map or the real world.

Other artists are also allowed access to this “back end city, real data city and they can make their own “Sensities”. In this way the data is open sourced. From any Sensity network numerous artistic interventions can take place. In fact the whole city can be represented, and all artists can make multiple work from this “The Emergent City”.  A city of sculptures re-presenting  real time space.

Page 66 of “Responsive Environments”, Lucy Bullivan. On talking about Usman Haque “he awaits the environment that is simply intelligent”. 1

 

Sensor on Google Maps 2006

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Networked Cities By Stanza. Sensity project. 2004 – 2010

Within Sensity there is now a loop from the real to the virtual and back to the real.  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 this xml online gateway.
We have seen rich shift in relational and responsive interactive works and the move away from gallery as a venue for art to the use of architecture and public domain space in the last twenty years….stanza

In an age of global warming, so many artists are still using the architectural space as a coloured light bulb. As we burn more fossil fuels the light are flashing on and off. Sensity be made more physical on output to represent of the growth of the city as an experience in the real world away from the screen. A city representation of the fabric of city space end the emerging patterns caused by these data flows. An art city can be made where the data powers the wind turbines, the data changing the solar panels that change the lights. Loops of real time data change the meaning all the while changing the  input and output  which is (e)merging into a new space.  Also  see my new works Tree, Sonicity and Capacities. REF.1. “Responsive Environments:  Architecture, Art And Design.”Lucy Bullivan. V & A Publications. 2006.

The Emergent City. Online visualizations, the networked city.

November 11th, 2008
stanza city

Stanza City: Generative Software System.

This text is a transcript of one of my talk about my work The Emergent City.

My current work remains focused on the creative use of technology integrated into urban space.My areas of interest include investigating new concepts for the relationship of the physical body, emergent data and real space in the built environment.

As an artist I am trying to create artistic metaphors for new creativity using new technologies and integrating new media artworks into the public domain. As an artist I am trying to create artistic metaphors for new creativity using new technologies and integrating new media artworks into the public domain. There are three strands of my working process; these involve; collecting the data, visualizing the data, and then displaying the data. The outputs from the online interfaces and online visualizations can be realized as real time dynamic artworks as diverse as installations, and real objects, made out of new display materials back in physical space. In all my work I try to exploit the changing dynamics of city life as a source for creativity and create meaningful artistic metaphors. I utilize new technologies and integrate new media artworks into the public domain as part of this ongoing research into the visualization of city space.

In essence I am researching data as a medium for creativity and how meaningful experiences of our cities may result. From a technological peprspective, I am researching sensors , motes, new display technologies and interactive architectures. This research includes investigations into…..Concepts for the relationship of mobile computing within urban space and the built environment.

The Emergent city is to be a group, a body of artworks that I am working on 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 retrieved 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 is to ‘mediate’ data into conceptual artifacts. With this perspective there are many unimagined threads of data and connections that describe our world that can be explored 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. So under this umbrella of ‘the emergent city’ project I have made a number of works that have move beyond the process of research, beyond what I term as asset gathering, into what might be alpha beta projects. An example of this is my URBAN GENERATION project. I have also made the online database for soundcities which now has 2000 sounds online line in it. So other artists can interface to it. Memory mapping. About traces and memories of urban space. Multiple viewpoints of data cities. 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 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 and id card movement tracking in the guise of anti- terror activity. The patterns we make, the forces we weave, are all being networked into retrievable data structures that can be re-imagined and sourced for information. These patterns all disclose new ways of seeing the world. The value of information will be a new currency as power change. The central issue that will develop will be the privilege and access to these data sources. 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 Currently a research fellow at Goldsmiths Digital Studios.

datacity

Datacity: Sensors In The City. Stanza Visualisation.

I am scattering the city with sensors. Hundreds of them, some fixed, and some embedded, to access these data structures and to claim them for the public domain within the realm of social sculptures.I am trying to make smart networks that have data open to all, and not closed off spy surveillance oriented systems. The networks could be thought of as open social sculptures that can inform the world and create new meaningful experiences. Thousands of motes can be deployed across the city for gathering data in wireless sensor networks. Used in large numbers they can communicate with one another via radio signals across the network. They can reconfigure themselves, so that the network stays stable. The data is chanelled through a system to a point where it can then be interpreted. So the concept is to embed the city with thousands of motes to gather data for the creation of artistic artifacts. The motes can monitor sensors such as temperature, sounds, light, position, acceleration, vibration, stress, weight, pressure, humidity, and GPS. Motes and sensor boards can 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. 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 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.

