Archive for the ‘tracking’ 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.

The London Based artist Stanza will be giving the keynote at Calculative Devices in the Digital Age Durham University

August 8th, 2013

The London Based artist Stanza will be giving the keynote at Calculative Devices in the Digital Age Durham University

Stanza_body1

Conference Durham University, 21-22 November 2013

Others Keynote Speakers Professor Pat O’Malley (Sydney), Professor Marieke de Goede (Amsterdam) & Professor Rita Raley (UCSB).

Calculative Devices in the Digital Age Durham University

The conference will be oriented to the following key themes:

•Data and calculation  – algorithms and algorithmic logics

•Associative life – ‘real’ and digital identities and social relations

•Data, analytics and decision-making – applications, interfaces, protocols

•Calculating futures – uncertainty, prediction and potentiality

The Securing against Future Events project is organizing a two day conference on the forms and techniques of calculation that emerge with digital computation.

How does the drive to make sense of, and productively use, large amounts of diverse data, inform the development of new calculative devices, logics and techniques?

How do these devices, logics and techniques – from neural networks to decision trees, from Monte Carlo method to traversal algorithms, from text analytics to data visualisation – affect our capacity to decide and act?

In a world of changing data landscapes, how do mundane elements of our physical and virtual existence become data to be analysed and rearranged in complex ensembles of people and things? In what ways are conventional notions of public and private, individual and population, certainty and probability, rule and exception transformed and what are the consequences of these transformations?

How does the search for ‘hidden’ connections and patterns using association rules, correlation rules or link analysis, change our understanding of social relations and associative life?

Do contemporary modes of calculation, based on constant incorporation of heterogeneous elements, produce new thresholds of calculability and computability, allowing for the improbable or the merely possible to be embraced and acted upon?

As contemporary approaches to governing uncertain futures seek to anticipate the yet unknown event – in domains as diverse as marketing and insurance, emergency preparedness and counter-terrorism – how are calculation and decision engaged anew?

http://www.dur.ac.uk/geography/news/futureevents/?eventno=16518

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Stanza exhibits city wide data installation Verenigd Koninkrijk, Capacities. Update_4. Gent.

September 24th, 2012

Welkom op de website van de New Technological Art Award 2012, een internationale kunstwedstrijd van de Stichting Liedts-Meesen die deel uitmaakt van onze biënnale Update. Kom kijken naar het werk van de genomineerden van 22 september tot en met 18 november 2012.

Stanza, Verenigd Koninkrijk, Capacities

Locaties:
Zebrastraat – Zebrastraat 32/001 – 9000 Gent – Belgium – www.zebrastraat.be

New Technological Art Award 2012, een internationale kunstwedstrijd van de Stichting Liedts-Meesen In 2012 organiseert de Stichting Liedts-Meesen Update_4 in het kader van het project Zebrastraat en in navolging van de eerste drie Update-biënnales.

In Update_4 wordt de filosofie van de vorige edities behouden maar leggen we nieuwe accenten. In het verleden gingen de tentoonstellingen gepaard met de New Technological Art Award Liedts-Meesen die meer en meer op de belangstelling van de kunstenaars en het publiek kon rekenen. Onze focus ligt nu op de presentatie van deelnemers van de wedstrijd NTAA en bestaat uit:

-een grotere bijdrage van nieuwe technologieën in de kunst
-een verhoging van het aantal genomineerden van 10 naar 20
-een presentatie van één naar drie locaties in België : de Zebrastraat in Gent, La Cambre en iMAL in Brussel

Uit de meer dan 300 inzendingen waarvan 20 kunstwerken geselecteerd werden, vallen een aantal typerende thema’s te traceren. Ondanks het feit dat onze dagelijkse perceptie in een grote mate gedomineerd wordt door virtuele werelden en onder invloed staat van de eigentijdse technologie, kunnen verschillende werken onder het landschappelijk genre gecategoriseerd worden. Opvallend is evenwel de verwerking van diverse parameters die het kunstwerk via een technische transfer veranderlijk en de beleving ervan multisensorisch maakt. Mapping betekent in deze context niet zozeer een cartografische variant, maar includeert eveneens het flaneren, cruisen of dwalen. In een gegeven geografie vertaalt zich dit vaak in een (mechanische) choreografie waarin parameters als licht en geluid expressief gemanipuleerd worden. De luciditeit in een aantal werken kent een tegengewicht in de reflectie over eindigheid, dood en in een enkel geval opent dit zich cynisch en hyperbolisch tot het contemporaine euthanasiedebat. Items als identiteit en communicatie vormen een belangrijk inhoudelijk substraat waarin gegevens als sociale netwerken, privacy, hacking, spam verwerkt worden. De interactiviteit bij vele inzendingen doet een beroep op een actieve toeschouwer die zich vaak geconfronteerd ziet met keuzemogelijkheden of beslissingen die men dient te nemen.

