Archive for the ‘research’ Category

URBAN AGE ELECTRIC CITY CONFERENCE REVIEW BY STANZA

December 10th, 2012

URBAN AGE  ELECTRIC CITY  CONFERENCE. A worldwide investigation into the future of cities. LONDON 6-7 DECEMBER 2012.

12.Stanza_cities_shanghai

I went along to this….

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Stanza dec 2012

 

 

 

The Internet of Things. PART III The Third Space. Connecting Data Spaces To Make Artworks.

June 11th, 2012

The Internet of Things. PART  III The Third Space.

Future Avatar Cities.

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

Stanza Generative software map maker.

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

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

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

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

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

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

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

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

Image: Stanza. These are Our Children.

Problems inside the Emergent City

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

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

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

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

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

The Mother Of Big Brother

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

Social Spaces.

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

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

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

Cultural Contexts.

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

Stanza 2010

 

 

 

 

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

June 11th, 2012

The Art of Environmental Data. The Internet of Things. Visualisations and sonifications of the real time city.

British artist Stanza In ItalyIn 2004 I layered the city with sensors for my Sensity projects. Dozens of them to access the “data” and make it public. I wanted to claim this space as a public domain, and to create a series of social sculptures affected in real time by the changes in the city. The aim is to make smart networks that have data open to all, and not closed off spy surveillance oriented systems. These networks could be thought of as open social sculptures that inform the world and create new meaningful experiences. Thousands of motes could be deployed across the city for gathering data in wireless sensor networks. Used in large numbers they communicate with one another via radio signals across the network. They can reconfigure themselves, so that the network stays stable. The data is funelled through a system to a point where it can then be interpreted. The motes monitor the the environment for changes in temperature, sounds, light, position, acceleration, vibration, stress, weight, pressure, humidity, and gps. Motes and sensor boards monitor the micro incidents of change in the city, the noise, traffic flows and people flows. The interactions of all this data, controlled via mixed up interfaces that can re-form and re-contextualise experiences in real time as social sculpture.

 

The Control Space.

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

Towards The Emergent City

Stanza Art

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

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

The data is the Medium.

stanza

stanza

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

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

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

A City of Sculptures

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

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

The Internet Of Things. Part 1(the art of gathering environmental data.)

June 11th, 2012

stanza-049Selected projects I have made since 2004 that demonstrate the art of gathering environmental data. The Internet Of Things. These work came into being because of a Nesta Dreamtime award and AHRC creative fellowship grant. Most of these artworks where made 2004 – 2012.

 

Sensity

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

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

Datacities

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

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

 

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

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

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

Faith

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

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

 

House

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

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

Tree

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

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

 

A world of new possibilities.

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

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

 

Gallery

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

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

data data data

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

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

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

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

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

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

 

Sonicity

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

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

www.stanza.co.uk

stanza@sublime.net

 

Stanza: Can we use new technologies to imagine a world where we are liberated and empowered. An interview between Stanza and Rob van Kranenburg of the Internet Of Things

May 3rd, 2012

An interview between Stanza and Rob van Kranenburg of the Internet Of Things

RvK: Stanza, you were among the first internet artists. What would you say is the most important philosophical step (if we can think in terms of ‘progress’, or ‘going somewhere’) that you have taken in this period? “In the last twenty years there has been a significant shift in audio visual artists’ practise from linear expressions, to interactive (user controlled) mediations, to generative (evolving) and then network-based (real time) systems. Online, this space  also expands the whole notion of the artist’s studio.  My focus is on the things that change, the flow, the data that describes our experience of the city as space. Data from all sides in systems that can be mediated by all, with varying visualizations communicated over the internet and represented onto different display systems.

There are many theoretical aspects to my work, but primarily I am a practice-based artist……in other words I make stuff.

My work has covered experiments in these areas and traced a shift in practise from modernist approaches of asset gathering (linear construction) to arrangements of datasets in fixed lists or databases (interactivity) to new approaches of mining information across networks in real time.( generative and real time systems)……culling data off CCTV networks, making visualizations of cities from my wireless sensor networks.”

RvK: How do feel about the current actualizations of the ‘in between’ space that you felt, saw or heard coming some time ago?

“I believe there is a new social space that exists in between these independent networks. Future cities will be merged into real time connected up data cities.  A connection of networks of real time information flows. The results created will lead mashed up cities and real time performative city experiences.  This conclusion although led from my earlier trails using wireless sensors in a project called Sensity.