So this is where I am at..scattering thousands sensors across the city and trying to figure this out.Sensity artworks are made from the data that is collected across the urban and environment infrastructure. I have a network of sensors which collects 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 will be used to create installations and sculptural artifacts.These artworks represent the movement of people, pollution in the air, the vibrations and sounds of buildings, they are 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 an open social sculpture that informs the world and creates new meaningful experiences. Sensity is also a highly technical project that will give 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 enable new artistic metaphors within city space. The sensors are positioned across the city. Custom made software enables these sensors to communicate will one another in a network over a proxy server in real time. The data can also be used to create visualizations in an open source environment. Other online users can also re- interpret the data and interrogate the various sensors in the network as this is open sourced as well (see xml streams)l. Representations of these datasets will allow unique understanding of the urban environment and environment in real time. Motes are used to collect the data.

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Datacity: Sensors In The City. Stanza Visualisation.

The ‘motes’ are tiny wireless sensor boards that gather data and communicate to the central server. The real world is monitored and the data stored in my archive retrieval system. Motes and sensor boards sense the micro incidents of change in the weather, the noise traffic flows and people flows. The interactions of all this data, controlled via interfaces that can re-form and re-contextualize experiences in real time. Sensity incorporates the 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. The archives of this data can be controlled via mixed up interfaces that can re-form and re-contextualize experiences in real time; to make emergent sculptures visualizations and sculptures. Sensity leverages the real time data city and represents it online showing the life of the system and the emerging changing bahaviours of the space. The data is the medium. Future cities will be merged real time connected up data cities. Sensity connects up networks of real time information flows. The results are mashed up cities and real time performative city mashings. The shared data space can overlap and there is a new space the space in between that only two nodes share. The aetheticization of the shared city space. I have merged collected data from various cities. The images below show an integrated architecture the space where the cities overlap and create a new architectural space. Technology. I now have several sensor kits both twenty nodes that can be placed up to 300 meters apart with GPS. I have made two versions of the Sensity interface software. One works with recorded data (ie recorded data) and one that works with the real time data, which means the sensors are switched on always and working through a router. The changing data is what affects what you see and experience. The sensors can monitor temperature, sounds, noise, light, acceleration, vibration, pressure, humidity, and gps. The sensors take a constant stream of data which is published onto an online environment where different interface can make representations of the XML and from this lots of artistic interpretations can be imagined.

Other artworks made:- HOUSE AND GALLERY:

see stanza.co.uk stanza (04 – 08)

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Datacity: Sensors In The City. Stanza Visualisation.

Starry Night…Maybe we should all turn the lights on….

June 28th, 2008

This spring, a new sculpture by James Yamada entitled Our Starry Night, will be on view at Doris C. Freedman Plaza at Fifth Avenue and 60th Street. Built from powder coated aluminum and punctuated with 1,900 colored LED lights, Our Starry Night is a 12-foot-tall sculpture that acts as an interactive passageway to Central Park. As visitors to the park walk through the sculpture at all hours of the day and night, it will illuminate in response to each person individually.

When visitors walk through the portal in the piece, they trigger a metal detector hidden inside the structure’s casing. This activates the LED lights that perforate the exterior of the sculpture. Common everyday metal objects such as cell phones, keys, belts, jewelry, cameras, computers, and the like will trigger the lights; the luminosity and the light patterns seen in the piece will correspond to the quantity of metal detected. Our Starry Night is literally activated by the public, reinforcing the notion that art — and particularly public art — is dependent on the people around it.refhttp://publicartfund.org/pafweb/projects/08/yamada/yamada-08.html

With interactive media  / art it seems the that once the interactivity takes place  all one can do is make things spin or in most cases turn the LEDS on. The current fascination for for turning lights on an off with various modes of controlling device(in this case metal detection) suggests we are about to be driven crazy by all sorts of public “entertainment” art. Sort of like cheap fair found stalls  from Blackpool or Coney Island …it  all seems a bit cheap.

Surely the question is how can we find a more meaningful experience from these public interactions….turning the lights on and off ain’t the answer even if it does look pretty.