Stanza artwork Capacities

 

Sonicity: Networked Soundscape at Lanternhouse

December 7th, 2010
stanza artwork sonicty

Stanza Installation. 2010. Sonification Of Space

Sonicity Installation is now available for touring.

This installation artwork focuses on the real time space and the experience of the gallery visitor as they interact with the space, using data gathered from  new technologies.

Sonicity is a responsive installation, a sonification of the real space and environment. The sounds you hear are the sounds of the changing environment, ie the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors presented as an installation on 170 speakers.

The funding for all the speakers and installation version was made possible by financial support of Lanternhouse International.

Sonicity is a responsive installation, a sonification of the data space.The sounds you hear are the sound of the changing environment, ie : the changes of noise, light, temperature of the space is turned into a real time sound stream using dozens of wireless sensors.


The system monitors the space (the building) and the environment (the city) and captures live real time data (light , temperature, noise, humidity, position) to create an ambient sonification, an acoustic responsive environment, literally the sound of the micro incidents of change that occur over time.

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.

The project also focuses on the micro-incidents of change, the vibrations and sounds of the gallery using wireless sensor based technologies. Motes are used to collect the data. 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 light, the noise, temperature, sounds of the flows inside the space.

Using the XML live feeds the data can be turned in music. A custom made MAX/MSP motereader and sound synthesis engine has now been written. This allows one to hear the sounds of space, ie : an aural experience of the surrounding space. Additional mixers in the software allow all the sensors to be mixed and cross mashed. Basically this allows you to perform with space.

Stanza making things that occupy space.

November 30th, 2010

Much if not most of his work over the last twenty five years has been concerned with the city and with real-time technologies of surveillance and information and has often involved using and even making electronic devices.  In 2009 he did a residency at Lanternhouse in Cumbria,  near to the Lake District,  in which he applied some of the same techniques as he has used in relation to city life to more rural contexts. Yet this bucolic interlude was an exception to the normal location of his artistic practice.

Yet I would like to claim that Stanza presents an exemplary form of art as craft, in the sense that he takes the materials of our current technologised culture and materially engages with their possibilities in order to reflect upon what it means to be living in that culture. What is particularly interesting about Stanza’s work is that he understands how to use in creative and novel ways a whole range of tools and technologies, which, along with his prodigious rate of production, means that his output is a kind of map of shifting technological realities and possibilities. He groups many of his artworks over the last twenty five years under the rubric The Emergent City Projects.

stanza_music-_performance

Image: Stanza Music Performance with touchscreens: 2004

Stanza artwork above 2004

In the mid-1980s he was making music videos about ‘cities, networks and urban situations’ using ‘VJ decks and experimental TV techniques’.  In 1989 he started a series of monochrome paintings of cityscapes, based on his own photographs, entitled Control… In 1997 he started Central City…….

In a situation where the virtual realm becomes more and more the place where we, in the so-called developed world at least, work and socialise, the material, lived environment of the city becomes a locus of greater authenticity, much as the rural landscape did during the period of industrialisation. Yet, much as representations of the countryside in the 19th century were often made with much more awareness of the social and ecological issues than we now imagine,

Stanza’s work does not romanticise the city. He portrays it as a complex, informational space, networked by different complex systems, some visible and some invisible. He also makes the work in the most direct sense; he is a maker, a craftsperson, who knows how to program, how to use live video feed, and how to build robots, and sensing devices.

Above all he knows how to use and to work with the technologies of real-time computing and visualisation that have become an increasingly important part of our technologised culture.

To a certain extent Stanza’s practice and that of others like him, embodies the idea of ‘immaterial labour’ and the ‘social worker’ as discussed by, among others, Antonio Negri and Michael Hardt.