I am interested in how this shared data space can overlap creating a new space in between which only two nodes or spaces share. For example in one of my artistic experiments I have  merged collected data from various real time cities to visualise this new space, the space where the cities overlap and which allude to a new architectural and urban virtual space. Uses of such information might allow rich new interpretative visualisations about the way our world is built, used, and designed.

The resulting artworks represent the real time conditions of the city.  Works like “Sensity”, create real time interpretations of social spaces that inform the world (online), and hopefully create new meaningful experiences allowing critical reflection on the real time city and the social political undercurrent embedded in the search for the real time city.

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

Underpinning these artworks and research, are a whole series of potential problems about observation, surveillance, and the ethics of the control space.  Imagine walking out the door, and knowing every single action, movement, sound, micro movement, pulse, and thread of information is being tracked, monitored, stored, analyzed, interpreted and logged.

The world we will live in seems to be a much bigger brother than the Orwellian vision, it’s the mother of big brother.

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

RvK: The data is the medium, you state. Can you explain this a little bit?

“Just  that… the data is the medium of the age….”

RVK: Can you find connections to the FB generation? Do you want to?

“It has a useful API as do all these new big sites; however there are restrictions entering the domains and boundaries of others especially when they  try to cross over and get monitised.”

RvK: The key  (or one of the keys) is  the granularity of input for these ‘smart’ systems. How do you see this?

“Yes, small unit blocks, simplified then re built , re-cored re-formed into an understanding that can re-communicate the complexity of the larger system. Strip the city down and re- configure it as a real-time visualization and plug it into other cities.”

The art of gathering data Sesnors in the city

The art of gathering data. Sensors  in the city

RvK: Your work is filled with wonder? Do you feel that this wonder is facilitated somehow in what is now termed Internet of Things?

“I have tried to encompass this “wonder” about real time connectivity and networked space  in my  latest three works, they are about the “internet of things”, but equally  they  are about real  time experiences of the environment and the spaces that change around us.”

Issues In Science And Technology, Spring 2012. Dear Hillary Rodman Clinton

April 13th, 2012

For those of you who know me well, you might find this quite funny. I was recently asked to for twelve images for a US based magazine who said they wanted to do a feature on Stanza. I thought why not, so I prepared the images 300 dpi for the editor as requested and sent them off. A couple of weeks later with a 44 dollar stamp they sent me four copies, very kind. (Most journalists don’t event bother)

Stanza Sensity

Stanza Sensity

Anyway its always nice to see your artworks in print over breakfast and they did look nice. Twelve images of “Sensity”, the live city data art project in the magazine Issues In Science And Technology, Spring 2012. However on first glance I couldn’t believe it they had used my images it seemingly to illustrate a text that wasn’t about me or by me. Off I steamed…. this editor needs an email.

Anyway before I  shot myself in the foot, I thought I better give it a read. The article is  on “Internet Freedom and Human Rights”,  just my thing, I wonder who wrote it……err

Dear Hillary Rodman Clinton thanks for using my artworks in your essay…. …

I got another coffee together and gave it a proper read, it’s not bad actually.  “the more people online contributing ideas,  the more valuable the network becomes to all the other users”………

“If we are not careful, governments could upend the current Interent governance in a quest to increase their own control….”…The last point rather timely since the UK are about do just that.

Stanza Sensors On Google Maps

Stanza Sensors On Google Maps

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

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 ARTISTS STUDIO AS LABORATORY

August 2nd, 2010

THE ARTISTS STUDIO AS LABORATORY FOR THE FUTURE: “TRANSPARENCY”

I am developing the idea of studio as laboratory and extending previous versions by inviting members of the public to be involved in the process and the experiments. The studio will also have live CCTV broadcast and live data feeds.

Artists are like scientists they ask questions and find answers in peculiar ways….guided by research and process development.  Most artists, like scientists do stuff, they make things to question the world. They often speculate, researching difficult issues in a general direction in the way they see it with specific outcomes, these outcomes may or may not be art.

From the real to virtual and back to the real is a theme that has had my attention for five years and the idea is embedded in the works I am currently making.

stanza_i_am _stanza

Image: Stanza installation:- “Visitors To A Gallery” 2008. CCTV artwork.