It seems the only way to justify the recent run of works of this type is in terms of it “playfullness”…..err whatever.

Playful is the default mode of interactive media , ie  when the work has no context or meaning, or the artist cannot place significant meaning around the work…..saying its is  playfull seems to be enough.

Maybe we should all turn the lights on……..or off…..

Exhibition Title: Online—The Emergent City By Stanza.

July 6th, 2007

stanza_artist__webstanza artwork called globals

stanza image : artwork called globals 

List of works about Cities. This is a list of links to my online artworks about cities. I am looking for a curator to make an exhibition of this as well as an exhibition space for an offline show.

Exhibition Title: Online

The EmergentCity by Stanza

Control Series, (Paintings ) http://www.stanza.co.uk/art/play.html

New Decayed series. (Paintings) http://www.stanza.co.uk/art/shop/indexdecay.html

Memory Mapping (Drawings). http://stanza.co.uk/memoryweb/index.html

Conundrum. (video) http://stanza.co.uk/conundrum/index.html

Artitexture. (video wall) http://stanza.co.uk/artitexture/artitexture_pages/index.htm

The Central City (website)http://www.thecentralcity.co.uk/

Inner City (Touch Screen) http://www.thecentralcity.co.uk/innercity/index.html

Biocity. (Touch Screen) http://stanza.co.uk/touch/index.html

Photocities (website) http://www.thecentralcity.co.uk/photocity/index.html

Diversity. (Projection) http://stanza.co.uk/diversity/index.htm

Brilliant City film (Plasma) http://stanza.co.uk/cinedata/index.html

*Authenticity (Projected )http://stanza.co.uk/authenticity/index.html

*Urban Rythms ( plasma) http://www.stanza.co.uk/spain_cctv/index.html

Codified (plasma triptych) http://www.stanza.co.uk/codefied/stanza_f9.htm

Megalopolis (plasma) http://stanza.co.uk/megalopolis_web/index.html

Globals. (Projected). http://stanza.co.uk/global/index.htm

Earth, Wind, Fire, and Water. (screens )http://www.stanza.co.uk/chinashanghai/index.html

*Urban Generation , Installation http://stanza.co.uk/urban_tapestry/index.html

*You Are my Subjects http://stanza.co.uk/i_spy/index.htm

*Blue Skies (Small display)http://stanza.co.uk/blue_skies/index.html

*House (Projected) http://stanza.co.uk/house/index.html

*Sensity (Projected and installed) http://stanza.co.uk/sensity/index.html

*Soundcities. Online database…headphones booths to touch screen.

Soul. (large installation.http://www.stanza.co.uk/soul_globe/index.html

Work that need the involvement of space and community

Publicity( CCTV onto outside) http://stanza.co.uk/publicity/index.html

Public Domain ( Gving CCTV units away) http://stanza.co.uk/publicdomain/index.html

Soundcities. (Online database.) Workshop collecting sounds. The sounds of the city

Sensity (Installed version) http://stanza.co.uk/sensity/index.html

  • *Denotes live networked artwork therefore needs internet connection
  • Other works can be shown and exhibited locally
  • Also available are paintings, prints, drawing of maps, and slides (not online).

Also a selection of digital prints will be made up and shown.

What is needed for an offline gallery exhibition are computers, projectors , displays, works printed up framing and electronics. Plus exhibition infrastructure, transport and catalogue.

Art on spheres. Stanza 3d display globes with data and surveillance.

June 1st, 2007

I have for the past four years been trying to make a large scale display of live data in a globe screen; and I have made several works in this area. I first made this proposal to the Watershed in 2004 and developed several concepts and prototypes with them through my Clarks bursary.

stanza 3d globe

Stanza. Art on spheres. Stanza 3d display globes.

3D globe with live data. 2004.

This research was also followed through with my Nesta Dreamtime Award in 2004, and I also pitched it to the Nesta business unit to make a real globe in 2004 (to develop this as a display device) as part of my Nesta Dreamtime outputs.

stanza 3d globe

Stanza. Art on spheres. Stanza 3d display globes.

Pitch to Watershed to place data glove outside the media centre..image 2004…the pitch was made again in 2006, when I sent the proposal for SOUL on the globe.