In the context of a capitalism increasingly dominated by information technology Hardt and Negri distinguish between two forms of the ‘immaterial labor of analytical and symbolic tasks’, on one hand ‘routine symbolic tasks’, and ‘creative and intelligent manipulation’ on the other (293). They claim that, inasmuch as such labour necessarily involves cooperation prior to its subsumption by capital, it seems to ‘provide the potential for a kind of spontaneous and elementary communism’ (294). Hardt and Negri have been widely criticised for the naivety of this statement. What might be claimed is that immaterial labour does offer a new model of craft production as opposed to the dehumanising mass production of industrial capitalism.It seems to me that the work of Stanza offers us a model of not just an artistic but also an ethical engagement with technology, at a time when such a thing is, I believe, increasingly needed. His work does not comment on, for example, surveillance technologies or sensing technologies, or other public manifestations, in a political or polemic manner. Rather it engages in what they might be for, how they might be used, in ways that explore their meaning and potential beyond the obvious kinds of use. As such he works against the cool aesthetic of much work made with such technologies.

By contrast with the reticent of such stuff, Stanza produces an abundance of vivid, complex, often baroque work that is unashamedly aesthetic in the sense of being concerned with the sensually beautiful. In this he is like Ruskin’s gothic builder, whose love of variety and for beauty for its own sake was, for Ruskin, evidence of his freedom, as compared to the ‘enslaved’ worker, endeavouring to produce regular perfection. The modern equivalent to such an enslaved worker might be an artist committed to a conceptual programme of work as much as it might be a computer programmer endeavouring to find the most economical and ‘elegant’ solution to a logical problem. That said Richard Sennett’s book on The Craftsman explicitly claims that programming can be a craft and offers the example of Linux programmers.

stanza artist

Image: Detail from live CCTV software system by Stanza 2005.

Stanza artwork above 2005

The difference between Stanza and the Gothic craftsman discussed by Ruskin is that the latter works spatially, making things that occupy space and endure, unchanged over time.

Stanza works in time, in the sense that he manipulates real-time and time-based  technologies such as CCTV cameras.  He does not so much ‘sculpt time’ as Andrei Tarkovski described the process of film making, as ‘craft time’. In the context of a culture in which time has increasingly become a commodity, this crafting of time takes on a more pressing and even political dimension.

Charlie Gere

Head of Department

Institute for Cultural Research

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.

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.

Sensing people indoors.

February 19th, 2009

I  have been looking at different solutions for sensing people indoors so I have pasted this in below.

“Some suggestions for indoor sensing. Each team must build a sensing system that can perform dead reckoning as people walk through a 10m x 10m arena, which will be located in the poster/demo session of the conference. The goal is to estimate the final position of the person given the initial position. Teams can use up to 5 body sensors, which may include accelerometers, gyroscopes, magnetometers, etc. Each team can also setup at most 2 sensors in or around the arena, but predefined paths must remain unobstructed for people to walk, as shown in the diagram below.  The predefined paths will not be revealed until the day of the competition, and will be marked with tape. Examples of sensors placed in the arena might include passive infrared motion sensors, active infrared break beams, ultrasound, dopplar radar, weights sensors, etc. These sensors can be useful for on-line calibration of the body sensors. The sensor systems have three restrictions: 1) no system may have data cables more than 12 inches in length* 2) no system may impede the motion of the person being sensed, and 3) no system may use more than 7 pixels in total, eg. no cameras with more than 7 pixels, and no more than 7 single-pixel** sensors. Signal emitters will be permitted, as long as they do not interfere with other teams’ sensors and as long as they do not help the system emulate more than seven pixels (see below*). Each time a person walks a path with a team’s sensors, that team will be required to update a server with its current position estimate at least once per second. The path estimate will be visualized and projected onto a wall.”

REF: http://www.cs.virginia.edu/~whitehouse/ipsn09competition/

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

stanza datacity

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.

CCTV in the UK. Stanza 2006

February 6th, 2009
Copyright Image by Stanza

Copyright Image by Stanza 2007. Monument CCTV artwork.

Copyright Image by Stanza

We are becoming obsessed with spying on each and in the extreme maybe we have to be extreme. My Monument above is a sculpture, a robotic CCTV system for spying on us except its right in the middle of the city.

It’s interesting that CCTV in the UK has become so prevalent; however it’s strange it’s taken until now for the press to realize there is something to be concerned about.  [“Surveillance is Really Getting Under my Skin”…by Henry Porter 19.11.2006]  Up until recently this technology was mediocre at best.  The concepts that fuelled this infrastructure seemed to lean to Orwell and the deployment of all CCTV has been paid for by and large using public money which could have been spent elsewhere (housing hospitals schools etc)

We are becoming obsessed with spying on each and in the extreme maybe we have to be extreme. My monument above is a sculpture, a robotic CCTV system for spying on us except its right in the middle of the city.etc).