This project will take place in the Barn at Lanternhouse, as Stanza creates data scapes in an Open Studio.  The residency is about exploring the artistic process, being transparent about the process and the development and production of new work.

The “open studio” mirrors the process of the project, with material and philosophical process being available to witness throughout.

stanza_visitors

Image: Stanza installation:- “Visitors To A Gallery” 2008. Installation on Floor.

This work (the studio as lab) is now in version three for my residency in Lanternhouse International (UK) called City of Dreams.

Three works to be developed during this City of Dreams residency: Info Below

  • Sonicity
  • Capacities
  • Open Studio: Transparency

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

What will we need to fight for in twenty years once we have lost our liberty?

January 28th, 2009

Duncan Campbell. Liberty in Electronic Space.  He talks about the loss of the value of privacy and the effects on liberty. He then cites various  new systems or techs that invade privacy.  CCCTV, ANPR, AMP , DPI , PHORM ,ACSA , PNR , ….all forms of tracking in the new datasphere.

It seems to me we are mving towards a super database, some sort of systems that  has borders of information.  We need to  remember systems migrate. These futures dont creep up on us they are made. In the UK we are investing heavily in CCTV police surveillance electronic surveillance. So the question is why….what they  know…what does the public really have to  hide.

What happens when a newer power starts to use these systems in different ways. The younger generation will not be able to  argue without be traced tracked and invaded,

Maybe we are heading for a bloodbath. Refer to history.

What will we need to fight for in twenty years once we have lost our liberty? And how hard will the fight be. You don’t know what you’ve got till its gone.

Image: Stanza. These are Our Children.

Image: Stanza. These are Our Children.

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.

Stanza presents at Force of Metadata Goldsmiths Symposium

November 21st, 2008

Goldsmiths Media Research Centre and Centre for Cultural Studies
Symposium: Force of Metadata Goldsmiths, University of London
November 29, 2008, 9.30 am – 18.30 pm
Metadata rules the web. Its power goes beyond merely ordering descriptions of data. Metadata administers access, pre-decides preferences, enables surveillance, automates transtextuality, and shapes our experience. As metadata management becomes more and more effective and ubiquitous, it is time to ask: Are we witnessing the birth of a new regime of attention, of media control and media power? What are its chances, constraints and power relations? How does a social imaginary operate with the means and within the limits of metadata management? Can metadata acquire the power to generate content? Is it, indeed, productive itself?

9.30 – 9.45 Welcome: Scott Lash (Goldsmiths)
9.45 – 11.15 Chair: Jennifer Bajorek (Goldsmiths) Bernard Stiegler (Centre Pompidou): The Alternative of Metadata: Automated Voluntary Servitude or Economy of Contribution
11.15 – 11.30 Refreshments
11.30 – 13.00 Chair : Robert Zimmer (Goldsmiths) Götz Bachmann (Goldsmiths): The Power of Metadata Time Yuk Hui (Goldsmiths):  The production of Networks and the Networks of Production Kuan Foo (Bocconi): Innovation, Metadata and Firm Growth

14.30 – 16.30 Chair: Olga Goriunowa (Goldsmiths) Harry Halpin (Edinburgh): Metadata and the Dialectics of Posthumanism

Stanza (Artist, London): The Emergent City. Presenting Data from security tracking, traffic, and environmental monitoring

Lev Manovich (UC San Diego): Information Wants to be ASCII

Rafael Lozano-Hemmer (Artist, Montreal): Antimonuments and Subsculptures

Copyright Image by Stanza

Image shows live data being visualisation using motes ad hoc wireless sensors placed around goldsmiths  college.  From stanza’s project Sensity.

The day before Lev Manovich visited my studio in the Goldsmiths  Digital studios.  I was showing him my research  work, media visualisations,  sonifications , the sensity project, and images from my software that make time-scapes.  We were  meeting because I had asked Lev to write a text / essay on my new work.  The writing  commission on this body of work  (data visualisations and  the emergent cities series)  Helen Sloan of  Scan and The Watershed have agreed to  pay the commission a year earlier and at last I  have found someone I  thought could do it.. ( Not that  Helen was keen)

Government defeat on DNA database

November 5th, 2008

The government has been defeated in the House of Lords over the issue of keeping peoples’ DNA and fingerprints on the police national database.