As part of this research I looked at other 3d globes of which have appeared in the last five years such as Omniglobe and Pufferfish. Indeed Pufferfish now has a really nice 3d globe that they market as a display for trade fairs.

Stanza Image. cctv

Live CCTV. Stanza. Art on spheres.

Stanza image..live CCTV on Globe. Shown here at County Hall Pufferfish Globe. 2006

I was going to make my own globe at one stage in 2003 but didn’t have the money to pursue. I also was involved with BDS it its inception, ie as a director of BDS, when we made a globe in China by project images onto Armand’s Weather balloon which we took to China, which looked quite nice. (I subsequently left them and only worked with them for the brief period in China).

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Stanza image from China. We tried this experiment in China….on a large weather baloon. The image shows a live CCTV camera of mine, which was showing a picture from my house. 2003

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stanza image 2004

also this one showing live images from Mexico CCTV being hacked 2003. the image on the globe is the data and time stamp of the CCTV camera

I have subsequently developed some relations with Pufferfish to show work on a 3D globe which they developed. Indeed they where kind enough to let me test some work on their display.

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stanza image 2004. 3d Globes

Stanza image on Pufferfish display…live sensors from across the city showing live data in a real 3d globe, in this case the work Sensity. 2006

I cannot claim to own any patents on globe technologies unfortunately, however what all my ideas in this area have in common was a goal to make a 3d display technology and place it in an artistic context as a sculptural display.

Live CCTV

stanza image 2004. 3d Globes

LIVE CCTV for a globe hung above the city. 2004.

My artistic goal was much more focused on the nature and use of this technology.

So this for the past four years I have been researching the use of live data for art gallery use indoor and outdoes to make a piece of work from a fine art perspective ie for cultural use, that would appear as a 3d globe.

I have used live CCTV images, realtime news feeds and various forms of live data from my own sensor networks. Indeed the idea of “globe” was essential to my metaphor of a world full of data, and archive, a meta ball of information.

This process hasn’t been easy, as well as trying to develop prototypes for four years I having been applying for arts grants to install a 3d globe to show live data in an art gallery. I pursued this idea of a globe showing live data from a cultural perspective ie real time information from various sources so the whole piece becomes a data globe, a world focused on the nature of live data and information flow. I want this to be both an outdoor public sculpture but also a piece indoors in an art gallery.

stanza globe with live feeds

Stanza image 2004. 3d Globes

Stanza live feeds on globe. 2004

I had also applied to Space 4 gallery in Peterborough where they said yes to the idea. (They had agreed a one man show that subsequently fell through) Indeed their curator Lisa Helin made a bid to the arts council on my behalf…or rather she filled the form in only for it to be rejected in 2006, by London Arts.

I had also pitched the globe project to The Watershed where my original ideas were formed as part of a Clarks Bursary in 2004.

I also pitched this as Sunderland Winter Gardens where I came second in a shortlist process in 2006.

Series of Sketches for SOUL…live data in the city.

I was also recently approached by a consortium in the United Emirates about this concept but it fell through this was such a disappointment as they where planning a series of them.

I think it would be great at the Tate Gallery, Turbine Hall if it looked like this with live data in it.

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stanza image 2004. 3d Globes

Amber Stanza in Turbine Hall…image shows live data (CCTV feeds from around the TATE on huge globe…

It would look like this…………………..

Links to my works on this…

2006: http://www.stanza.co.uk/sensity/index.html
2004: http://www.stanza.co.uk/micro_city/index.html
2004: http://www.stanza.co.uk/global/index.htm
2006: http://www.stanza.co.uk/soul_globe/index.html
2006: http://www.stanza.co.uk/biocities/index.html
2006: http://www.stanza.co.uk/newsfeeder/index.html

In short I am still trying to this, so if anyone wants to commission me get in touch.

As you might know if you read this Blog. I am the recipient of an AHRC research fellowship. The concept of displaying live data on unique technologies is also one of my listed outputs of my fellowship.

Indeed Helen Sloan of Scan and Gill Haworth and all at the Watershed Media centre are supporting me in my endeavour find galleries and public art spaces who are interested on exhibiting my work.

Proffesor Janis Jefferies at Goldsmiths is also helping look for outputs for this

If you are a gallery and you want to exhibit my work contact me.

All images on this page copyright Stanza