The question is, how are these new technologies being sold to government? Ie the hugely costly National Health database or ID cards schemes.  In both cases new technologies sold largely untested. In so many cases new technologies are bought by ministers who don’t understand the technology.  How could they understand these implications of these technologies?  They couldn’t understand that in the early days of CCTV most cameras would run out of tape and all of the rest would probably have such bad lenses that you couldn’t see anything anyway. However, it is their duty to understand the conceptual unpinning of the tech rather than how it works.  And the conceptual underpinning seems to have been ignored, or if it hasn’t been ignored then this has gone on unchecked and un-monitored.  Rather like a bush fire, once one system had been put in place by one council; they all followed suite. None of them really checked to see how these systems actually worked or where evaluated.  Plenty of people here have spent plenty of other peoples money fuelling a whole industry to watch us moving about just to spot a few criminals.) or has there always been a bigger picture , a master plan)

Despite ten years of poor CCTV and stories of people  getting attacked only to find  CCTV systems  not  working, the powers  that be,  have stuck  with this  agenda  and  now  the tech (  after  huge development and investment)  can read the time off your  wristwatch.  So know we have men sit in kiosks watching our movement through city space and software that can detect patterns on the flow, where you are going.

Now the technology has got interesting there are other considerations.  The patterns we weave through our urban infrastructure can inform us about our urban and rural environment.  But these systems should be used to watch people, we should trust our people.  The premise of all this current deployment is mistrust.  Ie these systems have been put in for the wrong reasons.

As  much  as people  watch and vet  criminal activity  for employment in schools  etc  who is  watching  these  people  watching  and monitoring  these systems.

Certainly data bases of information are growing and expanding and in theory the public think there are hackers out there using sophisticated techniques to get access to data.  By and large back doors  are like  all doors,  most  entry is  done because the doors  aren’t closed ie they  are  left  open . The idea of thinking about back doors is to  suggest that criminals are looking to  leverage there way in (  although this my be the case ) it its  too focused  of the criminal misuse  of collective  data and not focused enough on what value the data give the collective.

There is  far  worse  response  it  the collective  abuse  by  the owners  of these  systems, this is what needs to  be monitored  Take the  national  DNA  database  which is owned by the forensic science department. Who owns this data, could it ever be sold. How else is the data being exploited?  Who owns each individuals data, surely we each and all own the copyright to our own DNA.  Why is the state taking our possessions, our DNA and re appropriating our data like another tax. Although they say they seek to protect us (ie the reason for collecting the data)   how are they actually protecting my data? How do they seek to exploit ‘ property’ which is mine that has a value?  Why do I feel abused?

More importantly in the systems data can be mined in ways that we cannot conceive. The development of new algorithms, data mining, and computer techniques can leverage and present new meaning from these systems in ways that we haven’t come close to guessing at.  These new  data  sets  can be  exploited  for  corporate  gain, even though  the  data  belongs to the individual.

This  data  can  also  be exploited to   track   patterns  that  we  have  spent  the  best  part  of the  20th C  trying  to   avoid, ie  totalitarian,  iron curtains,  Bentham observation  systems where everyone  is  spying on everyone.

Stanza London Art

Stanza London Art. Live CCTV visualisation. 2005

For example lets  get  complicated  and mix  your  tax  records  with  patterns  of spending  from your credit cards, and  your DNA type,  mix  this  up   with you  mobile phone  records  and  we  can probably  find  for  example  any man of Irish decent  who is married that might have bought a  condom….or  Muslim who travels regularly  or….

The  issue  with most  of  this  vulnerability  of new  technology is  that most  people who  want to  use  it have  no  idea  how  to   use  it,  or  no idea  that  thing  can always  be  used  for  others  reasons.  Example  mobile  phone  for speech communication  is  now  widely  used  as  typewriter text  editor for sending tested messages.  This is just an example of a ubiquitous technology that goes to market and the people that brought it to market aren’t even aware what it might be used for. (I mean who would have guessed it)

Now  with  CCTV  and chips and  data mining  of  databases  things  are  getting complex, without  some  ethical  monitoring  we  will have no   idea  what  is  being sourced  here  and how  its  is  being  used and  abused.  Nor will we have any idea how this data is being shifted around, cross referenced and exploited by companies and governments never mind terrorists and criminals.

Maybe the world is indeed full  of  criminals but  by and large we shouldn’t baton  down the hatches Let  the data be  made  public, open it up…..not  just one  gate  keeper. Everyone whose data is on the system should have access. Lets try another approach lets trust one another.

stanza

CCTV images are being recorded

I believe we should remove the passwords. What is the point of just trusting a select few people we don’t know we should trust everyone. It’s surely better to trust everyone than to mistrust everyone which is the road we have taken.