The UK has the largest police DNA database in the world – with more than four million people on file.
“If the government wants a universal DNA database it should say so, not smuggle one in through the backdoor,” Shami Chakrabarti, director of Liberty, said.

Ministers believe such guidelines could hinder their plans for a counter-terrorist database as releasing details of material obtained covertly, through surveillance, could be dangerous.

The government says such a database is vital for public protection but opposition MPs have criticised the step as “Orwellian”.

Who runs the database?

A department in the Home Office is responsible for the day-to-day running and its work is overseen by a board composed of the Home Office, the Association of Chief Police Officers and the Association of Police Authorities.

Can children be included?

Yes but there are no legal powers to take a DNA sample from anyone under 10 without the consent of a parent or legal guardian.

Under-18s also make up nearly a quarter of all arrests so the Home Office says a “comparative proportion” of profiles is to be expected.

references

http://news.bbc.co.uk/1/hi/uk/7532856.stm

http://news.bbc.co.uk/1/hi/uk_politics/7710310.stm

Sensity: An Urban Scale Wireless Sensor Test Bed.

October 23rd, 2008
Copyright Image by Stanza

copyright stanza artwork image London

From Sensity by stanza…2004.. 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). Representations of these data sets will allow unique understanding of the urban environment and environment in real time.”

stanza live data

Copyright Image by Stanza …Stanza live city data from Sensity. Around Goldsmiths College London For Meta Data.


The Practice and Promise of the Real-Time City by Marcus Foth

October 12th, 2008
Description:  due out dec 2008

Alive with movement and excitement, cities transmit a rapid flow of exchange facilitated by a meshwork of infrastructure connections. In this environment, the Internet has advanced to become the prime communication medium, creating a vibrant and increasingly researched field of study in urban informatics. Handbook of Research on Urban Informatics: The Practice and Promise of the Real-Time City brings together an international selection of 66 esteemed scholars presenting their research and development on urban technology, digital cities, locative media, and mobile and wireless applications. A truly global resource, this one-of-a-kind reference collection contains significant and timely research covering a diverse range of current issues in the urban informatics field, making it an essential addition to technology and social science collections in academic libraries that will benefit scholars and practitioners in an array of fields ranging from computer science to urban

Google are our big brothers. Masters of our Universe.

July 7th, 2008

And we thought google was just a search. Well, for the past few years they have come up with some cool tools. But now it seems their cards are on the table, their intentions are clear. Its world domination by surveillance culture. We are just data and google aims to “own” us.

Think of  Will Smith in the film “Enemy of The State”, and then maybe we are getting close. Google in two months, two years, or twenty years.  Maybe its cool we can all watch each other going peacefully about out business as long as google make our faces blurred, what planet are google on, google earth?…yeah right.

So just what are Googles longer term intentions here? Spying on us through serach algorithms in the digital world is one thing, tracking us via open internet is another….time for the ethical debate to be brought to the centre stage with some creative input other than it makes the world a safer place.

ref

http://news.bbc.co.uk/1/hi/technology/7492844.stm

Google has defended its controversial Street View photo-mapping tool, saying it will meet local privacy laws in European countries at launch.

The tool, which matches real world photos to mapped locations, has drawn fire from some privacy campaigners.

In the UK, Privacy International said the tool could breach data protection laws if people’s faces were shown.

Google has said it is using face blurring technology to preserve the privacy of individuals photographed.

“In our view they need a person’s consent if they make use of a person’s face for commercial ends,” Simon Davies, of Privacy International told BBC News.

Street View has already been launched in the US and includes photos of streets in major American cities. Photographing of areas in the UK, including London, is believed to have started last week.

Mr Davies has written to Google asking for details of the face-blurring technology, saying he would ask the UK Information Commissioner to intervene if he did not receive a satisfactory response.

He told BBC News that he was concerned that Google’s technology would not work.

Google’s senior privacy counsel Jane Horvath has responded saying that the technology had already been deployed.

So Jane I guess thats all right then is it.?

Copyright Image by Stanza

Copyright Image by Stanza: Globals live visualusation of media over the net 2004

Shows my live maps work from 2004…..now google maps can just take what they  want.

They  even have a photo of me in my house on google earth that they  took just as the google van passed…( glad I had my shorts on)..? Will google become the enemy of the state? ….

Stanza image from 2004. Global…Never the same again always different….forever.” by Stanza 2004